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Masking a layer effect


Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Masking a layer effect

I have saved my progress as Complete bulb outline.psd found inside the 27_pen_tool folder, and we have indeed completed the path outline around the light bulb. Now in this exercise, we are going to take this masked object, we are going to assign a layer effect, specifically an outer glow, so a very simple effect, and then we are going to mask the effect so it better matches the scene. Now the way you mask a layer effect is you separate it from its layer and then you apply a manual adjustment. All right so you may recall that we had reduced the density of this mask so we could see through the mask to the other pixels inside the layer.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 27s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Watch the Online Video Course Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Design Photography
Deke McClelland

Masking a layer effect

I have saved my progress as Complete bulb outline.psd found inside the 27_pen_tool folder, and we have indeed completed the path outline around the light bulb. Now in this exercise, we are going to take this masked object, we are going to assign a layer effect, specifically an outer glow, so a very simple effect, and then we are going to mask the effect so it better matches the scene. Now the way you mask a layer effect is you separate it from its layer and then you apply a manual adjustment. All right so you may recall that we had reduced the density of this mask so we could see through the mask to the other pixels inside the layer.

We now need to reset that density value so I am going to go back to my Masks panel with the bulb layer selected and I am going to change the Density value but it's dimmed. In fact, the Mask panel is telling me No mask selected. Well sure enough the vector mask is not selected, so I don't have it active and the Mask panel when the vector mask is not active doesn't know what to do. Well you can either click on it, click on the thumbnail to make it active or you can click on this little icon that looks like it's not even available.

But if you click on it, it selects the vector mask. It goes ahead and gives the thumbnail a double outline for example and then we have access to that Density value so that I can raise it back up to a 100% so we are cutting all the way down now. All right let's go ahead and hide the Mask panel, turn off that layer of white. That's just there so we can distinguish the masked bulb from it's environment. And you might want to at this point actually, since we raised the Density value again, you could turn the white layer back on and click on the vector mask to turn it off, that is, so that we are not seeing the vector-based path outline here inside the image window, just to get a sense of whether this light bulb looks any good or not.

So I will go and zoom out sufficiently far to center the light bulb and that actually looks pretty darn good to me. So now what I am going to do is turn white back off, and let's add that outer glow effect, after all that's the whole reason we went to the trouble of creating this vector mask in the first place. So I will go down to the fx icon, click on it and then I will choose Outer Glow and immediately we get this white glow effect, in my case anyway, because I had set that to my default, and it's got an Opacity value of 100% so that's just fine. I am going to raise the Size value to a 100 pixels like so and that gives us an even white glow.

Now if you are not so keen on the white glow, you want it to match the color of the sparks inside of the light bulb, then you can click on this Color Swatch right there in order to bring up the Color Picker dialog box and then eye drop one of these hot seeming yellows actually but it gave me a kind of crimson hue with just the tiny as bit of saturation. Let's try a different color right there, that's absolutely white. So some of these colors are just plain old white. Let's try this, this looks like a slightly better match, but you know what, I am just going to dial in a color here that looks right to me.

I would say it's about a Hue of 45 degrees, looking at it, and a Saturation value of 5% is probably just fine. Then I will take the Brightness value upto a 100%. So those are my values 45, 5, 100 let's see how they work out. I will click OK and it doesn't seem to have changed the glow all that much. I can switch from Screen to a more intense Lightning Effect which would be Linear Dodge and we can see if we end up getting a kind of better effect out of it. It's not any yellower than it was before so let's go ahead and tweak that color once again.

If I increase the Saturation value I should arrive at more of a yellowish glow but then because of Linear Dodge we are ending up kind of mixing it along with the blue so we are getting a little bit of a green effect in the background. Let's try to take that Hue value down a little bit like so. Actually that's starting to look a lot better like we have a better match here. So let's go ahead and take the Saturation value back down now and I am just sort of feeling this odd as I go along here. This looks pretty good to me 25 degrees for the Hue value, 40% for the Saturation value, Brightness a 100%, can't go any higher than that.

Click OK and you could increase the Spread a little bit, let's see what happens when we do that. If I increase the Spread value to 10% then I would want to back off the Size value to something like, let's say 75 pixels. All right that looks pretty good to me. That is a different effect than I had originally created when I showed you this project in the first place. But, you know no difference is spice of life, so I will go ahead and click on OK in order to accept that modification. Now the one thing we can't do, it makes a certain amount of sense to have this glow like out of nowhere, around the glass. It would actually leak into the glass a little bit as well.

But, because we want a nice precise effect this is going to be fine. However, it doesn't make any sense whatsoever for the glow to descend down into the metallic base. So we need to go ahead and mask away that portion of the glow and there is a couple of different ways that I could pull that off. I can either apply a mask, a layer mask, that is a pixel based layer mask directly to the light bulb and have that effect the outer glow as well or I could separate the glow from the layer and mask it independently. So why we get a sense of how successful both approaches might be, I will start things out by adding yet another mask to this bulb layer.

So every layer can have both a pixel-based layer mask and a vector mask associated with it, so as many as one of each. So I will go ahead and click on Add Layer Mask and that will add a pixel-based mask and the pixel-based mask comes first. So reading from left to right you will always see the contents of the layer first, then the pixel-based layer mask is one exists and then the vector mask if one of it exists. Now I will go to the Gradient tool, select it and you can also select that tool by pressing the G key. Notice that my default setting is active the very first one which is Foreground to Background and my colors are set to their defaults as well black for Foreground, white for Background.

I have also got the other default settings going on so I will be creating a Linear Gradient and that's exactly what I want. Now I will drag upward like so, right about there and here is the problem. I end up tracing the glow into and around my layer mask as you can see right here. So it not only traces around the bulb but then once we get it to layer mask it traces down at the bottom of the glass and you might like that effect, you might not like the effect. The thing to bear in mind is the glow is going to expand in that region.

It's going to get bigger because it's trying to trace around a big blurry area. So the blur of the gradient is actually displacing the size of the glow. So if you don't want that here is what you do to. You try to find some little smidgen of the layer that's black over here and right-click on it and choose Blending Options or if you loaded dekeKeys you can just press Ctrl+Shift+O or Cmd+ Shift+O on a Mac to bring up the Blending Options dialog box and then I want you to turn on this check box and let's see how this fares here.

Turn on Layer Mask Hides Effects and that actually proves to workout brilliantly actually that goes ahead and uses the mask not to displace the outer glow but rather to go ahead and hide it. So the layer mask is masking the effect just as it's masking the layer and then you click OK. Now you don't want to turn on that option for the vector mask because then we'd be left with no glow whatsoever, so just the Layer mask check box should be on. Then click OK in order to accept that modification. Okay, the other way to work just FYI in case you want to try a different approach, I will Shift+Click on that layer mask to turn it off so that we can see the glow surrounding the entire light bulb again. And then I am going to right-click on that Outer Glow Effect there and I am going to choose this command way at the bottom Create Layer and that will go ahead and bust that layer effect off as it's own independent layer.

Now if you get a warning that says, that not all layer effects can be rendered as layers, just go ahead and click OK because you still need to try it out and see if it's going to work. Now we have got this independent layer of outer glow. It's no longer a parametric effect, that is, we can't edit it numerically but we can edit it as a pixel layer and I have already got that Gradient mask ready to go because I created it for the bulb layer. So I am just going to duplicate it down here by Alt+Dragging or Option+Dragging it onto the Outer Glow and it will apply automatically.

It turns right back on there as you can see and then I will click on that layer so we are not seeing the vector outline here inside the image window and we get an equivalent effect, actually, once everything is said and done. So either approach is going to work for this specific effect, I just want you to have a sense of what options are available to you as you work inside Photoshop.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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