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Combining masks

From: Photoshop Masking and Compositing: Fundamentals

Video: Combining masks

All right! So here I am looking at the final version of the nameplate and you can see that it's created using a combination of the nameplate and boot channels. So I essentially converted the nameplate channel to a selection and then subtracted the boot away from it. And I'm going to show you exactly how that works in this exercise. I've saved my progress as Completed boot mask.psd. I'm going to zoom out by pressing Ctrl+ 0 or Command+0 on the Mac and then click on the RGB image to make it active. Because I was viewing the boot channel by itself, that went ahead and deactivated the channel as well as turning it off.

Combining masks

All right! So here I am looking at the final version of the nameplate and you can see that it's created using a combination of the nameplate and boot channels. So I essentially converted the nameplate channel to a selection and then subtracted the boot away from it. And I'm going to show you exactly how that works in this exercise. I've saved my progress as Completed boot mask.psd. I'm going to zoom out by pressing Ctrl+ 0 or Command+0 on the Mac and then click on the RGB image to make it active. Because I was viewing the boot channel by itself, that went ahead and deactivated the channel as well as turning it off.

Now I'll switch over to the Layers panel and we don't need that adjustment layer anymore. It's definitely not contributing anything positive to the overall composition. So I'm just going to select it and press the Backspace key or the Delete key on the Mac in order to get rid of it. Next, I'm going to create a new layer by pressing Ctrl+Shift+N or Command+Shift+N on the Mac and I'll call the layer nameplate and click OK. Now let's go ahead and load up the nameplate selection by switching back to the Channels panel and Ctrl+Clicking or Command+ Clicking on the Mac on that nameplate channel. Now we need to go ahead and subtract the boot away from the selection and there is a couple of different ways to accomplish that.

One way is fairly obvious, but a little bit tedious as well. The other is more convenient in my opinion. However, it requires some keyboard tricks that you'll need to memorize. So we'll start with the more obvious one. Go up to the Select menu and choose Load Selection, and that brings up the Load Selection dialog box. And then you want to make sure the Document option is set to your foreground image. And change Channel from nameplate Transparency, which is, by the way, what's known as the Transparency Mask that's associated with the nameplate layer.

So that would go ahead and trace the selection outline around the portions of the layer that are opaque. And because in our case the entire layer is transparent, that would deselect the image. The other option is to select one of the alpha channels. In my case, I'm going to select boot. Now notice we have these operations down here. If you leave the Operation set to New Selection, then you will just go ahead and trace the selection outline around the boot and deselect the nameplate area. However, you also have the option of adding the selections together, subtracting the new selection from the existing one, or finding the intersection of the two selections.

Obviously, what we want to do is select the Subtract from Selection option and then click OK. And now we've managed to subtract the boot away from the nameplate. And you know what, I'm going to zoom in a little bit so we have a better sense of what's going on here, go ahead and scroll down as well. All right! So that's one way to work. Choose the command, walk your way through the dialog box. Here's another way. I'm going to go ahead and press Ctrl+D or Command+D on the Mac to deselect the image so we can start over here. Inside the Channels panel, Ctrl+Click or Command+Click on the nameplate channel in order to convert it to a selection.

Once you've established that selection, we have the following keyboard tricks to choose from. Move your cursor down to the boot layer. If you Ctrl+Click or Command+Click on it, then you're going to replace the nameplate selection with the boot selection instead. Go ahead and press Ctrl+Z or Command +Z on the Mac to undo that change. If you press the Ctrl and Shift keys; that would be Command and Shift on the Mac, notice that your cursor gets a little plus sign in front of it. And if you then click, you will add the boot to the nameplate selection.

We don't want that either, so press Ctrl+Z, Command+Z on the Mac to undo that modification. Now I'll try this one. If you press the Ctrl and Alt keys; that's the Command and Option keys on the Mac, then you'll get a little minus sign inside your cursor. Click and you go ahead and subtract the boot from the nameplate which is exactly what we want. However, I'm going to take a moment to show you one final trick that's available to you. So I'll press Ctrl+Z or Command+Z on the Mac to undo that modification and I'll press and hold Ctrl+Shift+Alt all at the same.

That would be Command+Shift+ Option all at the same time on the Mac. You'll see that you get a little x inside your cursor, go ahead and click, and that will find the intersection of the nameplate selection and the boot selection. And you'll just select this kind of negative D space inside the boot. All right! So I'll press Ctrl+Z, Command+Z on the Mac to undo that change. What we want is WIKKED minus boot, so you would Ctrl+Click or Command+Click on the nameplate channel and then Ctrl+Alt +Click or Command+Option+Click on the boot channel and that gives you exactly the result we're looking for. All right! So you decide which way you want to work.

You can work with the Load Selection command or those keyboard shortcuts. I'll continue to document those as we work our way through the course. In the meantime, let's go ahead and switch back to Layers panel, confirm that the nameplate layer is active, and press the D key just to make sure that the foreground color is black, and press Alt +Backspace or Option+Delete on the Mac in order to fill the selection with black. And now I'll go ahead and press Ctrl+ D or Command+D on the Mac in order to deselect that image. What we've done is we've established the pixels that need to be opaque on this layer by filling them with black.

In the next exercise, we'll replace those pixels with a gradient by locking down the transparency.

Show transcript

This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 29297 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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