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Live type that inverts everything behind it

From: Photoshop CS4 One-on-One: Mastery

Video: Live type that inverts everything behind it

In this final exercise of the chapter I'm going to how to create text that inverts everything below it. Now this has absolutely nothing to do with Smart Objects, except for the fact that anything that you can do to an image layer can integrate with Smart Object layers as well. So it does have that tenuous threat to Smart Objects as you will see and besides which I tell you what, it just a really insanely great technique. By the way, I've gone ahead and save my progress as Blended portraits.psd and I have got this text layer, it's rasterized text, text converted to pixels, because I wasn't sure if you had the same fonts that I'm using. But it would work just as well if this were a live text. So your live text, this is going to be great for.

Live type that inverts everything behind it

In this final exercise of the chapter I'm going to how to create text that inverts everything below it. Now this has absolutely nothing to do with Smart Objects, except for the fact that anything that you can do to an image layer can integrate with Smart Object layers as well. So it does have that tenuous threat to Smart Objects as you will see and besides which I tell you what, it just a really insanely great technique. By the way, I've gone ahead and save my progress as Blended portraits.psd and I have got this text layer, it's rasterized text, text converted to pixels, because I wasn't sure if you had the same fonts that I'm using. But it would work just as well if this were a live text. So your live text, this is going to be great for.

The idea is I want this text to invert everything below it so that the text appears black in the white areas and it appears white when it overlaps the model's chin and the model's shoulder and so on. And I want it have just excellent contrast, either white or black, nothing in between. I don't want a lot of namby-pamby different gray values going on or weird colors or anything like that. I want a nice, solid, strong effect. So how do we get such a thing? Well, I'll show you. First of all make sure your text layer is active and then we are going to go ahead and fill the text with white.

That's step number one. Now if you would just working with regular old type and you had white as your background color, you could press Ctrl+Backspace or Command+Delete. Since this is rasterized text, we need to protect the transparent pixels. So we are going to press Ctrl+Shift+ Backspace or Command+Shift+Delete in order to fill just the opaque pixels with white like so. So far so bad, right? It doesn't look like anything. It just looks like we are losing most of the text and it's not legible at all any more. Let's go ahead and move this over a little bit so we can see all of the text. The next trick is to go up here to the Blend Mode pop-up menu and I want you to choose the Difference mode right there in order to subtract white from all the colors behind it and what that's going to do. When you apply the Difference blend mode to something that's white, that white goes ahead and totally inverts everything in back of it. So the white turns black on the white area, because it's inverting white. So the opposite of white is black obviously. And it goes ahead and finds a complementary color of these other colors. So we get blue inside the orange flesh tones and a light blue inside the darker orange flesh tones.

That's not what I want. I don't want a bunch of blue. That's that namby-pamby stuff I was talking about that I do not want. So even though the Difference mode works beautifully for the black on white, we need to do something different. We need to increase the intensity of the effect here in the skin tones. So the first thing I'm going to do is leach out the color. So I'm going to get rid of the saturation and we are going to do that by bringing up the Adjustment palette. So make sure your Adjustment palette is up on screen. Then I want you to Alt-click or Option-click on the Hue/ Saturation icon right there to bring up the New Layer dialog box and we'll call this desat and turn on Use Previous Layer to Create Clipping Mask. So we are clipping the effect just of the text because otherwise we would drain all the color out of her flesh and we don't want her gray, we want her nice and fleshy the way she is. She looks great.

So click OK and that brings up the Adjustment palette of course and I'm going to take the Saturation value and reduce to -100, and that did nothing. Now why in the world did it do nothing? -100, that's a big loss of saturation and yet we kept every single bit of saturation right there. And if I got rid of the clipping by Alt-click or Option-click on this horizontal line between desat and text, watch and notice that desat is working for us. It is getting rid of the saturation sure enough; it's getting rid of all the color inside of the model's flesh.

So it is working on the text, but why isn't it working on the text when it's clipped? Well, I'll tell you why. Let's go ahead and clip it again by Alt-clicking or Option-clicking this horizontal line. It's because desat is being applied to the text first and then the Difference mode is being applied to the text after that. We are desaturating white so that's not doing anything. So we need to change out the order. And you do that by going to the text layer, the clipping layer, not the clipped layer, but the clipping one. Double-clicking on it in the empty area in here to bring up the Layer Style dialog box and then we got our checkboxes. Remember those? We don't want to blend the clipped layers as a group, because that would apply desat to text and then Difference to text. We want it the opposite order. So we want to apply Difference to text and then desat to that. So turn that checkbox off and now we get gray. Aha! Nice.

Now I'll click OK, go back to desat, click on it again and here in the Adjustments palette I want you to click this left pointing arrow in order to return to your Adjustments list. Now we need to increase the intensity, basically increase the contrast of the text. So we have not only nice blacks, the blacks are great, but we need nice whites where the text appears over the flesh and we are going to get that with Levels. Now you could try to apply a Threshold modification, but if you do that, you are going to have a harsh transition between your whites and your blacks, really jagged cut off. We want a little bit of smoothness, so Levels is our guy.

Alt-click or Option-click on a Levels icon and we'll call this B&W and turn on Use Previous Layer to Create Clipping Mask and then click OK and we have got this clipped layer right here. Notice we are seeing this little hump of light colors right there. These are blacks; the blacks are nice and strong. There is nothing to do about them. They are already black. But these luminance levels right here in the A and the top of the N and over here on the O, those are represented by these little mountains right there. So we need to move the white point on the other side of the mountains, so we are going to take it over to 110 and that gives us this effect. And we still have this range of grays between 0-110. Leave your gamma value alone and those are the grays in between. These nice little transitional grays. Nice! Now go ahead and hide that Adjustments palette. Let's go back down here to the text layer and I'm going to Ctrl+Drag it around, Command+Drag on the Mac and notice now the text is just inverting anything I drag it over. Isn't that amazing, the way that works? All right, go ahead and press Ctrl+Z and Command+Z on the Mac and this will work with your editable text. So if you wanted to make changes, if it were editable text, you could make changes, fix typos, completely change out the text, do whatever that you want to do.

All right, that's it for our initial Smart Objects discussion people. I'm going to press Shift+F to enter the Full Screen mode and zoom on our beautiful glorious composition. And then in the next chapter we are going to take off from where we left off with Smart Objects and we are going to go over to another thing that relies on Smart Object inside of Photoshop and that is Smart Filters. Stay tuned.

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This video is part of

Image for Photoshop CS4 One-on-One: Mastery
Photoshop CS4 One-on-One: Mastery

147 video lessons · 27782 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 21m 17s
    1. Welcome
      1m 21s
    2. Installing the DekeKeys keyboard shortcuts
      5m 38s
    3. Resetting the Function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 34s
    5. Setting up the CS4 color settings
      5m 53s
  2. 2h 31m
    1. Introduction to masking
      51s
    2. Introducing color range
      4m 22s
    3. Adding base colors and adjusting fuzziness
      4m 46s
    4. Localized color clusters
      6m 12s
    5. The Quick Mask mode
      7m 33s
    6. Viewing a quick mask by itself
      6m 40s
    7. Testing the quality of edges
      3m 55s
    8. Introducing the Masks palette
      7m 45s
    9. Editing a layer mask
      6m 18s
    10. Choking a mask with Gaussian Blur and Levels
      6m 44s
    11. Choking a mask with Mask Edge
      7m 43s
    12. Adding a Gradient Overlay shadow
      4m 23s
    13. Using live Density and Feather
      6m 12s
    14. Journeyman masking
      5m 44s
    15. Creating an alpha channel
      7m 6s
    16. Increasing contrast
      7m 15s
    17. Overlay painting
      8m 28s
    18. Cleaning up whites and blacks
      5m 48s
    19. Soft light painting
      5m 47s
    20. Selecting in style
      6m 55s
    21. Employing masks as selections
      5m 2s
    22. Scaling and compositing layers
      6m 30s
    23. Compositing glass
      5m 10s
    24. Selecting glass highlights
      8m 41s
    25. Working with found masks
      5m 46s
  3. 1h 34m
    1. Introduction to vector-based shapes
      1m 10s
    2. Vector-based type outlines
      7m 23s
    3. The benefits of vectors
      6m 27s
    4. Upsampling vs. nondestructive scaling
      7m 35s
    5. Vectors and effects
      8m 7s
    6. Fill Opacity and clipped layers
      4m 24s
    7. Basic shape creation
      3m 15s
    8. Drawing interacting shapes
      6m 21s
    9. Power-duplicating paths
      3m 12s
    10. Combining pixels and vector masks
      5m 19s
    11. Line tool and layer attributes
      7m 5s
    12. Copying and pasting path outlines
      3m 28s
    13. Drawing custom shapes
      3m 59s
    14. Drawing with the Pen tool
      7m 48s
    15. Creating cusp points
      7m 28s
    16. Defining a custom shape
      3m 34s
    17. Assigning a vector mask to an image
      2m 38s
    18. Adding a vector object to a composition
      5m 40s
  4. 1h 23m
    1. Introduction to Vanishing Point
      1m 11s
    2. Creating and saving the first plane
      8m 9s
    3. Creating perpendicular planes
      5m 16s
    4. Healing in perspective
      8m 47s
    5. Cloning and scaling in perspective
      8m 33s
    6. Patching an irregularly shaped area
      6m 59s
    7. Healing between planes
      3m 34s
    8. Importing an image into a 3D scene
      5m 45s
    9. Adding perspective type
      5m 37s
    10. Removing and matching perspective
      5m 36s
    11. Applying a reflection in perspective
      5m 1s
    12. Creating a perspective gradient
      6m 11s
    13. Converting a gradient to a mask
      2m 58s
    14. Swinging planes to custom angles
      4m 32s
    15. Wrapping art around multiple surfaces
      5m 49s
  5. 1h 15m
    1. Introduction to Smart Objects
      58s
    2. Placing a Smart Object
      5m 7s
    3. Saving a PDF-compatible AI file
      4m 27s
    4. Performing nondestructive transformations
      6m 7s
    5. Editing a Smart Object in Illustrator
      6m 50s
    6. Converting an image to a Smart Object
      6m 50s
    7. Cloning Smart Objects
      5m 24s
    8. Creating a multilayer Smart Object
      5m 51s
    9. Updating multiple instances at once
      2m 54s
    10. Creating a Camera Raw Smart Object
      4m 17s
    11. Editing a Camera Raw Smart Object
      3m 25s
    12. Assembling a layered ACR composition
      5m 54s
    13. Using an ACR Smart Object to effect
      3m 41s
    14. Blending multiple ACR portraits
      6m 56s
    15. Live type that inverts everything behind it
      6m 32s
  6. 1h 48m
    1. Introducing nondestructive Smart Filters
      46s
    2. Applying a Smart Filter
      4m 22s
    3. Adjusting filter and blend settings
      4m 25s
    4. Heaping on the Smart Filters
      5m 19s
    5. Smart Filter stacking order
      7m 23s
    6. Resolution and Smart Filter radius
      6m 12s
    7. Masking Smart Filters
      4m 41s
    8. Employing nested Smart Objects
      5m 5s
    9. Dragging and dropping Smart Filters
      6m 31s
    10. Using the Shadows/Highlights filter
      5m 53s
    11. Regaining access to the pixels
      7m 8s
    12. Parametric wonderland
      5m 52s
    13. Working with the Filter Gallery
      6m 28s
    14. Freeform filter jam
      5m 51s
    15. Swapping filters from the Filter Gallery
      3m 45s
    16. Mixing all varieties of parametric effects
      7m 30s
    17. Addressing a few Smart Filter bugs
      3m 11s
    18. Applying a Smart Filter to live type
      5m 30s
    19. Choking letters with Maximum
      3m 7s
    20. Duplicating a Smart Filter
      2m 38s
    21. Enhancing a filter with a layer effect
      6m 30s
  7. 1h 6m
    1. Introduction to Auto-Align, Auto-Blend, and Photomerge
      1m 2s
    2. Merging two shots into one
      3m 49s
    3. Applying Auto-Align layers
      3m 44s
    4. Masking images into a common scene
      1m 38s
    5. Auto-Align plus Auto-Blend
      8m 11s
    6. Assigning weighted Opacity values
      4m 7s
    7. Employing a Difference mask
      7m 17s
    8. Masking smarter, not harder
      3m 53s
    9. Capturing multiple depths of field
      3m 37s
    10. Auto-blending real focus
      8m 31s
    11. Creating a panorama with Photomerge
      7m 27s
    12. Correcting a seamless panorama
      4m 52s
    13. An altogether nondestructive Lab correction
      7m 59s
  8. 1h 44m
    1. Introduction to new CS4 technologies
      1m 1s
    2. Applying Content-Aware Scale
      7m 18s
    3. What works and what doesn't with Content-Aware Scale
      4m 19s
    4. Protecting areas with masks
      7m 31s
    5. Applying incremental edits
      7m 6s
    6. Protecting skin tones
      7m 12s
    7. Scaling around a model with TLC
      9m 0s
    8. Adjusting the scale threshold
      5m 22s
    9. When Content-Aware Scale fails
      4m 2s
    10. Creating a lens distortion effect
      8m 39s
    11. Layer masking the family
      11m 44s
    12. Installing the Pixel Bender
      3m 42s
    13. Introducing Pixel Bender kernels
      6m 50s
    14. Pixel Bender kernel roundup
      7m 24s
    15. Tube View and Ripple Blocks
      3m 58s
    16. Making a seamless pattern with Kaleidoscope
      6m 13s
    17. Introducing the Pixel Bender Toolkit
      3m 24s
  9. 1h 20m
    1. Introduction to actions
      42s
    2. Creating an action
      5m 45s
    3. Recording operations
      5m 12s
    4. Reviewing and editing an action
      4m 45s
    5. Playing an action (the Button Mode)
      4m 50s
    6. Saving and loading actions
      5m 0s
    7. Copying and modifying an action
      4m 8s
    8. Permitting the user to change settings
      5m 50s
    9. The Best Chrome Effect Ever II
      3m 41s
    10. Recording a fail-safe action
      7m 33s
    11. Rounding corners with a mask
      4m 33s
    12. Cleaning up layers
      3m 51s
    13. Automating layer effects
      7m 1s
    14. Applying chrome with Gradient Map
      6m 24s
    15. Action anomalies
      4m 11s
    16. Rendering effects to layers
      5m 1s
    17. Testing that it works
      2m 0s
  10. 1m 14s
    1. See ya
      1m 14s

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