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Masking the text

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Masking the text

In this exercise we are going to mask the text. We are going to add some text elements to this magazine cover, and we are going to mask the text using the edge of this glass right here. Now it turns out that the text inside of this composition has been rasterized, because the fonts on your system and the fonts on my system are different, that's invariably a big problem. But I want to stress, the techniques I am about to show you were just as well with live editable text as they do with text that's been converted to pixels.

Masking the text

In this exercise we are going to mask the text. We are going to add some text elements to this magazine cover, and we are going to mask the text using the edge of this glass right here. Now it turns out that the text inside of this composition has been rasterized, because the fonts on your system and the fonts on my system are different, that's invariably a big problem. But I want to stress, the techniques I am about to show you were just as well with live editable text as they do with text that's been converted to pixels.

So I am working inside of an image called Glass composition.psd found inside the 11 layer masks folder. If you want to open it up and catch on up with me here. I am going to go ahead and turn on the two layers towards the top of the Layers palette, lead story and text elements. And text elements includes a ton of stuff and actually you can see here. We are going to be masking the lead story, because the lead story is the portion of the text that cuts into the glass, and I just want to slightly mask away that text. Basically here is the rule, when you are working with text and you are trying to mask it away, you can mask big huge chunks of text as long as the word is very, very recognizable. For example, if I had a lot of subscribers, a couple of million subscribers to my magazine MEWS, and everybody knew the magazine was a household name, then I could get away with murder, in terms of masking the word MEWS. But where this headline is concerned, people don't know what it says.

They're not coming to the magazine already prepared for this message here. So I need to be very careful about my masking. I don't want to interrupt the legibility of the type. So I am just going to mask the edges, very, very slightly away, and that will be enough to sort of convey a wink and a nod to the viewer that we are covering up the edges ever so slightly using the glass here, without of course, interfering with the legibility they'll still be able to read that text 100%. So here's what we are going to do. We need to once again select this glass edge using the Color Range command; once again the Color Range command is seen in the composite image, so we need to give the command to the glass by itself. So I am going to click on the glass shadows layer right here, and I am going to press Ctrl+Alt+J or Cmd+Option+J on the Mac in order to jump in. Let's call this layer Dummy, because it's just going to be a dummy layer from which we can generate a selection outline.

Change the mode to Normal, make sure that the Opacity is 100%, so this is an opaque layer, and then click OK. Now I am going to send this layer to the top of the stack. I could just drag it up to the top of the stack, or again, if you want a keyboard shortcut, it's Ctrl+ Shift+], Cmd+Shift+] on the Mac will pop that guy to the top of the stack, just so as you know, as I say, you can just go ahead and drag it up there too if you want. Then go up to the Select menu and choose the Color Range command once again, and you're probably going to see a selection outline that looks a lot like the last one you created. When we were masking the glass in the previous exercise, and that's because our foreground color is presumably still the same, and our Fuzziness value is still the same and so on. This time though we are going to be creating different selections. Now I am going to go ahead and zoom in on my image by pressing Ctrl+Spacebar. The problem is, by pressing Ctrl+Spacebar on a PC, or Cmd+Spacebar on the Mac, the problem is the Spacebar is a little bit of a sticky wicked, where the PC is concerned. The Spacebar likes to go ahead and select the Active button, which is just a numskull concept. I mean, really, who wants to select a button with the Spacebar? Nobody, is the answer.

All right, so I've got to click basically, but what I am trying to tell you is, here on the PC I have got to click inside of a numerical value in order to make it active so that the OK button isn't secretly active, and then I can press Ctrl+Spacebar, and zoom in here. That would be Cmd+Spacebar without incident on the Mac incidentally. So I have zoomed in on this edge, and now I am going to click right here on this dark edge, sort of in this dark blue region right there on the underside of the glass, and I am going to Shift+ Click farther up to glass, in order to add another color along this edge. So right about there is where I want you to Shift+Click. So click there, Shift+ Click there, and then I am going to go ahead and reduce the Fuzziness value to about 115, and I am going to turn on Invert, because we want this edge right here to mask away the text. So this edge needs to be black, as it is inside of the Preview.

And just to confirm things you could change the Selection Preview option to Grayscale, so that you can see what that edge looks like right there. Now go ahead and click OK in order to generate that selection outline. We are done with the dummy layer, we just needed it in order to generate the selection in the first place. So you could throw it away if you wanted to. I suggest you just go ahead and turn it off, because you might want to come back to it later, not inside of this project, I am not going to ask you to come back to it later, but I am just trying to get you into some good habits here. Next, go ahead and click on the lead story and add the layer mask to that story, or -- actually let me show you something here. Let's say we are back in the dummy layer, it's still visible and I am just kind of not really thinking,and I just go ahead and add the layer mask to the dummy layer, and then I go, oh gee whiz, I really meant to add it to the lead story layer.

No problem, layer masks are totally portable, I can just grab it and drag it and drop it onto the lead story layer, like so. You can also if you want to, you can Alt+Drag a layer mask or Option +Drag it to duplicate it to a different layer. All right, I am going to undo that change. I just wanted to move the layer mask onto the lead story layer which I did successfully. So I'll turn off the dummy layer, and we have now masked into the text, a little bit too much. You can see the text is fading away down here in the lower right-hand corner.

All right, so I am going to zoom back out here a little bit, and I am going to Alt+Click or Option+Click on the layer mask for the lead story layer in order to select it, and I am going to get rid of all this darkness down here in the lower left corner using the Elliptical Marquee tool. Because after all our glass is roughly elliptical. I really ought to rename this entire series "Why I Love the Elliptical Marquee Tool And Use It All the Time," because it really is such a swell tool. Anyway, I am going to go ahead and select the Elliptical Marquee tool and I am going to drag around my glass like so. I don't have to get it terribly accurate selection,and I don't want to get too close to the glass, I don't want to be tracing right along it, I want to leave some room out here so that we have a little bit of a soft drop-off. So select about that much if you will of the image. This looks pretty good to me. And then I want you to go to Select menu, and choose Modify and choose Feather, because we are going to go ahead and soften that selection. And I am going to enter a Radius value of about 6 pixels, maybe 9 pixels, let's say 9 pixels, and I am going to click OK in order to accept that.

Then I'll press Ctrl+Shift+I, or Cmd+ Shift+I on a Mac, or I could have just gone up to the Select menu and chose the Inverse command, in order to reverse the selection, so the area outside the glass is selected. Now I am going to confirm which color is white, the foreground color is white for me, so I am going to press Alt+Backspace or Option +Delete to fill that area with white. Then I'll press Ctrl+D to de-select the glass. I'll grab my Brush tool, because if you zoom in here, you can see that there is a little bit of a gray edge along the glass, it's still left over here. So grab your Brush tool, go ahead and set the mode to Overlay by pressing Shift+Alt+O, or Shift+Option+O on the Mac and keeping the brush outside of the glass, go ahead and drag along it, like so. But don't drag over the blacks, drag over the white areas like that, and that's it.

Now we can leave the layer mask by Alt+ Clicking or Option+Clicking on the layer mask thumbnail here inside the Layers palette once again, and now you can see that the text is just slightly masked by that glass, isn't that wonderful? I am going to switch back to my standard Marquee tool. I am going to zoom in once again, because I just love zooming in and out all the time. I just want to show you how we can now move the text independently of the mask if we want to. So I'll click on the text here inside of the Layers palette, so I am making the text active as opposed to the layer mask. Now I am going to Ctrl+Drag it. Now at this point both the text and the layer mask are linked together, so when I drag the text, the masked edge moves along with it.

That's not what I want, I want the masked edge to stay in place, because after all the glass is staying in place. So I'll go ahead and undo that movement. I'll turn off the link, so click on that chain to turn it off. Now drag the text around and you can see how it's masked on the fly, and I want to stress this, I said this before. But the fact of the matter is, if this was live text, it would work just as well. You can assign a layer mask to live text any old time inside of Photoshop. So layer masks are just as applicable to live text as everything else inside the program as Blend modes are, Opacity values are, and so on and so on.

I am going to go ahead and undo that big movement and maybe just move the text down just slightly, so we can see the top of the S there, so just a little bit of masking going on like so, I think works wonders for this composition. In the next exercise we will add the one missing element, the Gold Fish.

Show transcript

This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26381 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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