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Photoshop Masking and Compositing: Fundamentals

Integrating the blood into the scene


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Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Integrating the blood into the scene

In this exercise, we're going to customize our layer effect, specifically this edge highlight, so that the blood looks like it's integrated into the scene. I've saved my progress as Strange syrup .psd, found inside the 07_refine folder, and the first thing we're going to do is take this drips layer right there, and we're going to create a copy of it by pressing Control+J, or Command+J on the Mac, and that goes ahead and jumps a layer, of course. Turn off the Bevel and Emboss effect for the lower drips layer. Might as well collapse the effects as well, and then turn off Gradient Overlay for the top drips layer. And so we've gone ahead and separated the two effects, so that we can modify them independently.
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  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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Photoshop Masking and Compositing: Fundamentals
11h 35m Intermediate Nov 04, 2011

Viewers: in countries Watching now:

Photoshop Masking and Compositing: Fundamentals is the introductory installment of Deke McClelland's four-part series on making photorealistic compositions in Photoshop. The course shows how to make selections, refine the selections with masks, and then combine them in new ways, using layer effects, blend modes, and other techniques to create a single seamless piece of artwork. Deke introduces the Channels panel and the alpha channel, the key to masking and transparency in Photoshop; reviews the selection tools, including the Color Range tool , Quick Mask mode, and the Refine Edge command; and shows how to blend masked images so they interact naturally.

Topics include:
  • Setting up a workspace
  • Working with the seven key selection tools
  • Using the Color Range command
  • Automating masking
  • Matching a scene with Smart Filters
  • Choosing the ideal base channel
  • Converting a channel to a mask
  • Painting with the Overlay and Soft Light modes
  • Using History to regain a lost mask
  • Working with the Calculations command
  • Extracting a mask from a Smart Object
  • Masking and compositing light
  • Masking with black and white
  • Working with path outlines
  • Combining pixel and vector masks
  • Creating and feathering a vector mask
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Integrating the blood into the scene

In this exercise, we're going to customize our layer effect, specifically this edge highlight, so that the blood looks like it's integrated into the scene. I've saved my progress as Strange syrup .psd, found inside the 07_refine folder, and the first thing we're going to do is take this drips layer right there, and we're going to create a copy of it by pressing Control+J, or Command+J on the Mac, and that goes ahead and jumps a layer, of course. Turn off the Bevel and Emboss effect for the lower drips layer. Might as well collapse the effects as well, and then turn off Gradient Overlay for the top drips layer. And so we've gone ahead and separated the two effects, so that we can modify them independently.

I'm going to go ahead and collapse both that top drips layer, and the lips layer as well, just so that I have a little more room to work. Then you want to click on the layer mask thumbnail for the top drips layer, and go ahead and grab the Brush tool from the toolbox, or by pressing the B key. You don't want to be painting with white; you want to be painting with black. If your foreground color is white, as it is for me, go ahead and press the X key to make it black. And notice that I've already lowered the Opacity value to 50%. You want to go ahead and do that too, by pressing the 5 key. I'll right-click to show you that I've reduced the Hardness value to 0%, because we're just going to be incrementally painting some of this layer mask away.

Then I'll press the Enter key, or the Return key on the Mac, in order to hide that panel, make my cursor nice and big right there, and I'll just go ahead and click once in the upper right region of that effect. That goes a long way toward diminishing those highlights. And again, this area of the image, I want to stress, would be in shadow, so it wouldn't be really picking up the highlights. Now, the next thing I want you to do is to reduce the size of your brush by pressing the left bracket key a few times. Paint around the highlights over here on this right-hand drip, so you should just have a wee little bit -- I am not painting anymore; I'm just showing you -- just a wee little bit of highlight along this left-hand edge.

And we want to go ahead and do the same thing for this big thick left-hand drip as well. So I'll paint along this region, and then I'm going to increase the Opacity of my brush to 100% by pressing the 0 key. So notice the Opacity value went to 100. And I'll reduce the size of my cursor further, and I'm going to paint away the bottom of the drip, like so, and that goes ahead and elevates that highlight. Otherwise, the highlight ends up kind of creating a strange, little bubble right there at the bottom of the image, because that's where the mask ends. All right! Now I'm going to increase the size of my cursor a little more.

Press the 5 key once again in order to reduce the Opacity value to 50%, and I'll paint along the edge of the highlight, just to mitigate it that much further. Now, if you feel like you've gone too far, you may feel like well, gosh, I don't really have a lot of options available to me, because I just kind of painted all over this mask. If I wanted to paint a little bit of extra edge, then that would be very difficult, because after all, what I've essentially done is applied a much of destructive modifications. Well, you can paint inside of the confines of your old drips just by loading them up.

Go ahead and press the Control key, or the Command key on the Mac, and click on the layer mask thumbnail for the lower drips layer, which still has that original mask altogether intact. Then you can press Control+H, or Command+H on the Mac, to hide those selection outlines. Then press the X key to switch your foreground color to white. So now it's permissible to paint with white, because you're painting inside the old mask. I'm actually going to reduce the size of my cursor a little bit, and just paint up, like so. And then I might go ahead and reduce, let's say, the Opacity value to 30%.

Let's click right about there, just to brighten things up ever so slightly, and that ends up achieving the effect I'm looking for. That's enough modifications where the drips are concerned. Go ahead and press Control+D, by the way, or Command+D on the Mac, to deselect the image; very important for this next step. In looking at this image and reviewing it, I noticed that this hair right there was kind of in the way, and its kind of cutting into this blood trail, and essentially we just have too much going on inside of a very small area.

So we're going to heal it away, and we'll do so by Alt+clicking, or Option+clicking, on the eyeball in front of the dude layer -- the layer that contains the original model -- and I also want you to turn off the Color Overlay effect, like so. Switch to the Healing Brush, which you get by choosing the Healing Brush tool from this Healing flyout menu, and you want to click on that layer to make it active. So some layer needs to be active, and then you want to press the Alt key, or the Option key on the Mac, and click right about there on the lips.

So notice I'm about a pica over from that hair that we want to get rid of. So I'll go ahead and Alt or Option+click there, and that sets the source point for our cloning. Now, I don't want to paint directly on the layer. For one thing, that's a destructive modification. For another thing, I can't, because it's a smart object, and I don't want to rasterize the smart object, so I'll click Cancel. And then I'll get this additional layer message just for fun. I'm going to click OK on that as well. Instead, what you want to do is you want to create a new layer by pressing Control+Shift+N, or Command+Shift+N on the Mac, and I'll go ahead and call this new layer cover-up, and click OK.

In order to make sure that you are healing onto this layer, as opposed to just cloning, you need to change sample from Current layer, to Current & Below. Next, go ahead and paint over that hair, about like so, and Photoshop will go ahead and heal the brushstroke into place, just as it normally would. All right! Now, we're in kind of a pickle, because we've turned off a bunch of layers here. So I'm going to go ahead and turn on the Color Overlay effect, for starters. I'll go up to the Select menu -- this is the easiest way to work -- and choose the All layers command, or you can press Control+Alt+A, or Command+Option+A on the Mac, in order to select every single layer in the composition.

Then go up to layer menu and choose Hide layers; I know that's not we want, but you have to start there. Then drop down to the bottom of the list of layers inside the Layers panel, and I want you to Control+click, or Command+click, on an empty portion of this white layer in order to deselect it, because we don't want to turn it on. That was a layer that I created while I was putting this composition together, by the way, in order to test the integrity of my mask, even though we never ended up using it inside of this project. Now I will go back to the Layer menu, and I will choose Show layers in order to turn all on all the layers inside the composition. All right! Now I'll just click on one layer to make it active.

I'll press the M key in order to switch back to the Rectangular Marquee tool. And let's go ahead and press Control+0, or Command+0 on the Mac, in order to zoom out from the image, and I'll press the F key a couple of times in order to fill the screen. That is the final version of our ghoulish vampire, thanks, in no small part, to the power of color range, refine edge, and of course, the larger discipline of masking, here inside Photoshop.

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