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Photoshop CS3 Channels & Masks: Advanced Techniques

Making cusp points


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Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Making cusp points

All right, how are you doing? You are enjoying this smooth points, really powerful things, smooth points and control handles; that's where the real power of the Pen tool resides. I am working in a document called Shoulder in progress.psd because the shoulder has just four points associate with it, so far four out of its total five points. Here I am the Paths palette working on the new shoulder path. You may notice that my old shoulder and my new shoulder are little different from each other, that's okay, every single one of the paths you draw with the Pen tool is going to be different. That's just the name of the game because you are creating these paths manually and that's to be expected. So it's an artistic process.
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  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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Photoshop CS3 Channels & Masks: Advanced Techniques
20h 48m Advanced Nov 21, 2007

Viewers: in countries Watching now:

The elusive alpha channel remains one of the most misunderstood yet powerful tools in Photoshop. Alpha channels are collections of luminance data that control the transparency of an image, and they inform just about every aspect of Photoshop. As he builds transitional blended layers, fashions a depth map, makes edge adjustments, and takes on extreme channel mixing, Omni Award-winning expert Deke McClelland teaches Photoshop users that where there's a will, there's a way. Photoshop CS3 Channels and Masks: Advanced Techniques covers mapping texture on an image, turning flesh into stone, using vector masks, working with all different channels, creating a rustic edge effect, and much more. Exercise files accompany the tutorials.

Download Deke's customized keyboard layouts for Channels and Masks from the Exercise Files tab."

Topics include:
  • Distorting and shading with a DMap
  • Understanding bits and channels
  • Creating paths with the Pen tool
  • Using blend modes and the Dodge and Burn feature
  • Understanding channel mixing
  • Using layer masks, clipping masks, and knockouts
  • Applying Smart Filters
Subjects:
Design Photography Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Making cusp points

All right, how are you doing? You are enjoying this smooth points, really powerful things, smooth points and control handles; that's where the real power of the Pen tool resides. I am working in a document called Shoulder in progress.psd because the shoulder has just four points associate with it, so far four out of its total five points. Here I am the Paths palette working on the new shoulder path. You may notice that my old shoulder and my new shoulder are little different from each other, that's okay, every single one of the paths you draw with the Pen tool is going to be different. That's just the name of the game because you are creating these paths manually and that's to be expected. So it's an artistic process.

It's basically what it comes down to your vision of the path outline; maybe different than mine and that in of it itself is okey-dokey, that's actually a good thing. All right, I am going to press the F key in order to enter at the full screen mode once again because I keep having this switch back to the maximize screen mode to show you to the title of the document and I am going to reactivate this path by clicking on it. Actually that doesn't entirely reactivate the path, clicking on it with the white arrow tool because I have got the white arrow tool selected right now. You would have to click on the end point with the Pen tool but tell you what, I want a lob off this handle right here and if I were to just click on the Pen tool and let's say click it in other location then I would get this control handle that sort of doing this half a curve, that's assigning a, kind of, limo curvature to this segment right there. And the reason is this is another one that of the rules, that you want to keep track of when you are working with the Pen tool.

If you have a control handle associate with one side of the segment you should have another control handle associate with the other side of the segment, once again, so that you get a nice smooth fluid curve. Anyway I am going to undo that modification. What I want to do is just create a flat edge, a straight edge at the bottom of the shoulder path. So I am going to Shift+Tab away my palettes so that I am not seeing them. And I am going to lob off, hack off this control handle at the bottom of the point and I am going to do that and this is a weird technique but it works throughout the Adobe applications.

You press and hold the Alt key or the Option key on the Mac and you click on that point with the Pen tool. All right, so that's an Alt or Option+Click on the end point with the Pen tool, goes ahead and cleaves off, lobs or cuts or cleaves or whatever you want to say off that control handle. So notice that if I go ahead and press Ctrl+Z to undo it or Command+Z on the Mac, there is a control handle as soon as I Alt or Option+ Click in a point the control handle goes away. I cut it away and now I am going to Shift+Click over here in order to create a straight segment between these two cusp points, this is a cusp point by the way. Any point, any corner point that has a curve segment associated with it whether it's coming into the point or going out of the point then it becomes a cusp point. So we have got a cusp point that's joining to a standard corner point over there.

Now I am going to add a control handle to this point, to this corner point here and I am going to do that just by dragging away from it. I don't' have to press the Alt or Option key, I just drag away from the corner point to add a control handle. So if you want to get rid of a control handle that's associated with the smooth point then you Alt or Option+ Click in a point. If you want to add a control handle to an existing corner point then you just drag away from it. I know it's confusing, it's a lot to take in here, that's why we have got video training for you, you can rewind and watch again anytime you like.

Now let's go ahead and close the path. I can close the path by dragging from this point, this initial end point, the first point that we created but if I do that I run the risk of modifying the curvature of this segment right here; the first segment I drew and that's kind of a bad thing, I don't really want to play with the curvature of that segment because it was already good in the first place. So I will undo that closure instead I am just going to click on that close point and what Photoshop does, I will now Ctrl+Click or Command+Click in that point to select it; what Photoshop does is it retains the original angle of those control handles. Then I can drag this one away a little bit if I want to so that I create a nice continuous curve here because bear in mind you need that third rule right there where each control handle is extending one third the way into the curving segment.

Now you can do this number, this is also a variation on that one-third rule, that's called the two-thirds rule which is both of the control handles when taken together, add up to two-thirds of the links of the segment so that only one-third is left open. And you can work that way too if you want to work with a more advance technique. But you know you can't lose with a one- third rule. Each one of them takes up one-third of the entire link more or less. You know, you don't have to get out, you are measuring paper or anything but about one-third the link of the entire curve segment right there.

All right, and let's adjust this guy a little bit and so on, looks good to me. You know, this curve segment that I am setting here playing with doesn't really matter right as way inside of her neck, so we are going to combine this path with another path to create the vector mask so you may say why you are taking this much time. I just want to make sure that I have a good approach to the rest of the shoulder, to the actual visible area of the shoulder and then I am going to go ahead and switch to my white arrow tool for a moment here. I want to make sure I have a good amount of additional room down here at the bottom to work with, like so. So that I have a lot of room outside of the layer because I have got some extra layer associate with this image. It goes beyond the canvas size in other words so that our drop shadow works properly and so on.

So anyway, this is the shoulder I am going to go with, that's my final new shoulder path, I just go ahead and save it to update the file on disk. In the next exercise, we are going to combine this path with a more complicated face path in order to create the final vector mask for this layer.

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