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Combining pixels and vector masks

From: Photoshop CS4 One-on-One: Mastery

Video: Combining pixels and vector masks

In this exercise, we are going to add the Field and Stripes layers and we are going to assign blend modes to them, so you can get a sense for how even vector based shape layers support blend modes. And then we are going to add a layer mask. This is the piece de resistance. We are going to add a pixel based layer mask to a layer that already contains a vector based mask. All right, so here is what I want you to do. Go ahead and click on the field layer to make it active and then turn it on so that we can see set layer.

Combining pixels and vector masks

In this exercise, we are going to add the Field and Stripes layers and we are going to assign blend modes to them, so you can get a sense for how even vector based shape layers support blend modes. And then we are going to add a layer mask. This is the piece de resistance. We are going to add a pixel based layer mask to a layer that already contains a vector based mask. All right, so here is what I want you to do. Go ahead and click on the field layer to make it active and then turn it on so that we can see set layer.

And if you don't want to see the path outline right there, just click on that vector mask thumbnail in order to hide it from view. And then I want you to change the blend mode from Normal to Hard Light for this layer. And then I have got to press the Escape key because I'm working on Windows here, so I have got to deactivate that blend mode option. And then I'll press the 8 key to reduce the Opacity to 80%. All right, so that's the field layer for you. That's all we are going to do it. Otherwise looks brilliant, love it. Now I'm going to switch over to the stripes layer, turn it on, click on its vector mask thumbnail to hide the vector outlines. And I'm going to change this one to Multiply and I'm going to do it from the keyboard by pressing Shift+Alt+ M or Shift+Option+M on the Mac so that I'm burning those stripes into my composition. Looks delightful in my opinion.

Now I want the stripes to kind of fade into view. I want them to start opaque down here on the lower right region of the illustration and I want them to fade away in the upper left region over here. And I could do that by switching out this solid fill for a gradient that had some translucency built into it. But here is the deal. That's a pain in the neck. Inside Photoshop CS3 we used to be able to switch out fills and strokes and very easily. And there was a command actually under the Layer menu, that instead of saying New Adjustment Layer or New Fill Layer or what have you, it said Change Adjustment or something, I can't remember what it said. But anyway you could switch the contents of the layer to something else. You can't do that anymore, it's so arbitrary. They took it out and I have only myself to blame.

During the beta process for CS4 they announced to everybody, hey, we are thinking of taking it out. What do you guys think? And nobody responded. We all ignored them. And looking back on it, I should have piped in and said, hey, don't do that. But I did end up saying that but about five days before the program shipped. So didn't do as much good. Hopefully, we'll get it back one day but if you do want to change out a solid fill for a gradient or something along those lines. What you have to do is you got to go down here, create a gradient and then you will say whatever gradient, sure. Ugly graded transparent, that's great. Love it. Or you would switch it out to something better like let's go ahead and double- click on this guy right here and switch it to red, brilliant. Click OK, so it will go red to transparent.

And then click OK, now we have a gradient fill and we could change its angle if we wanted to. And then once you have created you new gradient, and I'll call it gradient or something along those lines. It's just, unnecessarily rename this layer then you drag your vector mask on to it, like so. And then you throw this guy away presumably but I also got rid of my drop shadow and stuff. Anyway, I'll press Ctrl+Alt+Z, Ctrl+Alt+Z, Ctrl+Alt+Z, Ctrl+Alt+Z some more. Command+Option+Z several times on the Mac in order to get back to this point here.

And what I want to do instead is add a layer mask, a pixel based layer mask. So got this layer selected, great. Come down here to the little layer mask icon at the bottom of the Layers palette. If you just click, you will add a pixel-based layer mask because there is already a vector-based layer mask, so there is nothing else you can add. And notice now it's dimmed because that's as many masks as you can have, you can just have two masks associated with a layer, one pixel-based, one vector-based, if you want to. That's it. That's your max. All right, let's click on this guy to hide those path outlines, then let's get the Gradient tool and I want you to make sure that your gradient is not set to this full gradient right here. Let's go ahead and set it to the very first one, right there, which is Foreground to Background. Go ahead and click on it in order to make it active. And notice even though it showing up as gray to white, it's going to show up here as white to black because those are truly are foreground and background colors. Because we are working inside of a mask now.

So it's not the standard foreground and background colors. But anyway, you want to make sure that Foreground to Background is active, you want to make sure that your Linear Gradient option is active. Mode is Normal, Opacity 100%, Reverse off, the other two checkboxes on. So these are the default settings right there. Just in case press the D key, D as in default to make sure that we are going to create a white to black gradient. And then I'm going to drag from right here at the top of the interior portion of the 4 and I'm going to drag off screen to about this location right there. So you will need to see some of your pasteboard over here on the left hand side. And notice that I'm matching the angle of this strike, I'm dragging to right there. There is other places you could drag to get the same effect. I just want you to drag here, so you and I are on the same page. Release and you get that nice fade out there. So you can have the best of vectors and the best of pixels working together in the best of programs, I swear to you, Photoshop, it's just amazing.

In the next exercise-- get this, people. If this doesn't get you excited, I don't know what will. We are going to draw a horizontal line.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27693 viewers

Deke McClelland

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  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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