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Introducing clipping masks

From: Photoshop Masking and Compositing: Fundamentals

Video: Introducing clipping masks

In this exercise we're going to reinstate that brushstroke highlight inside the nameplate and we are also going to reinstate the shadow behind the boot but we are going to do so using independent layers. I've saved my progress as Glow with layer mask.psd. We're going to start things off by pressing Ctrl+Shift+N or Command+Shift+N on the Mac to create a new layer. I'll call this new layer brushstroke, and then I'll turn on this check box. It says Use Previous layer to Create Clipping Mask. That'll ensure that our brushstroke is clipped inside of the nameplate just as if we were painting on the nameplate layer with a transparency lock down.

Introducing clipping masks

In this exercise we're going to reinstate that brushstroke highlight inside the nameplate and we are also going to reinstate the shadow behind the boot but we are going to do so using independent layers. I've saved my progress as Glow with layer mask.psd. We're going to start things off by pressing Ctrl+Shift+N or Command+Shift+N on the Mac to create a new layer. I'll call this new layer brushstroke, and then I'll turn on this check box. It says Use Previous layer to Create Clipping Mask. That'll ensure that our brushstroke is clipped inside of the nameplate just as if we were painting on the nameplate layer with a transparency lock down.

Now there are kinds of used for clipping masks, all sorts of ways to create them as well. We'll see those uses in ways in future chapters but for now just go ahead and turn on the check box and click OK. Notice that creates a layer that's inset with this little arrow that indicates that our new layer will be clipped inside the layer below it. All right! Now let's switch to the Brush tool which you can get by either clicking on it or pressing the B key. I'm going to right-click inside the Image window to confirm that the Size is 300 pixels and the Harnesses is 0% just as before.

You'll notice that the mode up here in the Options bar is set to Linear Dodge (Add). Well, as I was telling you, the Brush mode only affects the interaction between a brushstroke and the contents of the active layer. Our new layer is altogether transparent so the blend mode isn't going to do us any good, might as well reinstated to Normal although I should say you don't have to, but you might as well. And you can do that by either selecting Normal from this mode pop-up menu up here in the Options bar, or you can just press the keyboard shortcut Shift+Alt+N or Shift+Option+N on the Mac and we'll be discussing those shortcuts in more detail when we look at blend modes in a future course. All right! I'm going to press Ctrl+0 or Command+ 0 on the Mac in order to zoom out and center the image, and then I'll zoom in a little bit and scroll down just so I have a little better view of what I'm doing.

Let's go ahead and dial in that brushstroke color here inside the Color panel. So I'll dial in a Hue value of 25 degrees and Saturation and Brightness values of 100% each and then let's go ahead and create that brushstroke by clicking up into the right of the nameplate like so out here in the gray pasteboard, and then I'll Shift+click down into the left of the nameplate in order to connect those two click points with a straight brushstroke. All right! Now we need to reinstate that Linear Dodge blend mode, but because we are trying to create a layers interaction, we'll do so from the Layers panel.

So click on the word Normal in the upper left-hand corner of the panel and choose Linear Dodge (Add) and that gives us the same interaction that we had before. All right! Now let's create that shadow but we'll do so using a more precise method than brushing. Let me show you what that looks like. I'll press the M key to switch back to the Rectangular Marquee tool. Then I'll switch over to the Channels panel, scroll down the list and Ctrl+click or Command+click on that boot channel in order to convert the mask to a selection. Now switch back to the Layers panel and press Ctrl+Shift+N or Command+Shift+N on the Mac to create a new layer.

Let's call it shadow and we will once again turn on the check box, Use Previous layer to Create Clipping Mask so we cast the shadow exclusively inside the nameplate. I'll go ahead and click OK and notice that the shadow layer is also inset, has a down pointing arrowhead, but it's not clipped inside the brushstroke. It's clipped inside the first layer down that is not inset. So in other words, it will also be clipped inside this newplate later. All right! I'm going to zoom-in even further here all the way to 100% and now let's convert this selection into a shadow by expanding and feathering it.

So I'll go up to the Select menu, choose Modify and then choose Expand and I'm going to dial-in an Expand By value of 10 pixels and that'll scoot the edges outward 10 pixels all the way around the perimeter of the existing selection. Click OK to make it so. All right! Now go back to the Select menu, choose Modify once again and choose the Feather command and I'll go ahead and match the Feather Radius value to the Expand By value by setting it to 10 pixels and clicking OK. All right! Now we want this shadow to darken everything behind it.

So before we even fill the selection, let's go ahead and change the blend mode from Normal to the preeminent darkening mode inside Photoshop which is Multiply. In that way, no matter how we color the shadow, it will darken the background. Now let's dial in that shadow value which happens to have a Hue value of 30 degrees, a Saturation value of 65 % and a Brightness value of 15%. Now that we've made the foreground color dark brown, press Alt+Backspace or Option+Delete on the Mac in order to fill the selection with that color. All right! Now you can press Ctrl+D or Command+D on the Mac in order to deselect the image and let's go ahead and nudge that shadow to the left and down a little bit.

So press and hold the Ctrl key or the Command key on the Mac which temporarily gets you the Move tool and then press the left arrow key 5 or 6 times in a row and press the down arrow key a few times as well till you get the shadow located more or less here. That's really a subjective determination, it's up to you. However, this is not subjective. Even though the shadow is darkening the nameplate, it is failing to darken that Inner Glow. After all this work, we are still plagued by the Inner Glow not behaving properly. Well, fortunately it doesn't take all that much work to solve this problem.

In fact, I'll show you how to get exactly the effect we are looking for in the next and final exercise.

Show transcript

This video is part of

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

128 video lessons · 29309 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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