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Creating a flesh-and-clothing mask

From: Photoshop CS5 One-on-One: Mastery

Video: Creating a flesh-and-clothing mask

In the previous exercise, I promised that we'd apply the mask and then bring the image into a new background, and we are going to do that, but I got a wild idea here, and I have tried out something different that actually works splendidly well for this image. So I thought I'd pass it along to you. As we are going to create yet another mask, but this time we are just going to select the flesh & dress detail, so we are not going to worry much about the hair. We are going to end up selecting into the hair as well, but this mask will serve as extremely well as we composite our image.

Creating a flesh-and-clothing mask

In the previous exercise, I promised that we'd apply the mask and then bring the image into a new background, and we are going to do that, but I got a wild idea here, and I have tried out something different that actually works splendidly well for this image. So I thought I'd pass it along to you. As we are going to create yet another mask, but this time we are just going to select the flesh & dress detail, so we are not going to worry much about the hair. We are going to end up selecting into the hair as well, but this mask will serve as extremely well as we composite our image.

So I've saved my changes as Final mask.psd, found inside the 26_masking folder, because I'm looking in my final mask channel. I am going to switch back to the RGB composite image, and I'll go to the Layers panel and confirm that the Saturation layer is active, because I want that hyper-saturated image right there. And I'll go up to the Select menu and choose a Color Range command. I'll press Ctrl+Shift+Alt+O, Cmd+ Shift+Option+O on the Mac, and I will click inside some portion of the face and Shift +Drag in order to add to the selection. Now you may end up selecting into the hair as well by the way and continuously Shift+Dragging here, and that's okay.

It's not a problem to select the hair, we are not interested specifically in selecting it, but if you get a little bit of hair or even a lot bit of hair. That's perfectly acceptable. All right, so this looks like basically that same selection we had created earlier, and I'll go ahead and Shift+ Click on that little bit of shoulder, and that was an obvious mistakes. So let's go ahead and Undo that by pressing Ctrl+Z, Cmd+Z on the Mac. So I'll stick with the selection I got so far, and then I will click OK in order to accept it. Now I'll go up to the Select menu, choose the Refine Edge command, Ctrl+Alt+R, Cmd+Option+R on the Mac.

So I am just replaying the steps I performed before. I'll take the Smooth value up to 10 and the Contrast value up to 25%, so that I'm smoothing up the details a little bit, I'll click OK. And now I'll go over to the Channels panel, and we are going to make a new channel here by dropping down to the panel and clicking on this icon which is the Save selection as channel icon, go ahead and click on it and that creates a new Alpha channel down here at the bottom of the list. I don't want it at the bottom. So I am going to move it up directly under final mask, and I will double-click on it and I will name it flesh & dress, because that's what it will be in just a moment.

All right, I will press Ctrl+D, Cmd+ D on the Mac to deselect the image, and then I'll grab my Lasso tool. Basically what we want to do now is integrate the bottom portion of the mask that we've already done because we don't want to have to redo all that work. So with the Lasso tool selected, I'll Alt+Click like so. So I have the Alt key down and I'm clicking inside of my image, this would be Option+Clicking in the Mac, and it's important that you keep that Alt or Option key down, the entire time you're drawing the selection outline, so that you can lay down the corners in your Polygonal Selection.

And then once you've drawn a selection that looks something like that, I want you to switch to final mask if you're working along with me, and it looks like the edge of my selection gets too close to the hair. So I'm going to Alt+Drag or Option+Drag around this area right there in order to deselect it, maybe a little bit more Alt or Option+Dragging. All right, that looks good to me. Now I'll go up to the Edit menu and choose the Copy command or I could press Ctrl+C, Cmd+C on the Mac in order to copy that selection. Now I'll switch to flesh & dress and I'll go up to the Edit menu and I'll choose the Paste command, or press Ctrl+V, Cmd+V on the Mac, and notice that the mask registers right into place, because I have that selection outline that survives me switching back-and- forth between Alpha Channels, I'm guaranteed to have precise alignment.

All right, let's go ahead and zoom in and make sure that the seams look good. So I have got one seam right there. I'll press Ctrl+H or Cmd+H on the Mac so I don't get rid of my selection outline yet, and that seam looks beautiful. Let's scroll over to the other side of the image, press Ctrl+H or Cmd+H so I know where the seam is. It's right there, press Ctrl+H or Cmd+H again, excellent work. It looks great. All right, now I will click in the image, in order to deselect it, and I am going to grab my Brush tool, and this time around you want to make sure your Mode is set to Normal, because we need to paint in these shoulders, notice that the shoulders are messy right now, and we are going to do that using the Normal mode.

The Opacity should definitely be a 100%. Right-click inside the Image window and what I want you to do is set your Size value pretty high, something like 150 to 175 works, and your Hardness should be a 100% this time around. So a 100% Hardness when you're working with the Normal Mode inside of a mask. That's pretty darn important. When you're working with the Overlay Mode that's when you go to 0% Hardness. That way you get soft transitions, but see if I had my Hardness value set to 0% right now, and I was painting in the Normal Mode, then I would introduce all kinds of weird, fuzzy artifacts into my mask, and that wouldn't work.

All right, I am going to press the Enter key or the Return key on the Mac and I am going to paint away, and that's not doing anything for some reason, apparently I still have my selection going. So I'll press Ctrl+D, Cmd+D on the Mac. That's my guess anyway. Now I'll paint again and sure enough that took care of the problem quite nicely. I'll go ahead and paint up into that detail, there's some weird stuff going on in her face, so I will just kind of click around here. Not worried about the little flecks up in the hair, just leave those alone, and then I will paint up into the shoulder, but you know what, I don't really know what I'm doing at this point. I need to see the image.

So I am going to press the Tilde key in order to show the RGB image at the same time, so that I'm working in the equivalent of the Quick Mask Mode with one big exception, this is a permanent modification to the file. I am not creating a temporary mask on the fly the way you do with Quick Mask. All right, so that looks brilliant. We now have a flesh & dress mask right ready to go. That is going to work out so well for us when we go to composite the image as we will begin to do in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43831 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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