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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.
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 RGB 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. And 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 know 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 ruby leftover 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.
All right, let's go ahead and load up that alpha channel as a 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 on 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 tot the very top of the list, and click on Logo Group 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 this location right there, below her arm, and this is the point at which the underline 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 effect. And that's because I sort of approached this mask a little bit 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 a Mac to undo that change. And I'll alt-click or option-click on the layer mass thumbnail, to return to the RGB image, because rather than, as you can see here if I paint in some more black, rather than reveal a shadow, even though she's got a shadow behind her arm, it's actually a 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 here's how we fix things. For starters, I'm going to create a new layer. So I'll go ahead and click on the palette layer for example, and I'll press Ctrl+Shift+N, or Cmd+Shift+N on a 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 Eye Dropper 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. And I'll go ahead and paint along the models arm like this. And notice that I'm keeping the center of my cursor inside of the arm so then I'm not too much shadow if I did this number it look pretty ridiculous actually.
So, I'll press ctrl+Z, cmd+Z on a 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, in 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 where 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 painted in before. And, notice as I do that gives us a sharper edge and restores that drop shadow detail. All right, 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 the full screen mode. Lets go ahead and zoom out and zoom back in. And, I'm 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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