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Hair and stacking order

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

Video: Hair and stacking order

You know on second thought I think that I have overdone it with the orange on my face here a little bit so I am going to switch to my marquee tool here. And I am going to change the opacity value that's assigned to the coloring layer. Let me make my layers piled a little wider so that we can see what the name of the layer is it's called Coloring. And I am going to press the 8 key to reduce the opacity value to 80%. Of course you can also scrub the value or click on this little arrow and move the slider triangle or enter your own value by just pressing a number key on the keyboard when one of the selection tools is active.

Hair and stacking order

You know on second thought I think that I have overdone it with the orange on my face here a little bit so I am going to switch to my marquee tool here. And I am going to change the opacity value that's assigned to the coloring layer. Let me make my layers piled a little wider so that we can see what the name of the layer is it's called Coloring. And I am going to press the 8 key to reduce the opacity value to 80%. Of course you can also scrub the value or click on this little arrow and move the slider triangle or enter your own value by just pressing a number key on the keyboard when one of the selection tools is active.

It's by far the easiest way to change the opacity of an active layer. Alright so that looks a little better to me. What still looks just of course terrible is the fact that we have this big gap between my face and where the hair starts inside St. Sebastian the background. So it looks like he is wearing some kind of Mission Impossible mask which doesn't make any sense because he never saw the show right. So we need to fill in that gap by adding some more hair and I have got a couple of hair layers towards the top of the stack here.

One is called hair extensions and one is called still more hair. And you know what I feel like my thumbnails now that I am trying to take in a lot of layers that we want so I feel like these thumbnails are too big so I am going to bring up my Palette menu once again, choose the palette options command and switch to the midsized thumbnails here and then click OK. This is better I think this will help me out. Now I am going to turn on the hair extensions layer which fills in the gap immediately in a fairly disturbing way it might seem. What I did was I just kind of selected a random portion of St. Sebastian's head, I jumped that to a new layer and I applied the Liquify command.

I used the Liquify command which is a fairly complicated function as it turns out. Something that we are going to see in a later chapter but of course and I used the Warp tool inside the Liquify dialog box in order to mush his face inward so that I had a lot more hair to work with. But the hair extensions layer which I will click on to make it active now is in front of my face and it shouldn't be that way at all. It should be behind my face. And I can change the stacking order that is the order in which the layers are stacked by dragging a layer up and down the stack.

So I could drag this layer down until it appears below my face so that I get a dark horizontal bar below my face layer and then release and that would move that layer where it needs to be, other ways to move layers just so you know so I went ahead and undid that modification. Another way to move a layer is to press Control+Left Bracket to move it down the stack or Control+Right Bracket to move it up the stack, on the Macintosh side that's Command left and right bracket. Notice in doing this, I have managed to move the layer into the clipping group like so but if I go ahead and press Control Left Bracket three times in a row I believe it will move hair extensions below my face and back out of the clipping mask which is really great.

That's something that used to confuse Photoshop quite a bit. Now it has no problems with that so that's nice. Yet another way to work I will go ahead and undo that movement. I am going to have to press Ctrl+Alt+Z a few times in a row actually Command+Alt+Z on the Mac a few times in a row to put hair extensions back where it was. Another way to work is you can select multiple layers. Let's say instead of moving hair extensions downward I want to move my face upward I would go ahead and click on coloring and Shift+Click on my face in order to select that entire range of layers then I would press Control Right Bracket to move the layers up.

All three layers up, one layer so that they all go above the hair extensions layer. Isn't that wonderful? So again Ctrl left and right brackets on the Macintosh side that's Command left and right bracket in order to move layers down and up the stack. Alright so now we have my face where it needs to be above hair extensions we have covered up St. Sebastian so that it doesn't look like he is wearing a Mission Impossible mask anymore. The one thing is that we have some pretty mushy hair detail now and it would be nice if I wasn't wearing like this painted on hair cap it would be better if I had a few hair sort of blending in around my face.

So I created this fairly elaborate layer called still more hair. I will go ahead and turn it on to see what that layer looks like. And I painted this layer actually using a Wacom Tablet so using a Stylus and Wacom Pressure Sensitive Tablet I painted in this layer and this is a little more complicated, involves artistic talent I suppose in order to do this kind of effect. But I just, I did a lot of smearing with the Smudge tool as it turns out that's a tool that's available right here this guy right there with a Smudge tool.

And also I did just some plain old painting in brown using the Brush tool in order to fill out some of these regions. But this is, once again this is the kind of thing that you can do in Photoshop on an independent layer and the nice thing is now that I can still move my layers around so for example if wanted to get my Move tool and I clicked on my face and Shift+Clicked on coloring to select an entire range of layers there then I could move my face around behind the hair if I wanted to. That would be a crazy thing to do.

I should move my hair as well. So I will go ahead and click on still more hair and Shift+Click on my face or another way you can do that by the way. The reason I choose that route was because I clicked on coloring and I Shift+Clicked on my face and then shift clicking on still more hair would create a different selection range. So if you have a range of selected layers already defined like this and you want to add just one more in the list whether it's adjacent or non-adjacent then you press the Control key and click outside of the thumbnail.

So don't control click on the thumbnail because that loads a selection. Control Click or Command Click elsewhere on the layer out here in sort of the empty area or above or below the layer name and that will add it to the selection and then I could drag these layers around in order to move them independently of the rest of the image. Of course I don't want to do that. That looks terrible but still it shows you how much flexibility you can afford yourself by relying on the advantages of a layered composition.

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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 · 39091 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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