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Masking and shading transitions

From: Photoshop CS5 One-on-One: Mastery

Video: Masking and shading transitions

In this exercise we are going to bring back the shoulder for the forward model, which is model-2 here, the model-2 layer. And we are going to do so using a combination of the Pen and Smudge tools. So assuming that you feel fairly comfortable with the pen tool after Chapter 27, then I would like you to go ahead and select it by pressing the P key. Or you can click the pen tool icon here inside the toolbox, and I am going to switch over to the Paths panel. And then I am going to create a new path by Alt+Clicking or Option+Clicking on the little page icon at the bottom of the panel.

Masking and shading transitions

In this exercise we are going to bring back the shoulder for the forward model, which is model-2 here, the model-2 layer. And we are going to do so using a combination of the Pen and Smudge tools. So assuming that you feel fairly comfortable with the pen tool after Chapter 27, then I would like you to go ahead and select it by pressing the P key. Or you can click the pen tool icon here inside the toolbox, and I am going to switch over to the Paths panel. And then I am going to create a new path by Alt+Clicking or Option+Clicking on the little page icon at the bottom of the panel.

And let's go ahead and call this new path Shoulder, and I will click OK. So we are just naming it before we draw it. And then I will zoom-in to the 100% view size, so I can sort of see what I am doing here. I am going to switch back to Layers panel and turn-off the model-1 layer for moment, so that I can see model-2's shoulder. And I have to tell you I am not necessarily going to do the best job of selecting the shoulder with the pen tool, because later I can turn around and finesse it with the smudge tool. So it's just an easier way to work, is basically what it comes down to, and it still looks great.

All right, so let's go and scroll over. I want to be able to see her chin all the way down to the shoulder. And I am also going to shift click on his layer mask, to turn the mask off for a moment. All right, so I think I will start right about, gosh, maybe you are right about there. And then I will go ahead and drag here as well. So I am creating smooth points by the way; pretty much exclusively for the shoulder until I get out here in the pasteboard. And then I will Alt+Click or Option+Click on that anchor point right there to cut off that smooth point. So I am working fairly quickly, I figure we've spent enough time examining how the pen tool works.

I will Shift+Click for a feel that is well into the chin area here, along the bottom in the pasteboard. Shift+Click up here as well. And the reason I am doing the Shift+Clicking is to create perpendicular segments, which isn't necessarily essential by the way, but I am feeling like tidy boy. All right, so I'll go ahead and drag from that top anchor point to add a control handle. And then I will drag down here as well in order to close off the shape. Now, after this point you may want to switch to your white arrow tool, which you can get by pressing A key once or twice.

And then, click on your points that you have, may be finesse those points just a little bit. You probably want to go ahead and keep the anchor points inside of her shoulder, because you are going to give better facts that way. Once again, you don't need to get too carried away with it, because the smudge tool is going to make everything look better very quickly. All right that's good, I think. So we have got this path, it's called Shoulder. It has the shoulder path in it; wonderful! Let's go ahead and convert it to a selection outline by Ctrl+Clicking on it or Command+Clicking on this thumbnail here inside the paths panel. Switch back over to layers.

Shift+Click on her layer mask, on the model-2 layer mask, to turn it back on, and let's go ahead and fill this area with white in order to make it opaque. So, in my case, because white is my background color. Oh! Wait a second, first I need to make sure that the layer mask is active and that would help. All right, now why this still my background color, that's fine! If I press the D key, however, then I am going to give the default color, what white will be my foreground color, which I think is sort of a preferable way to work here. I'll press Alt+Backspace. Having done that, or Option+Delete on the Mac to fill this selection with white.

Now let's go ahead and turn on the model-1 layer. Click on its layer mask, notice that we still have the conjoined corner effect; because this left in shoulder region right there is lighter inside of model-1 than it is inside model-2 layer. So it is showing through. All right, so let us go ahead and click on that layer mask for model-1 once again, and this time press Ctrl+Backspace or Command+Delete on a Mac in order to fill with black and that goes ahead and hides the shoulder region inside model-1 layer, so we filled the selection with white in the model-2 mask, then we filled it with black in the model-1 mask.

Now I am going to press Ctrl+D, Command+D on the Mac in order to deselect the image. And just check it out here; we have got an obvious line between these two shoulders, which doesn't look right at all. It's kind of never going to look right. I have to tell you, even if you draw the most accurate mask, just absolutely mathematically perfect, it's still going to look wrong like this, because it is wrong. People don't really have anchor points and control handles along their shoulders. So what we going have to do is smudge things a little bit using the smudge tool, which you can get by selecting it from this blur tool flyout menu and then because I am working as of the model-1 mask, I am going to drag down slightly like so in order to blur that shoulder in the model-1 shoulder into the model-2 shoulder, and I have got a big soft brush incidentally, if I right-click, you can see the size is 175 pixel, hardness is 0 and I am dragging extremely small brushstrokes.

Just dragging a few pixels at a time, and I end up getting this effect here, which looks great, actually, except for one thing. And the problem here is that I am inclined to think there would be some kind of shadow cast by model-2 on the model-1. And I believe I mentioned this before, but if you want to create a cast-shadow; that is one real-world object is throwing a shadow onto another real-world object. You don't want to use a drop shadow, because drop shadows are for text hovering above the surface or something like that, when you are looking down on a composition. When you are looking into a real world like this, you are better off creating cast shadows as gradients.

And the best form of gradient is just going to be a regular old gradient on a layer. So with model-1 selected here, the model-1 layer selected. I am going to create new layer by pressing Ctrl+Shift+N than or Command+Shift+N on the Mac and I am going to call it Gradient, and then I am going to click OK. And just because I call that gradient, it doesn't mean it has a gradient on it. So I will switch to the gradient tool by pressing the G key and I am going to go ahead and lift a color from the composition, because I think what we want is a shadow of that's sort of a hair colored shadow. So I will Alt+Click or Option+Click on a Mac.

And by virtue of the fact that I have the Alt key down or the Option key on a Mac, I get the Eyedropper, when the gradient tool is active. Then if I click, I will go ahead and lift a color and I am clicking and dragging actually. I'll lift a color from the hair, and I want a pretty dark color like so, and I am seeing my HSB sliders here inside the color panel. The values I ended up going with, just so that you can track my work here; are 15 for Hue, so 15? is for Hue, which is going to give us a fairly reddish color. And an 80% for saturation, lots of saturation, and then not much brightness. I will take the brightest value down to 15% and then I went ahead and dragged, like so.

Let's go ahead and scroll up a bit. I dragged like this; I don't want to drag into her face; that would be bad. You just want to drag into about here. In order to create this absolutely hideous affect that we are seeing now, and I am working with a gradient that is going from brown to white, which is what I want. Believe it or not, instead of brown to transparent. If you work brown or white, then you can redraw your gradient later and just draw over your old one; if you want to shift the position of the colors and link to the gradient and so on. However, you've got to assign a different blend mode than Normal.

So I am going to switch the blend mode, because I want to darken, it's a shadow that's being cast on the model-1, there is only one blend mode to start off with, and that is Multiply. That is your when in doubt shadow mode. So go ahead and choose it and you end up getting this effect here. So let's see, if I turn off that layer, these are the original shoulders, then I turn it back on, and we have just a little bit of darkening on this rear shoulder. Now if you don't feel like that's enough, then all you have to do is redraw the gradient, using the gradient tool. I just went ahead and extended it a little and added a little more shadow.

Now I feel like I am getting the most realistic effects. I will try dragging up this time a little bit and that to me is starting to look better. So anyway, you can redraw those gradients as many times as you like. I am going to scroll down so that we can take in this double exposure effects so far. In the next exercise we are going to modify our ACR Settings or Camera Raw settings for one of these model layers. And then we are going to replicate those exact same settings on the other model layer. Stay tuned!

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43875 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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 30s
  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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