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Establishing a base layer

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

Video: Establishing a base layer

In this exercise, we are going to lay down a Base Layer that's going to convey much of the highlight and shadow detail about the glass, so that we can then build on that Base Layer in order to create the final effect. Now, as before, I have opened the starpattern.jpeg image that's found inside the 10 masking folder. I also have from that same folder; I have opened this splashinglass.jpeg image. And I have a little bit of a magic one selection outline going on from the previous exercise.

Establishing a base layer

In this exercise, we are going to lay down a Base Layer that's going to convey much of the highlight and shadow detail about the glass, so that we can then build on that Base Layer in order to create the final effect. Now, as before, I have opened the starpattern.jpeg image that's found inside the 10 masking folder. I also have from that same folder; I have opened this splashinglass.jpeg image. And I have a little bit of a magic one selection outline going on from the previous exercise.

I don't really need it, we saw how bad it is. But I want to point out something about the Move tool that you might find of interest. Notice the appearance of the cursor when I have the Move tool cursor inside the selection, that looks like a black arrowhead with a pair of scissors next to it, and then indicates that I will move just the selected portion of the image, like so. Alright, I am going to undo that modification and put the glass back. Now, if I move my cursor outside of the selection, then it appears as a black arrowhead with a little four-way arrow cursor thing, like a compass rose or something next to it, and that shows me that I am going to move the entire image.

So I want you to go ahead and do that. I want you to go ahead and drag that entire image, regardless of whether you have a selection outline or not into the star pattern background, then press the Shift key, press and hold that Shift key and drop the glass into place. And notice the entire glass comes over and the selection outline does not come over with it. So you just get the entire glass, and that's all, which is good, we want that entire glass. We do not want that obnoxious magic one selection, it was no good for our purposes. Now, notice that Photoshop has thoughtfully put the glass on an independent layer above the star pattern that appears on the background layer here.

Let's go ahead and double-click on the words Layer One and we will rename this layer something along the line of base glass, and then press the Enter or the Return key in order to accept that modification. Notice the word Normal here inside the Layers pallet, if you click on the word Normal, you are going to reveal a list, a very long list of blend modes. Now, we are going to examine all of these blend modes in glorious detail in a forthcoming chapter, another one of those really exciting topics as it turns out.

But for now, I just want you to blindly select this guy right here Hard Light. And the Hard Light mode is going to retain the highlights and retain the shadows and drop away the midtones to reveal the layer below. Now, it doesn't reveal the ton of the layer below because the image is so very dark, that background is so dark, so we need to reduce the opacity of this layer a little bit. Now, notice that the Hard Light mode remains active here on the PC. So I will press the Escape key in order to make it inactive, on the Macintosh side, you don't have to do that.

Then, I am going to press the 8 key to reduce the opacity value to 80%, you can see that right there. Pressing a number key when anyone of these selection tools is active affects the opacity of the active layer. So I just reduce the opacity of the layer to 80%. It's a little more palatable now. We can see through to the star layer in the background. We can see some night's rich shadows. However, our highlight, it seems to me, are a little bit weak and I am going to go ahead and Shift+tab away those pallets once again, so that we can compare this star pattern composition that I have created so far to the final composition that I am going for, this is the glass-on-pattern image, also found inside the 10 masking folder and you can see how much better those highlights are.

And that's a function of having selected the highlights and move them over again in a separate pass into the star pattern background. And we are going to do exactly that using the Color Range command beginning in the next exercise.

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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 · 39077 viewers

Deke McClelland
Author

 
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  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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