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Photoshop Masking and Compositing: Advanced Blending

Masking with a lighten mode


From:

Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Masking with a lighten mode

In this exercise I'll show you one way to create a masked composition with the help of a Lighten Blend Mode. Specifically we'll be taking these two layers over here in the Layers Panel. I got a speculator layer in front with this model against this kind of grunge wall background. If I turn it off you can see that we have this 3D data layer in the background. I want to merge them together in order to create this final effect here. So it's not only a bright interaction between the two layers but I've gone ahead and masked the model as well so that he is mostly opaque, not entirely because we can see some of the lines up here in the shoulders, but he is generally an opaque image element.
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  1. 1m 43s
    1. Welcome
      1m 43s
  2. 33m 15s
    1. When in doubt, blend
      2m 20s
    2. Where to find blending options
      4m 10s
    3. 27 blend modes, 6 groups
      4m 23s
    4. Opacity vs. Fill Opacity
      4m 41s
    5. The "Fill Opacity Eight"
      4m 59s
    6. Blending adjustment layers
      4m 43s
    7. Blend mode shortcuts
      7m 59s
  3. 27m 3s
    1. The power of standardized arithmetic
      6m 58s
    2. Photoshop's blending formulas
      5m 27s
    3. Darken formulas vs. lighten formulas
      4m 15s
    4. Contrast mode formulas
      7m 28s
    5. Inversion, cancelation, and HSL
      2m 55s
  4. 17m 50s
    1. Normal mode vs. Dissolve mode
      2m 11s
    2. Making a dynamic Dissolve effect
      2m 21s
    3. Creating a Dissolve text effect
      4m 48s
    4. The Behind and Clear modes
      3m 2s
    5. Filling a stroke with Behind and Clear
      5m 28s
  5. 43m 24s
    1. Darken vs. Darken Color
      4m 25s
    2. Creating filter effects with Darken
      5m 0s
    3. The Multiply and Burn modes
      6m 27s
    4. Cleaning up scanned line art
      7m 30s
    5. Comping line art against a photo
      5m 12s
    6. Colorizing comped line art
      5m 14s
    7. Masking with a darken mode
      3m 59s
    8. Refining a mask with Multiply
      5m 37s
  6. 33m 36s
    1. Lighten vs. Lighter Color
      2m 29s
    2. Creating filter effects with Lighten
      2m 47s
    3. The Screen and Dodge modes
      4m 35s
    4. Blending white type, darkening shadows
      3m 2s
    5. Creating a classic double-exposure effect
      3m 49s
    6. Making dark line art bright
      5m 11s
    7. Masking with a lighten mode
      5m 4s
    8. Refine, filter, and blend
      6m 39s
  7. 35m 18s
    1. Overlay, Soft Light, and Hard Light
      5m 2s
    2. Vivid, Linear, and Pin Light
      4m 2s
    3. The amazing Hard Mix mode
      3m 51s
    4. Two variations on a single mode
      5m 37s
    5. Adding clarity with a contrast mode
      4m 9s
    6. Creating a glowing, soft-focus effect
      3m 38s
    7. Blending an image with a paper texture
      4m 11s
    8. Turning flesh into stone
      4m 48s
  8. 18m 10s
    1. Difference, Exclusion, Subtract, and Divide
      7m 7s
    2. Comparing seemingly identical images
      3m 25s
    3. Creating type that inverts any background
      3m 30s
    4. Making inversion type black and white
      4m 8s
  9. 16m 57s
    1. Luminosity, Color, Hue, and Saturation
      3m 29s
    2. Colorizing artwork with layers
      7m 24s
    3. Correcting skin tones with Hue
      6m 4s
  10. 14m 57s
    1. Using the This Layer slider option
      6m 44s
    2. Using the Underlying Layer slider option
      3m 16s
    3. Achieving greater control with Blend If
      4m 57s
  11. 48s
    1. Next steps
      48s

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Photoshop Masking and Compositing: Advanced Blending
4h 3m Intermediate Nov 28, 2011

Viewers: in countries Watching now:

Advanced Blending is the second installment in Deke McClelland's series on making photorealistic compositions in Photoshop. The course explores blending options and shows how to use them to create sophisticated effects and seamless compositions, often without masking. Beginning with the basics of blending layered images, the course sheds light on the formulas behind the Photoshop blend modes and shows how to comp scanned line art, create double-exposure effects, correct skin tones, and work with the luminance sliders.

Topics include:
  • Assembling dynamic Dissolve effects
  • Filling and stroking with Behind and Clear
  • Cleaning up and compositing scanned line art
  • Understanding the darken, lighten, and contrast modes
  • Refining a mask with Multiply and Screen
  • Creating a glowing, soft-focus effect
  • Blending images with textures
  • Comparing two seemingly identical images
  • Creating type that inverts everything behind it
  • Colorizing artwork with layers
  • Achieving greater control with the Blend If option
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Masking with a lighten mode

In this exercise I'll show you one way to create a masked composition with the help of a Lighten Blend Mode. Specifically we'll be taking these two layers over here in the Layers Panel. I got a speculator layer in front with this model against this kind of grunge wall background. If I turn it off you can see that we have this 3D data layer in the background. I want to merge them together in order to create this final effect here. So it's not only a bright interaction between the two layers but I've gone ahead and masked the model as well so that he is mostly opaque, not entirely because we can see some of the lines up here in the shoulders, but he is generally an opaque image element.

Now the first thing I'm going to do is turn on that speculator layer and jump it by pressing Ctrl+Alt+J or Command+Option +J on the Mac and I'll call the copy of the layer normal and click OK. Now I'm going to turn it off and by the way these layers are currently set to the Normal Blend Mode. I'm going to turn that one off. Click on the speculator layer to make it active and I'm going to switch from Normal to Linear Dodge in order to create this bright interaction. That's a little bit too much, you can see how we are clipping some of the highlights along the right half of his face.

So I'm going to back off the effect by pressing Shift+5 in order to reduce the Fill value to 50%. Now let's turn the normal layer back on and now the task that confronts us, now he presents one of those classic problems inside Photoshop where one side of him is darker than his background, the other side is sometimes darker but often brighter than the background, and in many cases there is very little in the way of distinction between the foreground elements and those of the background. So there is a few different ways we could approach this.

We did try out some calculations. It would actually take multiple calculations in order to select this guy. We could try multiple passes of the Color Range command. But I discovered that this is one of those lucky images that just happens to be perfectly suited to the Quick Selection Tool. So go ahead and grab the Quick Selection Tool there inside the Toolbox and make sure that the Auto- Enhance checkbox is turned on. I have my Brush cursor set to 30 pixels and I'm going to go ahead and paint in certain portions of the image like so.

So I'm starting off with the head, I want to make sure to paint inside of the hair as well, so I can select as much of that as possible. The Quick Selection Tool is not going to do very good job of selecting into the tendrils of hair, however, we are going to follow this up with an application of Refine Edge. Now let's go down the dark side of his body over here on the left-hand side and that ends up miraculously selecting almost everything without jumping out of the image as the Quick Selection Tool is generally so fond of doing. All right, I'm going to paint up here into his shoulder as well.

Your selection may end up varying, so we'll just see how things work out here. I'm painting inside of his knuckles, then into his thumb and that looks like I've pretty much got everything selected except for his collar. So I'll just click in there in order to select that. This is a fairly clumsy selection so far, but we have managed to create a selection outline around the figure of this man without selecting into the background, so that's a big bonus. All right! I'm going to switch back to the Rectangular Marquee Tool and then I'm going to go up to the Select menu and choose the Refine Edge command or you can press Ctrl+Alt+R or Command+Option+R on the Mac.

Let's go ahead and zoom in to this guy so we can see what we are doing. I have my View options set to On White so I'm seeing the guy gets a white background which makes perfect sense because he is so dark in the first place. And then as opposed to applying a general amount of Edge Detection, I'm going to use my Refine Radius Tool to paint inside of the hair. So I'm just going to paint around the hair like so and he is got a lot of hair going into that background. It's very difficult to see where the hair begins and ends. That's actually kind of an advantage for us, because it gives us a little wiggle room during the compositing phase.

Anyway, I'm going to paint up here over the top of his hair as well, maybe a little bit down on the left-hand side, and that looks like of course an absolute mess. But it's going to resolve better once we merge the layers together. Now I'm going to press the Alt key or the Option key on the Mac and drag along the top of the hair like so in order to bring back some of that opacity, apparently I lost the detail right there, so I'll click on it in order to add to Photoshop's recalculations. And then I'm going to paint ever so slightly down his face. Notice I'm just painting a little bit outside of the face line right there, because we had a harsh line in the first place.

And I think that's going to do us pretty well. We have some other problems here and there but we can solve them manually. So I'll go ahead and click OK in order to accept the modification to the selection outline. Now we need to convert the selection into a layer mask and I'll do that by dropping down to the Add Layer Mask icon at the bottom of the Layers Panel and clicking on it, which is not bad. Now I wouldn't go so far as to say it's altogether acceptable, which is why we need to spend a few minutes manually refining the mask as well as applying some blending modifications as we will do in the next exercise.

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