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Combining layers into a clipping mask

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Combining layers into a clipping mask

In this exercise we are going to add a couple of layers to help make my face better match its environment here. And if you are looking very closely you might notice that my face is a tad bit pink compared with the rest of the image particularly when compared with Saint Sebastian's kind of orangish face. The good news is he is barely awake and I am very alert but I need to somehow make my face more orange and I also need to make it more painterly. Now I have already done a lot of healing work over my face in order to get rid of some details like I just 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.

Combining layers into a clipping mask

In this exercise we are going to add a couple of layers to help make my face better match its environment here. And if you are looking very closely you might notice that my face is a tad bit pink compared with the rest of the image particularly when compared with Saint Sebastian's kind of orangish face. The good news is he is barely awake and I am very alert but I need to somehow make my face more orange and I also need to make it more painterly. Now I have already done a lot of healing work over my face in order to get rid of some details like I just 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.

And I healed some texture into my face as well using the healing brush as it turns out. Now I am going to add some more stuff, some more texture starting with a little bit of background a little bit of the image background here that I jump to a new layer. So inside the Layers palette, let's scroll up a little bit. Above my face you will see two layers called paint and coloring, I want you to turn on paint first. And all this is, is a marqueed area of the image actually right around here I marqueed the image with a rectangular marquee tool, I jumped it and then I scaled this selection here, I scaled this layer that is to say using the Free Transform Function.

There is a Free Transform Function under the Edit menu and you can choose free transform or you can choose transform and the transformation of your choice which in this case would be scale. And now I am going to click on this paint layer what I am calling the paint layer because it is real painted background and I am going to merge it in with my face using a blend mode and that blend mode will be the overlay mode. We have seen this mode a couple of times before now and it allows you to merge layers together, it's particularly useful for merging a texture with another layer because it keeps the highlights and shadows from the active layer and lets the mid tones drop out.

So we are still seeing the mid tones and some of the highlights and shadows in the MyFace layer as well. Now the one problem of course is that you can see the boundaries of the paint layer here, you can see the rectangular boundaries of the layer and I just want to limit that layer to the confines of the MyFace layer. So I want to use the MyFace layer to clip the paint layer and you do that by clicking on the paint layer, going up to the layer menu and choosing Create Clipping Mask or you can press the keyboard shortcut Ctrl Alt G or Command Option G on the Mac if you prefer and that goes ahead and clips the paint layer inside the confines of my face and see the difference on screen.

This is before where we can see the entire rectangular area of the paint layer and this is after with the paint only falling in the confines of my face. Alright now we need to make my face much oranger and we are going to do that using this excellent coloring layer right here. Can you believe how meticulous I was in the creation of this layer? 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 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 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.

That's all that's going on very crude artwork. But actually it serves its goal very nicely as we will see. So the first thing I am going to do is I am going to change the blend mode associated with this layer from Normal. 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 in terms of the coloring and just doesn't look right at all. The mode that I am going to use instead is the multiply mode which is sort of the magic marker mode in Photoshop, it goes ahead and uses the colors inside the layer to darken the layers below it.

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 up to the layer menu and choosing Create Clipping Mask once again or I will show you an alternative, I go ahead and Escape out of that menu. You can press and hold the Alt Key here on the PC or the Option key on the Mac, move your cursor over this horizontal line inside the Layers palette and click. So when you Alt Click or Option Click on a horizontal line between two layers you combine them into a clipping mask.

So this guy joins the larger clipping mask like so and both the color layer and the paint layer are now clipped inside the MyFace layer so that we have a halfway decent match between my face and the rest of the painterly composition.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39058 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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