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Photoshop CS3 Channels & Masks: Advanced Techniques
Illustration by John Hersey

Adjusting the edges around fabric


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Adjusting the edges around fabric

In this exercise, we are going to adjust the edges of the masked fabric inside of this image. Specifically, we are going to get rid of this red outline that we are seeing around this contour inside of the image between the blouse and the background. We are also going to adjust the shoulder area right here. In this case, we need to cut back into the mask. So in one area, we need to expand the mask, and the other area we need to cut into it a little bit. We are going to perform both operations inside of this exercise. I want you to go ahead and open this image. If you are just joining me, you can open this image called Color mask in prog.psd short for progress of course found inside the 12 Specialty Mask folder.
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  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. As he builds transitional blended layers, fashions a depth map, makes edge adjustments, and takes on extreme channel mixing, Omni Award-winning expert Deke McClelland teaches Photoshop users that where there's a will, there's a way. Photoshop CS3 Channels and Masks: Advanced Techniques covers mapping texture on an image, turning flesh into stone, using vector masks, working with all different channels, creating a rustic edge effect, and much more. Exercise files accompany the tutorials.

Download Deke's customized keyboard layouts for Channels and Masks from the Exercise Files tab."

Topics include:
  • Distorting and shading with a DMap
  • Understanding bits and channels
  • Creating paths with the Pen tool
  • Using blend modes and the Dodge and Burn feature
  • Understanding channel mixing
  • Using layer masks, clipping masks, and knockouts
  • Applying Smart Filters
Subjects:
Design Photography Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Adjusting the edges around fabric

In this exercise, we are going to adjust the edges of the masked fabric inside of this image. Specifically, we are going to get rid of this red outline that we are seeing around this contour inside of the image between the blouse and the background. We are also going to adjust the shoulder area right here. In this case, we need to cut back into the mask. So in one area, we need to expand the mask, and the other area we need to cut into it a little bit. We are going to perform both operations inside of this exercise. I want you to go ahead and open this image. If you are just joining me, you can open this image called Color mask in prog.psd short for progress of course found inside the 12 Specialty Mask folder.

You can see that I have got a little bit of roundness right here at the button that I could deal with, and I could adjust these issues a little bit if I wanted to, just by manually brushing inside of the mask. The layer mask is selected, the layer mask which is isolating the effects of this Hue Saturation adjustment layer, and so with that layer mask selected, I can switch over to the Brush tool. I can make my Brush tool way the heck smaller of course and switch it to the normal mode by pressing Shift+Alt+N or Shift+Option+N on the Mac Make sure that my foreground color is white. Then, I could just paint into these regions as I see that, there is a little kind of weird thing above the button there. Actually for best results, because I am making such detailed adjustments, I should probably work with a sharper brush.

So I am going to Undo that last modification, and I am going to press Shift+Right-Bracket four times in a row in order to make sure that I have a hard edge brush, then I will click there in order to get rid of that little tiny dot of color, and I could just go ahead and select into this V right here by Alt+Clicking or Option+Clicking with the Lasso tool on the Mac in order to just select this area like so, and then I will go ahead and press the Backspace key or the Delete key on the Mac, because I want to fill that area with black and black is my background color.

So that looks pretty darn good. Now, let's take a look at this edge of the blouse. This is a little tricker. It would seem, but here is the deal, watch this. If I turn off the layer mask by Shift+Clicking on it, by Shift+Clicking on its thumbnail here inside the Layers palette. You will notice that the green background doesn't really shift. Notice that red line goes away, but the green background doesn't shift at all. So this is with the layer mask. This is without the layer mask. We have a little bit of a dandy line shift back here, but nothing I think that anybody is going to notice. So my point here is we don't need the layer mask at this location. So go ahead and Shift+Click it again to turn it back on, but here is what we are going to do, make sure it's active of course. Grab your Paint Brush tool once again, make the brush larger, make it fuzzy once again by pressing Shift+Left-Bracket four times in a row, and then we are just going to paint along all of these edges. Paint down here along the tummy, avoid the buttons if you can, then paint this region right there.

Notice, as we paint this red line away, we are not harming the background or the foreground image at all. We do have to watch out for the hair, so take it easy around the hair, just kind of brush next to it, not over it of course, and you will get rid of that red line totally, completely goes away. You could try to paint along the jeans as well. That will help it as I say; this area inside the shaded portions of the folds of the fabric is just a function of the Hue/Saturation adjustment and has nothing to do with our mask. This area is completely unmasked right now.

So anyway, let's go ahead and zoom out. So what I am saying is that area is going to resolve when we re-sample the image or reprint it, or we prepare it for display on the web or what have you. So it's not something we need to worry about. What we do need to worry about I think, is this edge right here. I will go ahead and zoom back into it, even though I just zoomed out. This edge you can see how it comes up too high. I am actually going to zoom in even farther, so you can see what I am talking about. It basically, I will go ahead and trace along it using my Marquee cursor here. It goes upward, and it keep slanting higher and higher, and then it hits the bra strap and it spikes down, and that's something to do with the way that the Color Range command identified the image, but it's certainly not something we want to keep. So here is what I am going to suggest we do. That's pretty much a vertical line right there. Actually, if you Alt+Click or Option+Click inside of the Layer mask thumbnail, you will see that weird spike.

So let's just go ahead and select it using the Rectangular Marquee tool which I just have to have selected here, and I am going to drag down like so in order to get as much of the shoulder region as I can. So I have selected right along side the spike as you can see here, and I am going to Alt+Click or Option+Click once again on the layer mask Thumbnail in order to return to the RGB Composite mode. I am going to zoom out a couple of clicks here until I am seeing the image at the 50% view-size, and then I am going to press Ctrl+Alt+Down-arrow.

That would be Command+Option+Down-arrow on the Mac to move that selection and copy it down one pixel. So I am actually cloning this area inside of the layer mask to move it downward, and so I am choking the mask into the blouse a little bit. I'll do it, I am doing it manually of course, and then I am going to press the Down-Arrow key once more in order to nudge it down a second pixel. So that was at the 50% view-size, it's very important what view-size I am doing this at, if you want to exactly match my modifications, I press Ctrl+Alt+Down-arrow, and then that was Command+Option+Down-arrow on the Mac, and then I press the Down-arrow key by itself a second time in order to move that selection down, a couple of clicks there.

Actually, because I am working at the 50% view-size, it's moving 2 pixels at a time. So that's a total of 4 pixels of movement I believe. But, whatever it is, it doesn't really matter, it looks better is what really counts. But, I am going to press Ctrl+H or Command+H on the Mac; you can still see that we are going up into the spike still just a little bit. So the spike is still there. All right. So I still have my selection intact. I am going to take advantage of a tool that allows me to move pixels around, and that tool, I don't use it very often, but it's the Smudge tool, this guy right there. So go ahead and select the Smudge tool from the Blur tool fly-out menu.

Notice, it has a keyboard shortcut of R. Notice that I have gotten rid. If you've loaded my Deke keys, you'll see that I've got rid of the keyboard shortcut for the Sharpen tool because it is the worst tool in Photoshop. It's a horrible, horrible tool. Don't want you ever using it, it just trashes images. So we have got our Smudge tool right here. I am going to go ahead and reduce the size of my cursor a little bit. Actually, I have my cursor set to about 100 pixels. By default, your Strength setting will be 50%. I want you to go ahead and press the 0 key to raise it to 100% because we want not to smear the pixels around, but rather to move them. Actually, on second thought, I am going to go with a bigger cursor here.

So I increase the size of my brush, and I am going to click right there and move my cursor down like 2 pixels. That's it, I am just moving slightly, and then I am going to click over here and move it down a little bit as well, and then I am going to click back here and move it down again, and you can see just by making very small movements, very tiny drags at 100% Strength, I am moving those pixels downward. I am actually shoving the masked edge down a little bit. If you shove it too far down, you can just drag it back up just lightly. So again, tiny, tiny drags is all I want you to do here. We are just making slight finesses to this masked edge. So that's it. So we've modified the edges of the blouse using a combination of the Paint Brush tool and the Smudge tool here inside Photoshop. In the next exercise, we will begin to address the hair.

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