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Masking glass

From: Photoshop Masking and Compositing: Fundamentals

Video: Masking glass

Alright, now that we've seen just about everything there is to know about layer masks and Vector masks and the Masks panel, let's take a look at some more advanced compositing options. I'll be showing you how to mask an entire group of layers, I'll show you how to create a knockout layer that bores through the layers below it, and finally I'll toss in a clipping mask, and along the way I'll show you how to mask glass. So we're going to take these two images here, both of which once again held from the Fotolia Image Library, and we'll merge them together to create this final composition, and believe it or not it's actually not all that tough, although as you can see over here in the Layers panel it does require three variations on that glasses layer.

Masking glass

Alright, now that we've seen just about everything there is to know about layer masks and Vector masks and the Masks panel, let's take a look at some more advanced compositing options. I'll be showing you how to mask an entire group of layers, I'll show you how to create a knockout layer that bores through the layers below it, and finally I'll toss in a clipping mask, and along the way I'll show you how to mask glass. So we're going to take these two images here, both of which once again held from the Fotolia Image Library, and we'll merge them together to create this final composition, and believe it or not it's actually not all that tough, although as you can see over here in the Layers panel it does require three variations on that glasses layer.

We're going to perform some basic masking upfront. I'll switch back to the starter file which is called Sunset celebration.psd, found inside the 09_layer_masks folder. And ideally, we would find a single blend mode that would keep the highlights, keep the shadows, keep the colors in-between and somehow merge everything with the background. So what I'm describing here is a contrast mode. I'll go ahead and click on Normal up here in the upper-left corner of the Layers panel. Whenever you're thinking of experimenting with the contrast mode you're going to start with Overlay and that just goes to show you that contrast modes are not what we're looking for.

Because we have that white background, we're brightening up the area inside the rectangular photograph, and we're not really doing that greater job of darkening the shadows and we're exaggerating the contrast across the board and so forth. So you're not going to find a single mode that's going to do the trick for you. The closest we might come is to choose Multiply, because at least that gets rid of that white background, keeps the shadow details, burns in some of the colors inside of the champagne as well. But we're totally missing the highlights. So this isn't exactly what we want but it's a start.

At this point, go ahead and press Ctrl+ Alt+J or Command+Option+J on the Mac to copy the layer and bring up the New layer dialog box, and let's go ahead and call this layer multiply because we have set it to the Multiply Blend mode. Then drop down to the original glasses layer. Let's turn the multiply layer off for a moment and press Shift+Alt+N or Shift+Option+N on the Mac, this assumes, by the way, that one of the selection tools is active and that will switch us back to Normal mode. All right, what we need to do is mask away that background and believe it or not the best way to get rid of the background is not the Color Range command because the Color Range command will select whites throughout this layer and that's not what I want.

I just want to select the white background which is a job ideally suited, again, believe it or not to the Magic Wand tool. So I'm going to go ahead and grab the Magic Wand, the Quick Selection tool is not going to do it for us by way, grab the Magic Wand tool, and I want to set the Tolerance to 12, so we snag all of the whites in that background and turn the Anti-alias check box off. So here's the deal where the Magic Wand tool is concerned, the biggest problem is the Anti-aliasing is generally no good, and it gets in the way, and ends up creating some ratty edges, you're better off trying to create the softness or the smoothness using the Refine Edge command which we'll follow up with in just a moment.

Make sure Contiguous is turned on, by the way, and then click in the background like so in order to select everything outside the glasses and then Shift+Click inside the glasses in order to select the interior region as well, drop down to the Add layer Mask icon and go ahead and click on it. And in this case I goofed up, because I masked away the glasses and kept the background, that's exactly the opposite of what want I want. Now what I can do at this point is just press Ctrl+I or Command+I on the Mac to invert that mask. The other way to work though I'll go ahead and press Ctrl+Alt+Z a couple of times, Command+Option+Z on the Mac is to Alt+Click on that Add layer Mask icon, and that will go ahead and mask away the selected portions of the image.

All right, notice that we have these vertical lines surrounding the glasses, we don't want that obviously. So I'm going to zoom out a click, then I'll Alt+Click or Option+Click in the layer Mask icon there inside the Layers panel, and I'll press the M key to switch back to the Rectangular Marquee tool, select this region well inside of the black boundaries here in the left and right-hand sides. You want to leave a margin at the top as well but you want to select tight to the bottom of the image. Then go up to the Select menu and choose the Inverse command or press Ctrl+Shift+I, Command+Shift+I on the Mac, and in my case the foreground color is black, so I'll press Alt+Backspace or Option+Delete to fill the selected region with black like so, and then I'll press Ctrl+D or Command+D on the Mac.

Now if you go ahead and zoom on in you'll see that we have some additional problems here. Notice I have this little snivel outside the glass. I've got a little bit of a crack on the inside of the glass as well. Also notice if you zoom in tight here that these are jagged edges, because I turned off the Anti-alias check box, we have no smoothing whatsoever. So what that means is we need to continue to work jagged in order to get this mask the way we want it. And the best way to paint in jagged brush strokes is to go over to the Brush tool, click and hold in order to bring up the flyout menu and switch to the Pencil tool which always draws jagged lines.

Now increase the size of your cursor by pressing the right bracket key a few times, paint black over that area outside the glass that needs to be painted away. Press the X key to switch the foreground color to White and then go ahead and paint that crack out of the picture, paint that little guy out of the way as well if you want, press the X key in order to switch to Black and click on that little aberrant pixel. And I think that's about all there is, otherwise I think we're in pretty good shape. Now obviously we've got jagged edges, everything is really super lumpy and that's why we need to enhance this mask using the Refine Mask command in the next exercise.

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This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 29219 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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 5s
    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 10s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 1s
    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
      52s
    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 55s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
      55s
    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 29s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 28s
    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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