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Photoshop Masking and Compositing: Fundamentals

Combining Quick Selection and Smudge


From:

Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Combining Quick Selection and Smudge

All right, by now if nothing else, you probably have a sense that the Quick Selection tool isn't all that quick, as witnessed by the length of the previous video. However, there are times where you can get halfway decent work done with it, and that's what we're going to try to do inside of this exercise. I've saved my progress as Three frog foot masks.psd, and even though I've already got these mask that I could work with, I'm going to regenerate the selection by switching back to the Layers panel. Let's go ahead and click on the original Frog layer to make sure it's active, and then grab the Quick Selection tool from the toolbox.
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  1. 15m 25s
    1. Welcome
      1m 12s
    2. Loading my custom dekeKeys shortcuts
      3m 45s
    3. Adjusting the color settings
      4m 29s
    4. Setting up a power workspace
      5m 59s
  2. 1h 0m
    1. The channel is the origin of masking
      1m 54s
    2. The Masks and Channels panels
      4m 48s
    3. How color channels work
      7m 7s
    4. Viewing channels in color
      3m 24s
    5. How RGB works
      4m 12s
    6. Single-channel grayscale
      5m 12s
    7. Mixing a custom "fourth" channel
      5m 15s
    8. The other three-channel mode: Lab
      5m 45s
    9. A practical application of Lab
      4m 55s
    10. The final color mode: CMYK
      7m 5s
    11. Introducing the Multichannel mode
      5m 56s
    12. Creating a unique multichannel effect
      5m 18s
  3. 44m 27s
    1. The alpha channel is home to the mask
      1m 40s
    2. The origins of the alpha channel
      3m 40s
    3. How a mask works
      7m 10s
    4. Making an alpha channel
      4m 2s
    5. Using the new channel icons
      6m 27s
    6. Saving an image with alpha channels
      4m 23s
    7. Loading a selection from a channel
      4m 7s
    8. Putting a mask into play
      3m 55s
    9. Loading a selection from a layer
      4m 27s
    10. Loading a selection from another image
      4m 36s
  4. 1h 0m
    1. The mask meets the composition
      1m 8s
    2. Viewing a mask as a rubylith overlay
      6m 13s
    3. Changing a mask's overlay color
      5m 34s
    4. Painting inside a mask
      6m 3s
    5. Cleaning up and confirming
      5m 18s
    6. Combining masks
      5m 10s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 1s
    9. What to do when layers go wrong
      6m 3s
    10. Hiding layer effects with a mask
      4m 22s
    11. Introducing clipping masks
      5m 29s
    12. Unclipping and masking a shadow
      3m 50s
  5. 1h 35m
    1. The seven selection soldiers
      52s
    2. The marquee tools
      6m 31s
    3. The single-pixel tools (plus tool tricks)
      6m 48s
    4. Turning a destructive edit into a layer
      5m 34s
    5. Making shapes of specific sizes
      7m 7s
    6. The lasso tools
      5m 49s
    7. Working with the Magnetic Lasso tool
      7m 19s
    8. The Quick Selection tool
      8m 13s
    9. Combining Quick Selection and Smudge
      4m 52s
    10. The Magic Wand and the Tolerance value
      6m 55s
    11. Contiguous and Anti-aliased selections
      6m 58s
    12. Making a good selection with the Magic Wand
      6m 34s
    13. Selecting and replacing a background
      6m 55s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
      55s
    2. Introducing "selection calculations"
      4m 19s
    3. Combining two different tools
      7m 29s
    4. Selections and transparency masks
      5m 17s
    5. Selecting an eye
      7m 1s
    6. Masking and blending a texture into skin
      5m 1s
    7. Painting a texture into an eye
      4m 19s
    8. Combining layers, masks, channels, and paths
      4m 54s
    9. Moving selection outlines vs. selected pixels
      5m 36s
    10. Transforming and warping a selection outline
      7m 45s
    11. Pasting an image inside a selection
      7m 26s
    12. Adding volumetric shadows and highlights
      6m 54s
    13. Converting an image into a mask
      4m 42s
  7. 1h 5m
    1. The best selection tools are commands
      1m 5s
    2. Introducing the Color Range command
      5m 59s
    3. Working in the Color Range dialog box
      7m 7s
    4. Primary colors and luminance ranges
      4m 12s
    5. A terrific use for Color Range
      4m 57s
    6. Introducing the Quick Mask mode
      7m 43s
    7. Moving a selection into a new background
      5m 43s
    8. Smoothing the mask, recreating the corners
      8m 43s
    9. Integrating foreground and background
      4m 44s
    10. Creating a cast shadow from a layer
      2m 51s
    11. Releasing and masking layer effects
      3m 11s
    12. Creating a synthetic rainbow effect
      4m 30s
    13. Masking and compositing your rainbow
      4m 46s
  8. 1h 17m
    1. The ultimate in masking automation
      1m 6s
    2. Introducing the Refine Mask command
      6m 58s
    3. Automated edge detection
      8m 23s
    4. Turning garbage into gold
      6m 19s
    5. Starting with an accurate selection
      7m 11s
    6. Selection outline in, layer mask out
      7m 48s
    7. Matching a scene with Smart Filters
      4m 29s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 28s
    10. Adding dark circles around the eyes
      5m 20s
    11. Creating a fake blood effect
      5m 38s
    12. Establishing trails of blood
      7m 40s
    13. Integrating the blood into the scene
      7m 3s
  9. 1h 48m
    1. Using the image to select itself
      1m 37s
    2. Choosing the ideal base channel
      5m 7s
    3. Converting a channel into a mask
      6m 34s
    4. Painting with the Overlay mode
      7m 27s
    5. Painting with the Soft Light mode
      5m 55s
    6. Mask, composite, refine, and blend
      4m 40s
    7. Creating a more aggressive mask
      7m 2s
    8. Blending differently masked layers
      7m 0s
    9. Creating a hair-only mask
      6m 0s
    10. Using history to regain a lost mask
      3m 42s
    11. Separating flesh tones from hair
      8m 28s
    12. Adjusting a model's color temperature
      4m 30s
    13. Introducing the Calculations command
      7m 22s
    14. Extracting a mask from a Smart Object
      6m 34s
    15. Integrating a bird into a new sky
      5m 40s
    16. Creating synthetic rays of light
      6m 4s
    17. Masking and compositing light
      7m 39s
    18. Introducing a brilliant light source
      7m 5s
  10. 1h 34m
    1. The synthesis of masking and compositing
      1m 36s
    2. White reveals, black conceals
      6m 45s
    3. Layer masking tips and tricks
      5m 8s
    4. Generating a layer mask with Color Range
      5m 38s
    5. The Masks panel's bad options
      5m 18s
    6. The Masks panel's good options
      3m 50s
    7. Creating and feathering a vector mask
      3m 42s
    8. Combining pixel and vector masks
      3m 50s
    9. Working with path outlines
      7m 10s
    10. Combining paths into a single vector mask
      7m 52s
    11. Sharpening detail, reducing color noise
      4m 27s
    12. Recreating missing details
      8m 49s
    13. Masking glass
      5m 50s
    14. Refining a jagged Magic Wand mask
      5m 53s
    15. Masking multiple layers at one time
      5m 15s
    16. Establishing a knockout layer
      6m 6s
    17. Clipping and compositing tricks
      7m 37s
  11. 1m 17s
    1. Next steps
      1m 17s

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Photoshop Masking and Compositing: Fundamentals
11h 35m Intermediate Nov 04, 2011

Viewers: in countries Watching now:

Photoshop Masking and Compositing: Fundamentals is the introductory installment of Deke McClelland's four-part series on making photorealistic compositions in Photoshop. The course shows how to make selections, refine the selections with masks, and then combine them in new ways, using layer effects, blend modes, and other techniques to create a single seamless piece of artwork. Deke introduces the Channels panel and the alpha channel, the key to masking and transparency in Photoshop; reviews the selection tools, including the Color Range tool , Quick Mask mode, and the Refine Edge command; and shows how to blend masked images so they interact naturally.

Topics include:
  • Setting up a workspace
  • Working with the seven key selection tools
  • Using the Color Range command
  • Automating masking
  • Matching a scene with Smart Filters
  • Choosing the ideal base channel
  • Converting a channel to a mask
  • Painting with the Overlay and Soft Light modes
  • Using History to regain a lost mask
  • Working with the Calculations command
  • Extracting a mask from a Smart Object
  • Masking and compositing light
  • Masking with black and white
  • Working with path outlines
  • Combining pixel and vector masks
  • Creating and feathering a vector mask
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Combining Quick Selection and Smudge

All right, by now if nothing else, you probably have a sense that the Quick Selection tool isn't all that quick, as witnessed by the length of the previous video. However, there are times where you can get halfway decent work done with it, and that's what we're going to try to do inside of this exercise. I've saved my progress as Three frog foot masks.psd, and even though I've already got these mask that I could work with, I'm going to regenerate the selection by switching back to the Layers panel. Let's go ahead and click on the original Frog layer to make sure it's active, and then grab the Quick Selection tool from the toolbox.

Now note, if I click the down pointing arrowhead that my Hardness is still set to 0%, which is not a default setting, by the way, by default that Hardness is 100%. So let's go ahead and reset the defaults by right-clicking on that tool icon on the far left-side of the options bar and then choose Reset tool, and that would turn Auto Enhance off, I'll turn it back on, because that gives us way better results. Notice however, I'll click the down pointing arrowhead, that even though the Size value has been reinstated to 30 pixels, the Hardness value is left alone.

I just want to make it clear that you're going have the reset that value manually. So I'll go ahead and take it back up to 100% and press the Enter key or the Return key on the Mac in order to accept that change. Then I'll zoom in on this forward foot, and I'll paint into each one of the toes in order to paint in that selection and I'll take it up a little bit as well, like so. Next, I'll Alt+Drag or Option+Drag inside of that shadow in order to deselect this region and I want to take it in just a little farther. It looks like I went too far, so I will click with the tool, in order to grow the selection slightly, and then finally, notice that little corner right there.

I'll Alt+Click or Option+Click on it in order to deselect it. All right, let's say I want to give this frog kind of a hot foot, so I'm going to make the foot red by pressing the Alt key or the Option key on the Mac, clicking on that black-white icon, down there at the bottom of the Layers panel, and I'll choose Hue/Saturation, and I'll call this layer hot foot, and then click OK. Photoshop automatically converts the selection outline to a layer mask for this adjustment. Now I'm going to turn on the colorized check box and we'll end up getting this low saturation red.

I want a significantly higher saturation value, so I'll take it up to 50, and then I'll change the Hue value to 5, just to introduce a little bit of scarlet. And now that I'm done with the Adjustments panel, I'll go ahead and collapse it by double-clicking to the right of the word Masks, and I will change the Blend mode from this layer, from Normal to Multiply, in order to achieve this darker, richer, and more colorful effect. And now you can see that we've got some pretty clumsy edges going here. Well, there's another Brush tool that does a splendid job of manually correcting the problems created by the Quick Selection tool, and that's this tool right there.

Go ahead and click and hold on the Blur tool icon if you see it, and select the Smudge tool from the flyout menu. And I'm going to go ahead and increase the size of this brush cursor by pressing the right bracket key a few times. You do, by the way, want to be working with a reduced hardness value. So if you right-click inside the Image window, you should see a Hardness value of 0%, if not, set it to 0% and then press the Enter key to hide that panel. And now I'll go ahead and drag inside of the image in order to touch up those edges, and I'm going to drag a little bit in, and then a little bit out as well.

It's going to take a fair amount of work to get the results you're looking for and I'm going to reduce the size of my cursor, by pressing the left bracket key, then I'll again increase the size of the cursor by pressing the right bracket key, and what we're allowed to do with this tool is nudge these edges of the mask around in order to achieve better and more credible results. So right about there I think I need a smaller brush and I'm going to brush this area down as well a little bit, and so you want to just keep working your way around the mask. Now this is not a quick process either, a sort of mocking the Quick Selection tool, because it's not all that quick, and you can see here, it didn't generate very good results.

And the Smudge tool, even though it's given us some pretty interesting results here, it's not quick either, but it doesn't say it's quick. It's not called the Quick Smudge tool and it definitely allows us to achieve some better results here. All right, so after a while I imagine I might grow comfortable with these toes here. Assuming you reach a point of rough contentment. Then go and increase the size of that cursor once again, and drag up and down inside of this region of the foot in order to smooth those transitions. So you can see in addition to nudging the edges around, the Smooth tool also allows you to introduce some softness.

All right, I'm not going to sit here and tell you that that looks great, but it looks pretty good. So I'll press the M key to switchback to my Go To tool, the Rectangular Marquee, then I'll press Ctrl+0 or Command+0 on the Mac to zoom out, and we end up with this effect here, created in large part using the Quick Selection tool, but I would argue, even in larger part. Thanks to the older more manual Smudge tool here inside Photoshop.

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