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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Masking text into image elements


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Masking text into image elements

In this movie, I'll show you how to mask the logo so it appears behind the model's head. I've created this mask in advance for you. And you can check it out by switching to the Channels panel, which you can get by clicking on the Channels tab just to the right of layers. Or if you prefer, you can go to the Window menu and choose the Channels command. Notice in addition to the red, green and blue channels that make up the composite RBB image We also have an additional so called alpha channel, called Half Mask. And you can go ahead and click on it, to switch to it.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Masking text into image elements

In this movie, I'll show you how to mask the logo so it appears behind the model's head. I've created this mask in advance for you. And you can check it out by switching to the Channels panel, which you can get by clicking on the Channels tab just to the right of layers. Or if you prefer, you can go to the Window menu and choose the Channels command. Notice in addition to the red, green and blue channels that make up the composite RBB image We also have an additional so called alpha channel, called Half Mask. And you can go ahead and click on it, to switch to it.

I'll explain what's going on here in a moment. But notice that, I lost interest in the mask at a certain point, that's why it's called Half Mask. And I really didn't have to go any farther than this. Because all I needed to do was mask away the model's hair and her face and her arm and elbow and so forth because those are the only elements that stick up into the logo. Now, I'm not going to document how I created this mask here because we will be exploring lots of masking techniques in both the advanced and mastery courses. But for now, just note that wherever we see black inside of this mask, we're going to conceal the logo and wherever we see white, we're going to reveal the logo.

So, black conceals, white reveals. And if you want to get a better sense of what's going on here, how the mask aligns to the RGB image for example. Then go ahead and turn that RGB image on by clicking in the Eyeball icon to the left of it. And now we're seeing the mask as a kind of rubylith overlay. So, wherever we see the ruby, we're going to cut through the logo and reveal the model below. And wherever we're not seeing that ruby overlay, then we're going to see the logo. Alright, let's go ahead and load up that alpha channel as the selection outline. By going to the Select menu and choosing the Load Selection command And then you should see that the document is the one we're working on.

Which, in my case, is called Stylized Pout Logo.PSD, that's the progress document. And then channel is set to half mask, which is exactly what we want. Then click OK to generate that selection. Now, you can click an RGB to make the RGB image active and turn off the alpha channel by clicking on its eyeball. Then, go ahead and switch back to the Layers panel, scroll up to the very top of the list and click on logo groove. To make it active because we want to mask all of the layers inside that group. Then drop down to this icon at the bottom of the Layers panel.

And you'll see it says, Add layer mask. Go ahead and click on it. And that converts the selection outline to a layer mask. And just like that, we've managed to mask the logo behind the model's head. Now, everything's working out pretty splendidly in part because the model is casting shadows away from the logo as you can see here. The shadows are being cast down and to the left. Now, I realize my drop shadows are going down and to the right. Total artistic license. I don't care if they match. But I do care that the edges look as good as possible.

And there is one problem. If I go ahead and zoom in at this location right there, below her arm and this is the point at, which the underlying layer appears to extend beyond her arm. We've got some problems, first of all, we need a little bit more of a shadow right there. And we're kind of losing the drop shadow affect. And that's because I, sort of, approached this mask a little incorrectly. You can look at the mask by itself, the Layer mask that is by Alt clicking or Option clicking on the Layer mask thumbnail. And you'll see, I went ahead and added a little softness on this arm.

So, there's a bit of a black blur poking through. And I did that using the Brush tool. So, if you go ahead and select it, I right clicked inside the Image window, I changed the size value to about 50 pixels. The hardness was set to 0%, and then I went ahead and painted in black. So, I'll go ahead and click this little Switcheroo icon right there to make the foreground color black and I did this number here. But that was a bad idea. I'm going to press Ctrl+Z or Cmd+Z on the Mac to undo that change. And I'll Alt click or Option click on the Layer mask thumbnail to return to the RGB image.

Because rather than, as you can see here if I painted some more black. Rather than reveal a shadow even though she's got a shadow behind her arm it's actually pretty darn light shadow it doesn't match the underlying layer. And I get rid of the very dark drop shadow behind the underline. So, I'll once again press Ctrl+Z Cmd+Z on the Mac to undo that change. So, heres's how we fix things. For starters, I'm going to create a new layer. So, I'll go ahead and click on the Opal layer, for example and I'll press Ctrl+Shift+n or Cmd+Shift+n on the Mac and I'll call this shading.

And click OK. Then, I still have the Brush tool selected so I'll press the Alt key or the Option key on a Mac in order to get my eyedropper cursor. And I'll click in one of these dark shadow colors like so, in order to lift some dark brown. Doesn't really matter exactly which one. I'll go ahead and paint along the model's arm like this. And, notice that I'm keeping the center of my cursor inside of the arm so that I'm not getting too much shadow. If I did this now I'd look pretty ridiculous actually. So, I'll press Ctrl+Z, Cmd+Z on the Mac to undo that change. And then I'm going to switch the blend mode for this layer to the ultimate shadow mode, which is Multiply.

So, you click on the word Normal on the upper left hand corner of the Layers panel and change it to Multiply like so. And we end up getting this bit of darkness here but it's still not exactly right. We've got some weirdness going where the drop shadow is concerned. So, go ahead and return to the logo group. Click on the Layer mask to make it active. And here's where you're just going to have to, sort of, take a leap of faith here. Go ahead and click on that Switch icon in order to make the foreground color white once again. And then you want to change the mode up here in the Options bar. This is the brush mode this time and we're changing it to Overlay.

And that way, we're going to go ahead and increase the contrast of this edge so we essentially paint away that little bit of blackness I had painted in before. And notice as I do that gives us a sharper edge and restores that drop shadow detail. Alright, so there we have it. I'm going to go ahead and switch back to the rectangular Marquee tool, press the F key a couple of times in order to switch to full screen mode. Let's go ahead and zoom out and them zoom back in, and I'll going to scroll up until we can see the entire mask logo, like so.

And we've managed to do an absolutely brilliant job thanks to the power of live editable vector based text here inside Photoshop.

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