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

Applying a mode or effect to an entire group


From:

Photoshop CC One-on-One: Mastery

with Deke McClelland

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Video: Applying a mode or effect to an entire group

In this movie, I'll show you how to apply a blend mode, as well as a layer effect to an entire group of layers. And in doing so, we'll create this effect here. So, I'm looking at the contents of the 7stages.psd document. And I've switched over to the base shapes comp here inside the layer comps panel. And you can see that we're seeing through the shapes to the template layer below. And I've also assigned a stroke around the contents of all of the shapes, as a whole, as opposed to each shape independently.
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  1. 1m 25s
    1. Welcome to One-on-One
      1m 25s
  2. 1h 21m
    1. The many and varied filters in the Filter Gallery
      1m 10s
    2. Introducing the Filter Gallery
      7m 25s
    3. Modifying Filter Gallery settings
      4m 27s
    4. Combining multiple Filter Gallery effects
      7m 28s
    5. The strange power of the Sketch filters
      7m 19s
    6. Converting an image to etched outlines
      5m 58s
    7. Turning those outlines into "digital ink"
      4m 21s
    8. Duplicating a complex Smart Filter sequence
      5m 31s
    9. Customizing a filter effect for a new image
      6m 47s
    10. Tracking Filter Gallery effects by name
      4m 2s
    11. Pencil sketching one image onto another
      6m 26s
    12. Brightening eyes and teeth in a filtered portrait
      8m 46s
    13. Using the new Oil Paint filter (CC Only)
      8m 8s
    14. Customizing an effect with a filter mask (CC Only)
      3m 56s
  3. 41m 16s
    1. Shining light onto a photograph
      1m 1s
    2. Introducing the Lighting Effects filter
      10m 3s
    3. Creating a custom, colorful vignette
      4m 34s
    4. Creating an angled watermark pattern
      5m 24s
    5. Lighting a watermark texture map
      6m 22s
    6. Turning text into a soft texture map
      3m 45s
    7. Creating raised credit-card-style letters
      5m 4s
    8. Wrapping an image using a displacement map
      5m 3s
  4. 30m 38s
    1. Magic is a shaky proposition
      1m 32s
    2. Introducing the Shake Reduction filter
      7m 41s
    3. Drawing custom Blur Trace boundaries
      8m 3s
    4. Modifying and comparing Blur Trace boundaries
      3m 1s
    5. The Blur Direction tool and Source Noise
      2m 58s
    6. Adding grain and smoothing color artifacts
      7m 23s
  5. 33m 37s
    1. Correcting barrel distortion and panoramas
      1m 4s
    2. Introducing the Adaptive Wide Angle filter
      4m 17s
    3. Drawing polygonal constraints
      4m 10s
    4. Manually straightening a GoPro photo
      4m 45s
    5. Stitching together a seamless panorama
      4m 35s
    6. Correcting a pano with Adaptive Wide Angle
      6m 57s
    7. Aligning constraints and overcorrecting
      7m 49s
  6. 52m 52s
    1. Distorting an extracted image
      1m 24s
    2. Extracting a foreground from a background
      3m 30s
    3. Introducing the Puppet Warp command
      5m 2s
    4. Changing the mode and adding rotation
      4m 58s
    5. Adjusting the Expansion value
      4m 0s
    6. Using Pin Depth and Density
      4m 36s
    7. Applying Puppet Warp to editable text
      6m 41s
    8. Creating an intermediate text frame
      3m 16s
    9. Converting layers into animated frames
      7m 13s
    10. Tweening and animating text
      5m 10s
    11. Exporting a QuickTime movie and GIF animation
      7m 2s
  7. 1h 10m
    1. Why edit video in Photoshop?
      1m 5s
    2. Loading video clips into Photoshop
      5m 57s
    3. Creating gradually fading transitions
      6m 11s
    4. Activating a few painless keyboard shortcuts
      3m 41s
    5. Adding text to your video
      5m 21s
    6. Combining your text into video groups
      4m 57s
    7. Adding motion to text (or any layer)
      5m 33s
    8. Adding soundtracks and voiceovers
      6m 50s
    9. Exporting and examining your video
      6m 14s
    10. Editing an existing video comp
      8m 55s
    11. Adding a video clip to the start of a track
      5m 38s
    12. Superimposing video clips with blend modes
      4m 49s
    13. Applying a Smart Filter to an entire video clip
      5m 30s
  8. 1h 24m
    1. Merging multiple exposures in Photoshop
      1m 52s
    2. Automatically aligning bracketed photographs
      4m 13s
    3. Preparing bracketed photos in Camera Raw
      4m 47s
    4. Introducing the HDR Pro command
      4m 12s
    5. How the HDR Pro settings work
      4m 56s
    6. Dramatically increasing the detail in a photo
      7m 45s
    7. Adding a curve in HDR Pro to heighten reality
      9m 9s
    8. Creating a faux-HDR effect in Camera Raw
      6m 17s
    9. Simulating HDR exposures in Camera Raw
      6m 57s
    10. Merging simulated exposures in HDR Pro
      7m 17s
    11. Creating an authentic HDR portrait shot
      6m 12s
    12. Softening an HDR portrait shot
      4m 28s
    13. Developing HDR in Camera Raw
      8m 53s
    14. Working with a 32-bit channel image
      7m 6s
  9. 1h 11m
    1. Managing the multilayer experience
      1m 52s
    2. Renaming a sequence of layers
      5m 35s
    3. Refining the Layers list using filter icons
      3m 31s
    4. Searching by name, effect, and blend mode
      5m 20s
    5. Color property, hide, show, and lock
      5m 28s
    6. Deleting empty layers; replacing fonts (CC 2014)
      5m 56s
    7. Deleting empty layers; replacing fonts (CC)
      4m 34s
    8. Grouping layers by name
      7m 53s
    9. Masking groups and effects in one operation
      5m 28s
    10. Expanding and collapsing all groups and effects
      3m 43s
    11. Introducing layer comps
      4m 4s
    12. Creating a dynamic layer comp
      5m 34s
    13. Applying a mode or effect to an entire group
      8m 55s
    14. Moving many layers without upsetting comps
      3m 28s
  10. 1h 15m
    1. Three incentives to recording actions
      2m 2s
    2. Introducing the Actions panel
      6m 31s
    3. Recording a simple but practical action
      7m 4s
    4. Modifying settings and playing an action
      7m 37s
    5. Creating a dynamically adjustable action
      5m 5s
    6. Adding steps to an existing action
      7m 56s
    7. Actioning a consistent image resolution
      8m 13s
    8. Modifying an adjustment and adding Save As
      6m 21s
    9. Actioning the creation of a flat CMYK image
      5m 18s
    10. Batch processing an entire folder of images
      6m 41s
    11. Saving and loading your actions
      4m 10s
    12. Creating a conditional action
      8m 47s
  11. 1m 20s
    1. See ya
      1m 20s

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Watch the Online Video Course Photoshop CC One-on-One: Mastery
9h 4m Advanced Oct 15, 2013 Updated Oct 01, 2014

Viewers: in countries Watching now:

Join Photoshop master Deke McClelland in the fourth and final installment of his popular Photoshop CC One-on-One series. In this course, Deke shares step-by-step tutorials and expert-level insights on the most powerful features, helping you make your own way to true Photoshop mastery.

Topics include:
  • Creating professional-quality effects with expertly combined art filters
  • Creating a dimensional watermark with lighting effects
  • Correcting for camera shake with the Shake Reduction filter
  • Removing distortion from a GoPro photo
  • Correcting a panorama with the Adaptive Wide Angle filter
  • Animating text with Puppet Warp
  • Adding transitions, text, and sound to videos
  • Creating an authentic HDR portrait shot
  • Managing and leveraging advanced layer options
  • Recording automatic actions and batch processing
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Applying a mode or effect to an entire group

In this movie, I'll show you how to apply a blend mode, as well as a layer effect to an entire group of layers. And in doing so, we'll create this effect here. So, I'm looking at the contents of the 7stages.psd document. And I've switched over to the base shapes comp here inside the layer comps panel. And you can see that we're seeing through the shapes to the template layer below. And I've also assigned a stroke around the contents of all of the shapes, as a whole, as opposed to each shape independently.

We're going to start off inside of this document. In which I've switched to the additional shading comp that we created in the previous movie. And I want you to notice over here on the layers panel. In order to make some of the other comps work that I created for you in advance. I've created this larger group called Arms, Body, Legs, Ears that contains the arms, body, legs and ears groups. So, I just want you to note that that's there. Alright, so starting from this vantage point I'm going to turn off the Highlights layer all the way down to the Clothing group.

So, I'm just clicking and dragging down the eyeball column. And I'll do the same for the Hair and Shadow groups as well. Then I'm going to turn on this Fade Adjustment layer located down here near the bottom of the stack. The next step is to go up to the Select menu and choose Find Layers, or you can press that keyboard shortcut, in order to activate the name option. And I'm going to enter the word fake, which brings up the two fake ear layers. And I'm going to turn both of those guys off. Then, I'm going to switch from name to effect.

And I'm going to change the effect to inner shadow, which is going to bring up a whole slew of layers here. Now I want to be able to see the layer effects. So I'll press the Alt key, or the Option key in the Mac, and click any of the down-pointing arrow heads on the right side of the panel in order to expand all the layers. And, then I'll scroll down to the bottom of the list. At which point, I'll see the outer ear R layer. I want to turn the Stroke on, so go ahead and do so before we turn the inner shadow effect off. And then turn off inner shadow. At which point that layer will go away.

Go ahead and turn off the inner ear R layer entirely, that is, turn off its visibility. Then go up here to outer ear L, turn on its stroke and turn off its inner shadow and it will disappear. Then turn off inner ear L entirely as well. And, again, there's a lot of busy work associated with generating these layer variations. But, in the long run, it's worth it. I'll go ahead and scroll up the list so I can see the leg layers and I'll turn off the inner shadow for leg R as well as for leg L.

And then I'll turn off the inner shadow for the body layer as well. Now, scroll up the list and turn off the Button layer as well as the two layers below it, which represent the belly and the sort of rippling abs. Alright. Now, we need to get rid of these shadow layers here. And the easiest way to do that is to change the search criteria in the upper left corner of the Layers panel, from effect to Color. And then, change the Color from none to Violet. Now, press Ctrl+ Alt+A, or Cmd+Option+A on a Mac, in order to select all of those violet layers.

Then right click in the eyeball icon, and choose hide this layer, in order to make all that shading go away. Now you'll want to clear your search criteria by pressing the Alt key or the Option key on a Mac, and clicking on the Switch icon. Alright, now that you can see all the layers and groups inside your document, click on that arms, body, legs, ears super group in order to make it active. And then change the Blend Mode in the upper left corner of the layers panel, to multiply in order to produce this effect here. So you're multiplying the contents of the entire layer group at one time.

Then you want to drop down to this template group and turn it on, so you can see the pencil drawing in the background. Then click on the template group to make it active. And assuming that your rectangular Marquee tool is selected, just tap the 3 key in order to reduce the Opacity of that entire group to 30%. Then go ahead and return to the arms, body, legs, ears super group and drop down to the FX icon and choose Stroke in order to apply a stroke to the contents of all of these layers at once.

Make sure Position is set to outside, here inside the layer style dialog box. The Blend mode should be normal, the Opacity should be a 100%. The color should be black. And now, just go in and dial-in a really big size value like 12 pixels. And you can see that you're stroking not each independent layer but rather the group as a whole, which is an extremely powerful option here inside Photoshop. Now, I don't want it to be that thick. So I'm going to drop the value down to six pixels. And then click OK to create the effect you see on screen.

Now let's go ahead and save off our work as a Layer Comp by clicking on the little Page icon at the bottom of the Layer Comps panel. Make sure that Visibility and Appearance are turned on and that Position is turned off. And go ahead and call this new comp, base shapes and click OK. We want the base shapes to appear right between template and facial features. So just go ahead and drag it up the list and drop it into place. And now, if you click forward here to Facial features, for example, you'll see that stroke disappear and you'll see that everything is working exactly the way it's supposed to.

Problem is depending on what version of Photoshop you're using you may experience a bug. Let me show you what that bug looks like. I'm going to switch back to my Bay Shapes layer. And I'll go up to the File menu and choose the Save As command. And then, I'm going to replace this file that I've created for you in advance called Baseshapesbug.psd. I'll go ahead and click the Save button and save over that file just so that I have that file saved to disk. And the reason this is so important, is that the way the file is created right now doesn't save properly.

And to see what that looks like, click in front of the Template layer in order to make it active. That will invoke the asterisk up here in the title tab, which is telling us that we have unsaved changes. In order to restore the saved version of the file and thereby demonstrate that what we've done so far didn't get saved properly. Go up to the file menu and choose the Revert command. And then, a moment later, you should see the stroked version of those shapes. Now, if you arrow your way through here by clicking on the Forward Arrow button at the bottom of the layer comps panel, you can see that that stroke is remaining in place.

For the facial features comp, for the white monster comp, for the additional shading comp and for the final artwork which obviously is no good. So what we've gotta do to solve the problem is click in front of Facial features in order to make it active. Then, go over to the layers panel, make sure that you can see the effects that are assigned to the group, and go ahead and turn off effects. Now, Photoshop shows you that you're no longer matching any of the comps because the little page icon doesn't appear inside facial features. To update that comp, drop down to the update icon and click on it.

Then advance to white monster by clicking the right pointing arrow down here at the bottom of the panel. Turn off effects again and go ahead and update that comp. Then advance to the next one, additional shading, turn off effects over here in the layers panel, update the comp and finally, go ahead and advance to final art work. Turn off the effect and update the comp. Alright, now just to make sure that those changes will get saved I'm going to go over to the 7stages.psd document and I'm going to close it.

And I don't want to save my changes, so I'll click no here in the PC. That would be the don't save button on the Mac. And then, with my file in progress up on screen, I'll go up to the File menu and choose the, Save As, command. And then I'll just go ahead and recklessly save over that 7stages.psd document. If you prefer not to damage that document, then you can give your file a different name. And I'll click the save button and click OK, in order to replace the previous version of that file. And after a few moments, when I see that the file is saved, I'll just go ahead and switch to any old comp, such as base shapes here.

That will invoke the asterisk up here in the title tab, which tells me that I have unsaved changes. So let's go ahead and load the saved version of the document by going to the File menu and choosing the Revert command. And a second or two later I'll see the final version of the artwork. I'll switch back to base shapes with it's thick stroke. And then I'll advance to the other groups, then sure enough those thick strokes are going away because I turned off the effect assigned to that arms, body, legs and ears group. So it's a little bit arduous where the layer comps are concerned.

But that's how you go about assigning a blend mode, as well as a layer effect, to an entire group of layers as well as save out a layer comp and trouble shoot your other comps. Here inside Photoshop.

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


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Q: This course was updated on 10/1/2014. What changed?

A: Deke updated the course to reflect changes in the 2014 version of Illustrator CC, including changes to the art filters, the Puppet Warp tool, HDR, layers, and actions.

 
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