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Making shapes of specific sizes

Making shapes of specific sizes provides you with in-depth training on Design. Taught by Deke McClel… Show More

Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Making shapes of specific sizes

Making shapes of specific sizes provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Fundamentals
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  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 6s
    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 11s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 2s
    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
    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 56s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
    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 30s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 29s
    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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Making shapes of specific sizes
Video Duration: 7m 7s 11h 35m Intermediate


Making shapes of specific sizes provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Fundamentals

View Course Description

Photoshop Masking and Compositing: Fundamentals is the introductory installment of Deke McClelland's four-part series on making photorealistic compositions in Photoshop. The course shows how to make selections, refine the selections with masks, and then combine them in new ways, using layer effects, blend modes, and other techniques to create a single seamless piece of artwork. Deke introduces the Channels panel and the alpha channel, the key to masking and transparency in Photoshop; reviews the selection tools, including the Color Range tool , Quick Mask mode, and the Refine Edge command; and shows how to blend masked images so they interact naturally.

Topics include:
  • Setting up a workspace
  • Working with the seven key selection tools
  • Using the Color Range command
  • Automating masking
  • Matching a scene with Smart Filters
  • Choosing the ideal base channel
  • Converting a channel to a mask
  • Painting with the Overlay and Soft Light modes
  • Using History to regain a lost mask
  • Working with the Calculations command
  • Extracting a mask from a Smart Object
  • Masking and compositing light
  • Masking with black and white
  • Working with path outlines
  • Combining pixel and vector masks
  • Creating and feathering a vector mask

Making shapes of specific sizes

All right gang, I've gone ahead and saved a couple of variations on that file, one is called Damaged frog layer.psd, and it includes the damaged version of the frog of one layer and the original version of the frog on another, so that you can, if you want to, follow along with that difference technique in the previous movie. Now I wasn't able to provide this file to you then, because the technique relied on history, and history is not something I can save along with a file. I've also saved the final version of the image as Nondestructive edit.psd. You can see that we have the lines relegated to an independent layer.

And one of the really great things about this, if I zoom in here, you'll see that we have these single pixel lines which are extremely precarious. It's unlikely, for example, that they are going to hold up, if we print this image at a high-resolution. However, now that we've got the lines on their own layer, we can thicken them up as much as we want, by dropping down to the fx icon and choosing Stroke, and then I'll change the color by clicking on that little color swatch there and I'll go ahead and dial in white here in the Color Picker, click OK, and then I can make these lines any size I like.

So I can go ahead and thicken them up to 4 pixels or even 10 pixels, whatever you like, and we'll still retain the smooth results. And we've got a modifiable attribute, so we can change the thickness of that stroke anytime we like. I am going to go ahead and take this guy down to let's say 3, the default setting, and then click OK. All right, I'll go ahead and zoom back out here by pressing Ctrl+0, Command+0 on a Mac. Now the last thing I want to show you where the Marquee tools are concerned is how you can draw shapes with specific ratios or sizes. So, for example, I am going to go ahead and switch to the Rectangular Marquee tool.

These first icons allow you to combine selections together and we'll see how these selection calculations work in the next chapter. Then there is the Feather value. Now I am not a big fan of this value, because it's a static modification that's applied to the next selection you draw and it becomes a permanent attribute of that selection outline. If you're going to feather a selection that is soften the edges, then you're better off doing it after you draw the selection and I'll show you how that works in an upcoming exercise, but my recommendation is to leave this feather value set to 0. Now notice we have this Style option.

Normal means unconstrained, so you are going to draw an unconstrained rectangle. However, these other options draw shapes with specific ratios or sizes. We'll start with the Ratio. Let's say, for example, that I want to draw a rectangle that's twice as wide as it is tall. Then I'll go ahead and dial in 2 for the width value, leave the height value set to 1 and I'll drag with the tool, and notice that I have a constrained shape. So it doesn't matter if I press the Shift key or not, I am going to get that same constraint, that is a rectangle that has a ratio of 2:1, where the width and height are concerned.

All right, now let's say I want to precisely or as precisely as possible, select and recolor the frog's eye. So the first thing I am going to do is press Ctrl+D or Command+D on a Mac to deselect the image and I'm going to figure out how big that eye is. By dropping down to the eyedropper, clicking and holding on it and then choosing the Ruler tool. And now I'll go ahead and drag across the eye, like so, while pressing the Shift key, so I am constraining the angle of my drag to exactly horizontal. And I'll release about there, and I find out that the length of the line as indicated by this L1 item up here in the Options bar is 272 pixels.

All right, so duly noted, now I am going to drag down across the eye and I'll press the Shift key once again to draw an exactly vertical line and after I release, in my case anyway, I find out that the length of this line is 260 pixels. So the frog's eye is 260?272, fair enough, I'll go ahead and switch from the Rectangular Marquee tool to the Elliptical Marquee, and I'll change the Style from Normal to Fixed Size, and I'll go ahead and dial in those values, 260, and then I'll press tab to get the Height value and enter 272, and press the Enter key or the Return key on the Mac.

But I've made a mistake; it's actually the other way around. The Width value should be to 272 and the Height should be 260. Fortunately, I can switch them by clicking on this Swap icon between the Width and Height values here in the Options bar. All right, now that I have my values in place, you just click in order to draw the selection. You don't have to drag. If you do drag, then you'll move this selection to a different location, as I'm doing here. So I am going to try to align that marquee as well as I can with the frog's eye, and this looks pretty darn good to me, or at least as good as it's going to get.

And now having made that modification, I could scoot this selection round, by the way, from the keyboard. So if you press one of the arrow keys, then you'll go ahead and nudge that marquee to a different location. I'll press the right arrow key a couple times to nudge it a couple of pixels to the right. You can also press Shift along with an arrow tool to nudge that selection in 10 pixel increments. The thing to bear in mind about that nudging is when you press an arrow key just itself; you're going to nudge in screen pixels. So in other words, you'll nudge one pixel at a time here at the 100% view size, but you'll nudge two pixels at a time at the 50% view size, because one screen pixel will equal, two image pixels.

Whereas, when you press Shift along with an arrow key, you always nudge in 10 pixel increments, regardless of the zoom ratio. All right, I'm going to go ahead and nudge that guy back into alignment, and then, this time let's not mess up the image by making a static modification. I'll go ahead and click on the original frog layer to make it active, and then I'll press the Alt key or the Option key on the Mac, and click the black-white icon down here at the bottom of Layers panel, and then I'll choose Hue Saturation, because let's say, I want to change the color of the frogs eye. And because I had Alt or Option down, that brings up the new layer dialog box, I'll go ahead and call this layer eye color, and then I'll click OK.

Let's collapse the Color panel and expand the layer's panel, so we can see what's going on here. And if I scroll down, you can see that I've got a new adjustment layer with the eye selection now expressed as a layer mask. And now I can drag this Hue slider triangle in order to change the color of that eye on the fly and rotate it around to any other color I like. Now I ended up coming up with a Hue value of 15 degrees, you can try something else out. But what that got me was a kind of match, between the eye color and the frogs orange flippers.

All right, now I'll go ahead and collapse the Adjustment panel, so I have more room for the layers. Now the thing that gets confusing about the Style option is that it's sticky. Another words, if I said I am using Elliptical Marquee tool and I am hoping to draw an unconstrained shape, I won't be able to do it, until I change that Style option back to Normal. So here's a trick you may find useful. If you right-click on the tool icon on the far left side of the Options bar, you'll get this little menu that allows you to reset the current tool or reset all tools.

In my case, because I want to reset both the rectangular and Elliptical Marquee tools, I'll go ahead and choose Reset All tools, and then when Photoshop ask me if I really want to do this, I'll click OK. And now I can once again draw an unconstrained ellipse. All right, I'll go ahead and press Ctrl+D, Command+D on a Mac in order to deselect the image. That's how you use the Marquee tools folks. In the next exercise, I'll acquaint you with the fundamentals of the Lasso tools.

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