Photoshop CS6 One-on-One: Fundamentals
Illustration by Richard Downs

Blending inside a clipping mask


From:

Photoshop CS6 One-on-One: Fundamentals

with Deke McClelland

Video: Blending inside a clipping mask

In this movie, I'll show you how to blend clipped layers. Specifically, we'll be blending the wood grain with the frame that encloses it. I'm going to click on the wood grain layer to make it active and then I'm going to change its mode from Normal, once again to Multiply, so that we use the wood grain to darken the contents of the frame layer. And you can see that we get this interesting interaction between the grain and the artwork. That's a little bit too much, so I'd like to see the grain not only in the light portions of the artwork, but in the dark areas as well.
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  1. 19m 15s
    1. Welcome to One-on-One
      2m 27s
    2. Opening from the Windows desktop
      4m 7s
    3. Opening from the Macintosh Finder
      4m 9s
    4. Opening from Photoshop or Bridge
      2m 45s
    5. Opening an image from Mini Bridge
      1m 16s
    6. Opening through Camera Raw
      2m 32s
    7. Closing one image and Closing All
      1m 59s
  2. 38m 14s
    1. Navigating your image
      40s
    2. The dark vs. the light interface
      3m 12s
    3. Navigating tabs and windows
      4m 32s
    4. Panels and workspaces
      4m 27s
    5. Zooming incrementally
      4m 29s
    6. Zooming continuously
      2m 43s
    7. Entering a custom zoom value
      2m 25s
    8. Scrolling and panning images
      2m 31s
    9. Rotating and resetting the view
      2m 11s
    10. Cycling between screen modes
      3m 10s
    11. Using the Navigator panel
      3m 38s
    12. Adjusting a few screen prefs
      4m 16s
  3. 45m 58s
    1. Digital imaging fundamentals
      1m 45s
    2. Image size and resolution
      3m 3s
    3. The Image Size command
      3m 27s
    4. Common resolution standards
      3m 20s
    5. Upsampling vs. real pixels
      4m 36s
    6. Changing the print size
      6m 16s
    7. Downsampling for print
      4m 12s
    8. Downsampling for email
      3m 11s
    9. The interpolation settings
      5m 22s
    10. Downsampling advice
      4m 36s
    11. Upsampling advice
      6m 10s
  4. 53m 18s
    1. The layered composition
      1m 40s
    2. Introducing the Layers panel
      4m 13s
    3. Adding, scaling, and aligning layers
      5m 27s
    4. Dragging and dropping layers
      4m 36s
    5. Stack, reveal, and rename
      2m 58s
    6. Opacity, history, and blend mode
      6m 5s
    7. Duplicating a selected portion of a layer
      5m 32s
    8. Applying a clipping mask
      3m 58s
    9. Blending inside a clipping mask
      4m 10s
    10. Finishing off your artwork
      3m 13s
    11. Creating a new layer and background
      4m 24s
    12. Layering tips and tricks
      7m 2s
  5. 26m 19s
    1. The art of saving
      54s
    2. Four things to know about saving
      6m 0s
    3. Saving layers to PSD
      6m 38s
    4. Saving print images to TIFF
      4m 48s
    5. Saving an interactive image to PNG
      3m 41s
    6. Saving a flat photo to JPEG
      4m 18s
  6. 19m 36s
    1. Honing in on your image
      1m 43s
    2. The new and improved Crop tool
      3m 35s
    3. Editing your last crop
      3m 1s
    4. Straightening a crooked image
      2m 29s
    5. Filling in missing details
      6m 44s
    6. Using the Perspective Crop tool
      2m 4s
  7. 42m 6s
    1. First, there is brightness
      2m 12s
    2. How luminance works
      4m 18s
    3. The three Auto commands
      3m 27s
    4. Automatic brightness and contrast
      3m 19s
    5. The Brightness/Contrast command
      2m 47s
    6. The dynamic adjustment layer
      4m 5s
    7. Editing adjustment layers
      3m 52s
    8. Isolating an adjustment with a layer mask
      3m 31s
    9. Introducing the histogram
      4m 58s
    10. Measuring an adjustment
      3m 34s
    11. Using the Shadows/Highlights command
      6m 3s
  8. 44m 34s
    1. And second, there is color
      1m 31s
    2. Identifying a color cast
      3m 34s
    3. Correcting a color cast automatically
      3m 57s
    4. Changing the color balance
      6m 10s
    5. Compensating with Photo Filter
      3m 11s
    6. Adjusting color intensity with Vibrance
      3m 29s
    7. Correcting color cast in Camera Raw
      5m 46s
    8. The Hue/Saturation command
      5m 26s
    9. Summoning colors where none exist
      4m 9s
    10. Making more color with Vibrance
      4m 27s
    11. Making a quick-and-dirty sepia tone
      2m 54s
  9. 55m 47s
    1. Making selective modifications
      1m 11s
    2. The geometric Marquee tools
      6m 1s
    3. Aligning one image element to another
      4m 59s
    4. The freeform Lasso tools
      3m 59s
    5. Polygonal Lasso tool and Quick Mask
      5m 19s
    6. Cropping one selection inside another
      6m 15s
    7. Creating rays of light
      4m 44s
    8. Quick Selection and Similar
      4m 11s
    9. Making it better with Refine Edge
      4m 56s
    10. Integrating image elements
      2m 39s
    11. Magic Wand and Grow
      5m 17s
    12. Refine, integrate, and complete
      6m 16s
  10. 53m 49s
    1. Your best face forward
      1m 0s
    2. Content-Aware Fill
      6m 11s
    3. Using the Spot Healing Brush
      5m 36s
    4. The more capable "standard" Healing Brush
      5m 55s
    5. Meet the Clone Source panel
      3m 53s
    6. Caps Lock and Fade
      4m 57s
    7. The Dodge and Burn tools
      5m 1s
    8. Adjusting color with the Brush tool
      6m 35s
    9. Smoothing skin textures
      5m 58s
    10. Brightening teeth
      4m 0s
    11. Intensifying eyes
      4m 43s
  11. 51s
    1. Goodbye
      51s

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Watch the Online Video Course Photoshop CS6 One-on-One: Fundamentals
6h 39m Beginner Apr 26, 2012

Viewers: in countries Watching now:

Photoshop CS6 One-on-One: Fundamentals is a concise and focused introduction to the key features in Photoshop, presented by long-time lynda.com author and Adobe veteran Deke McClelland. This course covers the image editing process from the very beginning and progresses through the concepts and techniques that every photographer or graphic designer should know. Deke explains digital imaging fundamentals, such as resolution vs. size and the effects of downsampling. He explains how to use layers to edit an image nondestructively and organize those edits in an easy-to-read way, and introduces techniques such as cropping, adjusting brightness and contrast, correcting and changing color, and retouching and healing images. These lessons distill the vast assortment of tools and options to a refined set of skills that will get you working inside Photoshop with confidence.

Topics include:
  • Opening an image from Photoshop, Bridge, or Camera Raw
  • Navigating, zooming, panning, and rotating the canvas
  • Adding, deleting, and merging layers
  • Saving your progress and understanding file formats
  • Cropping and straightening
  • Adjusting brightness and contrast
  • Identifying and correcting a color cast
  • Making and editing selections
  • Enhancing portraits by retouching skin, teeth, and eyes
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Blending inside a clipping mask

In this movie, I'll show you how to blend clipped layers. Specifically, we'll be blending the wood grain with the frame that encloses it. I'm going to click on the wood grain layer to make it active and then I'm going to change its mode from Normal, once again to Multiply, so that we use the wood grain to darken the contents of the frame layer. And you can see that we get this interesting interaction between the grain and the artwork. That's a little bit too much, so I'd like to see the grain not only in the light portions of the artwork, but in the dark areas as well.

So I'm going to make a copy of this wood grain layer and adjust its blending settings. Now if would just press Ctrl+J or Command+J on the Mac to jump that layer, then Photoshop automatically takes it out of the clipping mask, as you can see. So it's no longer clipped to the frame and it's interacting with the entire composition. That's not what I want. So I'll press Ctrl+Z or Command+Z on the Mac, and instead, I'll press Ctrl+Alt+J or Cmd+Opt+J on the Mac in order to force the display of the New Layer dialog box.

The name wood grain is fine as is. You can have two layers with the same name, if you like. But I'm going to turn on this check box right here that says Use Previous Layer to Create Clipping Mask. That way we'll keep this new layer inside the frame and I'll click OK. And you can see over here in the Layers panel, it continues to be clipped, so both layers are now clipped inside the frame layer. However, because the layer is set to multiply, we're darkening the frame even more. So I'm going to go back to the Blend Mode pop-up menu, and I'm going to switch it back to Normal; which ends up all together restoring the wood grain.

Obviously, that's not what I want because we have no interaction now between the wood grain and the artwork. What I want to do is reduce the Opacity value to 50%. If you're working on a Mac, you can just tap the 5 key, but here on the PC, you can't because the blend mode option is still active, as indicated by this blue highlight. To deactivate the option, you press the Escape key. Notice that that blue highlight disappears. And then, you press the 5 key in order to reduce the Opacity of that layer. And now we get this wonderful interaction of wood grain and artwork throughout the frame.

There's just a couple of more things I want to do here. First, if you look at these swirls, they're not really visually centered inside the frame. They are centered where the artwork is concerned, so going back to the alignment options won't help. What I need to do is just slightly nudge those swirls, which I can do from the keyboard. So I'll start by clicking on the swirls layer to make it active. And then because I want to move that layer, I'll switch to the Move tool up here at the top of the tool box, and then I'll just press the arrow keys on the keyboard. So here I am zoomed out to 33%.

If I press the right arrow key, then I'll nudge the swirls to the right one screen pixel. In all I'm going to press that right arrow key five times and that will get the swirls centered horizontally. Now the reason I mentioned my zoom ratio, 33%, is because I'm nudging in screen pixels. So if you zoom farther in, you'll nudge your artwork that much more. Now I'm going to press the up arrow key three times in order to nudge the layer slightly upward, as well. The last thing I want to do in this movie is to color the wall on the background.

So I will go ahead and scroll to the bottom of the list and click on the wall layer to make it active. And then I'll click on the FX icon down here at the bottom of the Layers panel and choose Color Overlay once again. Again, Photoshop goes ahead and recolors the entire layer red. I'm going to click on that red color swatch to bring up the Color Picker dialog box. I'm looking for a dark shade of green. So I'll change the Hue value to 75 degrees, I'll reduce the Saturation value to 35%, and I'll take the Brightness value down to 50%, then I'll click OK.

And now to use that color to darken the wall, I'll change the Blend Mode from Normal to Multiply. And then I'll click OK. And we end up with our final dark green wall. So that's our composition so far. In the next movie, we'll finish off the artwork inside the frame by adding a couple of additional blended layers.

Find answers to the most frequently asked questions about Photoshop CS6 One-on-One: Fundamentals .


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Q: Where can I learn more about graphic design?
A: Discover more on this topic by visiting graphic design on lynda.com.
Q: When I double click the welcome.psd file included with the exercise files, I get the following error message:

"Some text layers contain fonts that are missing. These layers will need to have the missing fonts replaced before they can be used for vector based output."

Unlike the TIF and JPEG files which display and open correctly, all the icons for PSD files are blank but other than the welcome.psd file, they seem to open correctly without the error message. Is this a problem that I should address (perhaps re-download the files or find the missing fonts)?
A: The TIFF and JPEG files are flat, so they don't contain fonts and the operating system can interpret them (and generate thumbnails) without help from Photoshop. The PSD files have two issues:

First, they may contain editable text complete with font info. The files are designed with fonts that ship with Photoshop, so you don't get error messages, but Adobe sells some versions of Photoshop without fonts. This may be your issue.

Second, the PSD files contain no flat previews. This makes for smaller files, but it means the operating system, Mac or Windows, cannot generate previews. That won't effect your experience in Photoshop, but it does mean you can't see the file until you open it.
 
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