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Isolating a texture with a layer mask

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Isolating a texture with a layer mask

In the previous exercise, we mapped some rivets on to this guy's back, using a combination of the Hard Light Blend mode, and some Luminance blending. In this exercise, we are going to peel the rivets away from his arms and shoulders using a layer mask. Now I am working inside of an image called I need a dermatologist.psd, because this guy's back is broken out in rivets and it contains the armor layer and the back layer and a couple of hidden layers called edge and title as well. And bear in mind that we're building up essentially a heavy metal CD cover, that's the idea. I am going to go over to the Channels palette. You can see that I've already created the layer mask that you need to use, if you don't want to create it along with me.

Isolating a texture with a layer mask

In the previous exercise, we mapped some rivets on to this guy's back, using a combination of the Hard Light Blend mode, and some Luminance blending. In this exercise, we are going to peel the rivets away from his arms and shoulders using a layer mask. Now I am working inside of an image called I need a dermatologist.psd, because this guy's back is broken out in rivets and it contains the armor layer and the back layer and a couple of hidden layers called edge and title as well. And bear in mind that we're building up essentially a heavy metal CD cover, that's the idea. I am going to go over to the Channels palette. You can see that I've already created the layer mask that you need to use, if you don't want to create it along with me.

So if you are just going to want to load it up or if you start getting frustrated or have problems with it. This is what the layer mask looks like right there. It basically traces the contours of the guy's shoulder, believe it or not. This doesn't look like his back, but that's basically what it is and it traces down his collar. This little indent is from a bracelet that the guy is wearing. All right, so I am going to switch back to the RGB image. I am going to show you how I made it and then we'll go ahead and load that contour selection. So I am using the Elliptical Marquee tool. It's all done using the Elliptical Marquee tool and the Lasso tool. You need to use a Elliptical Marquee tool in order to select his shoulders. So there is lot of creative license here, you can choose to select the shoulders differently than I am going to.

But basically, you may notice that he is kind of muscly, he's got these sort of lumps going across his back, they're good healthy lumps, but they are still lumpy. So I can select those lumps using the Elliptical Marquee tool. So I draw one ellipse at the top there and then I am going to Shift+Drag to draw another ellipse across this lump. Then Shift+Drag to create another ellipse right about there and then Shift+Drag to create another ellipse right there and so on. So you just basically select these areas using the Elliptical Marquee tool as I am doing here. Again, exactly how you decide to select the lumps is totally up to you, you don't have to slavishly do exactly what I am doing, as if you would be able to, really. I mean, I am not sure that you would be able to follow exactly what I am doing here on screen. All right, so one more Shift+Drag, I think, so far I have described basically four ellipses for each shoulder.

Now having selected this rough area right here, I am not going to continue to try to meticulously select along his back. Instead, I would just go ahead and grab the Rectangular Marquee tool, which I get by pressing the M key once again. Then I am going to go ahead and drag down his back like so, taking care to start things off of the intersection of the shoulder and his back right there on the right hand side and then I'll drag over to this side. So I have got the Shift key down, so I am adding this rectangle to the previously existing selection outline. I am also going to Shift+Drag up here at the top of the image in order to select his neck and that would be the beginning of my layer mask. So I would now go down to layer mask icon, make sure that the armor layer is selected, and then I go back down to layer mask icon and click on it in order to convert that selection to a layer mask and we end up with this mask right here.

Now I need to go ahead and get rid of some of the arm detail and I am going to do that using the Lasso tool. So I would go ahead and Alt+Click, actually, or Option+Click in order to describe a polygonal lasso around the arms, like so. Then I'll go ahead and Shift+Drag down here and release the Shift key with the mouse button still down, remember that technique from several chapters ago. Then I am going to press and hold the Alt key or the Option key on the Mac, and now I can continue clicking Shift. Because I had the Shift key down, I told Photoshop that I wanted to add to the selection. Because I now have Alt or Option down, I am describing a polygonal selection outline.

Once I get done selecting that arm, I would release the Alt or Option key and then I would need to get the Ellipse tool once again. So I'll press the M key a couple of times in order to get that Elliptical Marquee tool. Then I would Shift+Drag just around that little bit of bracelet right there. If you are having problems seeing exactly what you need to trace, then you can turn the armor layer off for a moment. I have selected the areas that I think are going to work well for this. Now with the layer mask still selected, I would make sure that black is my foreground color. So I would press Alt+Backspace or Option+Delete to fill those areas with black and then I can click off the selection in order to deselect.

That looks pretty darn good. Now, I am going to, just to make sure that everything lines up perfectly right, because this edge layer needs to line up with these contours that I just drew, I am going to go ahead and trash that layer mask. I am going to go ahead and throw it away. Another thing you can do, by the way, if you want to delete a layer mask, you can go ahead and click on it, make sure its active, and then just Alt+Click or Option+Click on the Trash can icon. As long as the layer mask was active, only the layer mask will get deleted. I'll go back to the Channels palette. This is just so that I have a very accurate selection outline. I am going to Ctrl+Click or Command+Click on that contours channel right there in order to load it as a selection. Now I'll go back to the Layers palette, with the armor layer selected, I'll click on the layer mask icon and that will go ahead and mask that armor inside of his back.

So here is the reason I wanted things to line up properly. This edge layer only works if everything is exactly aligned. So I am going to turn on the edge layer, and you can see that it covers up his shoulders and his neckline and so on. Now in order to make sure that we're just seeing the edges there, I am going to go ahead and clip this edge layer inside of the armor layer and I am going to do that by selecting the edge layer, so click on it. Then go up to the Layer menu and choose Create Clipping Mask or press a keyboard shortcut, Ctrl+Alt+G, Command+Option+G. The reason it's G is because this function used to be called a clipping group, back in the old days.

Anyway, I'll go ahead and choose the command and now you can see that the edges are clipped inside of the armer, so we have these nice D&D edges. Again, this is perfect armor for summer. I am now going to turn on the title for this heavy metal CD. Now we have a band in residence here at lynda.com essentially. It's a group called the Jellybricks, and strictly speaking, they are not heavy metal. Nothing of this sort, but I am figuring this would be a great breakout album for them here. This album doesn't really exist. This album called boltback, it's just a suggestion on my part, but the band really does exist, check them out, they are actually very, very good. Anyway, I am thinking, they do a couple of Evanescence covers, they set the type in old English, they are set to go, this could be a great breakout album for them, I think.

So that's the first of our creative layer masking projects. We'll begin another one starting in the next exercise and that project will involve the masking of glass.

Show transcript

This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26325 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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