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Hiding layer effects with a mask

From: Photoshop Masking and Compositing: Fundamentals

Video: Hiding layer effects with a mask

In this exercise, we are going to reinstate that Gradient and the Hard Light blend mode and the layer effects, and then I'll show you how to cut through the layer effects using a layer mask. I've saved my changes as Big-layer nameplate.psd and I call it big layer because that's how Adobe refers to layers that are bigger than the canvas. All right! Let's go ahead and rerun through a few steps here. I'll grab the Gradient tool, which you can also get by pressing the G key. Unless you've done something else with this tool recently you should see that same Wikked grad gradient selected up here in the Options bar.

Hiding layer effects with a mask

In this exercise, we are going to reinstate that Gradient and the Hard Light blend mode and the layer effects, and then I'll show you how to cut through the layer effects using a layer mask. I've saved my changes as Big-layer nameplate.psd and I call it big layer because that's how Adobe refers to layers that are bigger than the canvas. All right! Let's go ahead and rerun through a few steps here. I'll grab the Gradient tool, which you can also get by pressing the G key. Unless you've done something else with this tool recently you should see that same Wikked grad gradient selected up here in the Options bar.

Assuming it is then go ahead and drag for left side of the image to the right side and that'll go ahead and fill in the entire layer. So obviously, I forgot a step there. I'll press Ctrl+Z or Command+Z on the Mac. I need to lock down the transparency and I'll do that by clicking on that little checkerboard grid to the right of the word Lock there inside the Layers panel, and then I'll drag again from the far left side to the far right side and pressing the Shift key as I drag, go ahead and release and I fill the nameplate with the gradient. All right! Now let's change the blend mode back to Hard Light by clicking on the word Normal in the upper-left corner of Layers panel and choosing the Hard Light mode.

That will go ahead and blend the logo with a background, like so. I'm going to go ahead and zoom- in on my image a little bit here. Scroll it upward as well so that we can keep track of that right edge. All right! Now what you want to do is either drag that fx from the nameplate layer and drop it onto the newplate layer like so and that'll go ahead and move both the layer effects from one layer to the other if you would prefer to copy them instead. So you still have the effects assigned to the nameplate layer and press Ctrl+Z, Command+Z on the Mac, to undo that change and press the Alt key or the Option key on the Mac as you drag that fx icon.

Then drop them onto the new layer and you'll create a duplicate. All right! I'm going to go ahead and collapse the effects for the nameplate layer by clicking on that triangle on the right-hand side. And now notice that one of our problems has been resolved. We are no longer seeing an Inner Glow over here on the far right side of the nameplate and if I go ahead and scroll over to the left, you'll notice there's no Inner Glow on the left-hand side either and that's because we managed to extend the nameplate out beyond the edges of the campus. So we can't see the return of the Inner Glow over there on the left-hand and right-hand sides. All right! I'm going to scroll back over to the right.

Now we need to cut away that boot and we're going to do that by creating a layer mask. So what I want you to do is go to the Channels panel, scroll down the list and Ctrl+click or Command+click on the boot channel to load it as the selection outline. Now let's switch back to the Layers panel with the newplate layer selected, drop down to the Add layer mask icon and go ahead and click on it that will add a layer mask thumbnail to the existing layer and you should be able to see that it looks like a little white boot against the black background. But what that does is it masks the nameplate inside the boot, which is the opposite of what we want.

So everything that's black inside the layer mask turns transparent and everything that's white remains opaque. So we want to reverse the equation, which you do by making sure that the layer mask thumbnail is active and you can tell because it will have a double border. Assuming that it is then go up to the Image menu, choose Adjustments, and choose the Invert command or better yet, just press Ctrl+I or Command+I on the Mac and that goes ahead and inverts the mask. Now you may be looking at this, saying hey, we still have the same darn problem we had before.

We went through all this additional work and we are still tracing around the boot, what gives. Well, that is true by default. However, because we've separated the nameplate from the boot mask we've got a lot more flexibility. You just need to know where to find it. And in our case what you do is you double-click in the thumbnail for this newplate later in order to bring up the layer Style dialog box. I'm going to move it over to the left- hand side so we can see what we're doing. Now watch the strokes around the boot. As soon as I turn on this check box layer mask hides effects then those effects go ahead and disappear and the reason they disappeared is because now both the layer and the layer effects are being massed away by that layer mask.

So remember this check box when you end up getting into this kind of situation. All right! Click OK in order to accept that modification. In the next exercise, we'll reinstate that brushed glow as well as the shadow behind the boot using independent layers.

Show transcript

This video is part of

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

128 video lessons · 29786 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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