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Nondestructive layer painting

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Nondestructive layer painting

Now at this point I can imagine a few of you saying wait a second, while these techniques are very interesting and the final product is quite beautiful indeed. You just got through permanently modifying the pixels inside of the layer, inside both the previous exercise and the one before it, we brushed inside of the layer using the paintbrush tool set to the color mode and in each case whether we were working with an image inside of a layer mask or an image that has been transparency masked we have permanently changed those pixels for good or for ill.

Nondestructive layer painting

Now at this point I can imagine a few of you saying wait a second, while these techniques are very interesting and the final product is quite beautiful indeed. You just got through permanently modifying the pixels inside of the layer, inside both the previous exercise and the one before it, we brushed inside of the layer using the paintbrush tool set to the color mode and in each case whether we were working with an image inside of a layer mask or an image that has been transparency masked we have permanently changed those pixels for good or for ill.

And in fact if you were to open this version of the image which is the one that I have been working on, it's called oceanic angel.psd. And if you were to turn off the Rosalie layer abd turn on the model layer, she looks pretty good, right. But go ahead and Shift+click on the layer mask here in order to turn it off for a second. Then let's go ahead and zoom in on this portion of the image, and you can see that I have made some interesting decisions here; I will go ahead and call them. I have kind of painted outs1ide into this area because it looked like I was doing a good job but now that I turned off the layer mask; I did a pretty ratty job. And it ends up looking good if I turn the layer mask back on, it ends up looking all right and if I turn the layer mask it looks terrible once again.

Then if I zoom in on this portion of the hair, you can see that it contains different colors than the hair above it, its more highly saturated than these hair up here which might make you think, oh I think, I can do better than that. Let me take a re-approach and of course you are going to increasingly, potentially destroy those pixels. At least you might potentially increasingly destroy the detail, the original detail inside of this photograph. So there must be a better way to work and of course there it is, we could do a completely non-destructive approach if you like and let's go ahead and do that, just for the sake of everybody's edification here. I am going to go ahead and turn off all these layers, let's turn on the color invert layer so that we can see the orange version of the water for the sake of comparison. Of course the background layer is also on, it's just that underwater image by photographer Tammy Paluso, and I am going to go ahead and click on the Color Invert layer to make it active. Let's switch back over to the restored version of the image called My name is Rosalie.tif, of course, from photographer Klaas Lingbeek-van Kranen And I am going to go ahead and once again go to the Channels palette, load the mass channels the selection by Ctrl+Clicking on it or Command+Clicking on it on the Mac. Switch back over to the Layers palette, lets go ahead and covert this background to an independent layer, call it model once again.

Add a layer mask by clicking on the layer mask icon down here at the bottom of the Layers palette and go over here to the Layers palette menu, choose Duplicate Layer. Let's go ahead and put the layer inside of the image called Oceanic Angel.psd and Photoshop will automatically go ahead and call this layer model instead of model copy. Click OK, doesn't look like anything happened, that's why we need to switch over to that oceanic angel.psd image and that now has the new and original.

Actually let's just go ahead and name it, original so that we know that this layer is unharmed. All right, now what we need to do is create a new layer and I am going to do that by pressing Ctrl+Shift+End or Command+Shift+End on the Mac and lets call this fringing or something along those lines since we are getting rid of the color fringing and lets say use previous layer to create clipping mask. So that whatever we do, whatever painting we make is clipped by this original layer right here. And let's go ahead and change the Mode upfront to Color and that will do it. That's all we need to do, then click OK in order to accept that result.

Now we need to paint inside of the layer but we are not going to paint using the Color Mode this time, this may not make a lot of sense upfront but what we are going to do is we are going to switch to the Normal Mode. So Shift+Alt+N or Shift+Option+N on the Mac and that's because the blend mode that's assigned to the tool, to the Brush tool here affects how the paint inside of this layer interacts with itself. So any paint that's already on the layer how it reacts with more paint on that same layer whereas the blend mode assigned inside the Layers palette ends up affecting how the layer interacts with other layers in the stack.

Having gone ahead and set the brush mode to normal, lets Alt+click or Option+click inside the hair in order to load some color and notice even though we are doing normal painting and I am painting outside the lines and all that stuff, I am only re-coloring the hair, I am not just putting big globs of colors all over the place. I have made one mistake, I went ahead and painted with an Opacity of 50%, I don't recommend you do that. Let's go ahead and undo that brush stroke, I am going to increase the Opacity to a 100% once again because if we want to affect the relationship between this fringing layer and the color below it, we want to change the Opacity here inside the Layers palette. Now paint once again and you will get a nice healthy re-coloring of that hair. We can work on the shoulders as well if you like, I am going to go ahead and bypass the shoulders at this point, just so that we can focus our attention to what we are doing here.

I am going to switch back to the marquee tool by pressing the M key and then I am going to press Shift+Alt+N or Shift+Option+N on the Mac in order to switch the layer to the normal mode and you can see there is that dollop of paint that I assigned to that layer. In fact it really looks like this, if I unclip the layer by Alt+clicking or Option+ clicking on this horizontal line right there, you can see that this is what the paint really looks like. So it's this big glob of paint that's being clipped, so I will go ahead and undo that last modification by pressing Ctrl+Alt+Z or Command+Option+Z on the Mac. And its colored in the place, it's blended into the hair in the background which I accomplish by undoing that step as well by pressing Ctrl+Alt+Z or Command+Option+Z again.

But what I really want to do right, is make her look like she is underwater so I am going to turn off this color invert layer and I am going to return to my brush tool by pressing the B key and I am going to Alt+click on the water or Option+click in order to lift blue and I am going to Shift+Tab away my palettes. And I am just going to start painting here, actually I will increase the size of my brush cursor and I will start painting and notice that I am adding too much blue toward this point and I can click around if I want to, click on top of her hand, I kind of missed that last time. And of course she is too blue but I can now go ahead and change the Opacity of that layer if I want to. I would go back to the marquee tool by pressing the M key or clicking on it of course and then I could press the 5 key to reduce the Opacity to 50% or I could press the 3 key to reduce the Opacity of that layer to 30% or I could press the 7 key to reduce the Opacity to 70%. You could get the idea, I have an infinite level of flexibility and control available to me and I can even go in and make further modifications if I want to paint into different areas that I missed the other time around or I could use the eraser tool to erase into that level. So this is a much better way to go.

I am going to go ahead and actually press 5, 5, two fives in a row in order to reduce the Opacity of that layer to 50% and I am going to go ahead and press the F key a couple of times and tab away my palettes and there is the final version of this project approached in the most flexible manner possible which is to say by creating a layer with a layer mask and then setting up the brush that contains the coloring elements, the brush strokes that is to say set to the color blend mode. And the result is as editable as it is pretty. Actually you know what, I think I will touch up this detail right there, nice.

Show transcript

This video is part of

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

190 video lessons · 26379 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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