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Photoshop CS3 Channels & Masks: Advanced Techniques
Illustration by John Hersey

Making a repeating watermark pattern


From:

Photoshop CS3 Channels & Masks: Advanced Techniques

with Deke McClelland

Video: Making a repeating watermark pattern

We are now going to transition from displacement maps to lighting effects. Now the two functions are related and that they are both ancient filters that are very powerful to this day even though rendered strangely. And lighting effects is no exception; it's a very odd little filter. And of course they both rely on channels, the contents of channels in order to work their magic, but there is a couple of differences. The displace filter wraps an image around another image, around the contours of another image in order to perform a custom distortion effect whereas lighting effects goes ahead and lights the edges. If I go ahead and zoom in here on these letters you can see that we have these natural highlights and shadows and it is a true sculptural lighting function. It's really, actually, very, very good. Also the displace filter is looking for channels inside of an independent image file whereas the lighting effects filter is looking for an alpha channel that is inside the active image, inside the image that you want to modify.
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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 a repeating watermark pattern

We are now going to transition from displacement maps to lighting effects. Now the two functions are related and that they are both ancient filters that are very powerful to this day even though rendered strangely. And lighting effects is no exception; it's a very odd little filter. And of course they both rely on channels, the contents of channels in order to work their magic, but there is a couple of differences. The displace filter wraps an image around another image, around the contours of another image in order to perform a custom distortion effect whereas lighting effects goes ahead and lights the edges. If I go ahead and zoom in here on these letters you can see that we have these natural highlights and shadows and it is a true sculptural lighting function. It's really, actually, very, very good. Also the displace filter is looking for channels inside of an independent image file whereas the lighting effects filter is looking for an alpha channel that is inside the active image, inside the image that you want to modify.

So here is what we are going to do, over the course of the next couple of exercises, I am going to show you how to create an embossed watermarking effect that you can apply to your own photographs if you want to and the great thing about this effect is that it does disway people from copying your images, it also shows off a URL. And you can still see through to the original underlying image, so the image isn't completely covered up, so people have an idea of what they are actually looking at. And you will see we are not harming the original image. The embossing is a function of a couple of additional layers as you are seeing right there.

So I will go ahead and turn those layers back on and here inside the Channels palette, we can see that there is an Alpha Channel called URLs. In this exercise, we will create that Alpha Channel which actually takes a little bit of work because we have to setup a tile pattern and we have to rotate it as a layer because that's the only way it's going to work out and then we will convert the layer into an Alpha Channel as you will see. And then in the next exercise we will employ this Alpha Channel along with lighting effects in order to create the embossed watermark and it's a real true embossed watermark by the way. We are not using the embossed filter which is a big fake.

All right, so here is what we are going to do, I am working by the way inside of an image called Woman in blue. psd and you may find it familiar, this composition is found inside the 18 Displace maps folder. But we originally saw the underlying image way back in Chapter 02, comes to us from photographer Alexander Alexis, just a beautiful image. And the URL that we are seeing, www.istockphoto.com/aldra is the URL for this photographer and so it's a real job, is basically what it comes down to. I also have opened this image right here which is called aldra url.tif and I have gone ahead and rendered this text out as pixels. I went ahead and flattened the file so that we could work with it, we don't have to have the font in order to edit the file. The first thing I need to do is I need to offset the URL down and to the left, so that we have offset URLs. You may recall in this file right there that each URL, each row of URLs is offset with respect to the row below it. So it goes back and forth and back and forth and we are going to do that right now.

First thing you want to do is note the size of this file, if I press Ctrl+Alt+I or Command+Option+I on the Mac, we can see that Width of the image is 900 pixels and the Height is 200 pixels and when we offset this URL which has room below it, notice it has room for another row below it. We are going to have these values. We are going to cut each of these values in half in order to figure out exactly the offset values we need. So 900 and 200, divide them by 2 and we get 450 and 100, those are the values we are going to apply. All right, so Cancel, let's go up to the Filter menu, choose Other and choose Offset and the Offset Filter allows you to wrap an image around the canvas essentially. I will show you what I mean. I am going to go ahead and enter those values I was telling you, 450 for Horizontal and 100 which shifts the pixels down for Vertical. And make sure that Wrap Around is turned on, so you are wrapping the URL around the image. And it looks like it's breaking the h and to but it's actually a perfect break. So this will turn into a seamless tile pattern, you will see that in just a moment.

All right, I will go ahead and click OK. Now of course I ruined the top URL so I need to blend the filtered image with the original image and I will do that by going up to the Edit menu and choosing the Fade Offset command or pressing Ctrl+Shift+F, Command+Shift+F on the Mac. And the blend mode I want to use, I want white to disappear, I want to keep the black, so of course I am going with Multiply. So choose the Multiply blend mode, 100% Opacity, you don't want to change that, click OK. And we now have a perfect tile pattern. This is awesome. Now I want you to go up to the Edit menu and I want you to choose Define Pattern and we will call this pattern aldra url just without the tif, there is no need to have the tif there and I will click OK. Now let's switch back to the other image that we have open, Woman in blue.psd. Now ultimately I want to go ahead and apply the tile pattern to an Alpha Channel. But the problem is if I were to do that right now, I wouldn't have room to rotate the URLs in the place, if I rotated the Alpha Channel then I would leave a bunch of wedges in the background because the Alpha Channel wouldn't be big enough to rotate inside of this canvas area. In order to do a big rotation like that I need to be working with an independent layer.

So things are going to have to start off, the tile pattern is going to start off here inside of a layer. And I will go ahead and click on the top layer just so that we are working on the layer in front of that and I will go ahead and Alt+click or Option+click on this black/white icon and choose the Pattern command right there. And I am going to go ahead and call this URLs for now and click OK, we don't want the Clipping Mask checkbox to be on. So just go ahead and click OK at this point. And it should go ahead and bring up the last tile pattern you created here, if not, click on the down pointing arrowhead and choose it manually. And 100% is fine, that's great, we don't care about Link with Layer or any of the other garbage there. Just go ahead and click OK and notice how every single one of the URLs is seamless. We are not seeing any division through the h; everything looks totally hunky-dory as a result of that Offset Filter. So this is perfect.

I need to rotate this pattern, but again if I just start rotating, now we can't rotate a pattern layer but if I were to render it out and then rotate it, why then we would end up with those wedges still again. So we need to make the layer bigger than the canvas and we are going to do that by growing the canvas while we are still working with this pattern layer. Here is how, press Ctrl+Alt+C or Command+Option+C on the Mac to invoke the Canvas Size command. Make sure that Relative is turned on and a Chiclet is active in the center here. I want you to change both the Width and Height values to a 1000 pixels so we are growing the canvas out by 500 pixels in all directions. And I will click OK in order to make that occur so we have got a big whopping image now and a big whopping pattern layer as well. If I turn the pattern layer off for a minute, you can see we have got all this extra room going on, that's fine.

Now I am going to go ahead and turn it back on. I will right-click on that layer and I am going to choose Rasterize Layer. So right-click on an empty portion of the layer and choose Rasterize Layer and that goes ahead and rasterizes out the layer of course. It's converted in other words from a dynamic pattern layer into static pixels. Now let's go back to the Canvas Size command, Ctrl+Alt+C or Command+Option+C on the Mac and let's clip it. Let's enter -1000 pixels, of course Relative is still turned on, and the Chiclet is still in the center, Tab, Tab here on Windows. It's just one Tab on the Mac. -1000 pixels for Height as well, so we are just back stepping what we did a moment ago. Click OK and it's telling me that some clipping will occur that it's going to essentially crop my image.

What it's really doing, it's going to clip the background which is fine, so we just can get rid of that white stuff that we created, that excess white canvas. Otherwise the independent layers are not going to be effected at all; their edges will just be hidden, so that's fine. We will just click Proceed; everything is just fine, nothing to worry about. Now Ctrl+T or Command+T on the Mac in order to enter the Free Transform mode with this ULR layer and I am going to go ahead and rotate the URLs like so. I ultimately want the rotation to be at an angle of -15 degrees, so I will just go ahead enter that value up here in the Rotate option in the Options bar and then I will press the Enter key a couple of times on the PC, the Return key a couple of times on the Mac in order to apply that modification. We now have the URLs the way we want them, if you want to move them around, you can by Ctrl+Dragging them into a different position so that you get them exactly right.

Now then, go over to the Channels palette, we need to convert this layer to an Alpha Channel, it's an opaque layer. So all we have to do is go over to the Channels palette and grab any one of these channels, doesn't matter which one. I will just grab Red and I will make a duplicate of it because they are all identical to each other. I will go ahead and call this new URLs or something along those lines since I already have the old ones and that's it. Now we have got an Alpha Channel filled with these URLs, I will go back to the RGB composite image, return to the Layers palette. Let's go ahead and turn off all of the layers except for the Background layer, we are now ready to create the embossed watermark which is what we are going to do in the next exercise.

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