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Painting inside a mask


Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Painting inside a mask

Painting inside a mask provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Fundamentals
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  1. 15m 25s
    1. Welcome
      1m 12s
    2. Loading my custom dekeKeys shortcuts
      3m 45s
    3. Adjusting the color settings
      4m 29s
    4. Setting up a power workspace
      5m 59s
  2. 1h 0m
    1. The channel is the origin of masking
      1m 54s
    2. The Masks and Channels panels
      4m 48s
    3. How color channels work
      7m 7s
    4. Viewing channels in color
      3m 24s
    5. How RGB works
      4m 12s
    6. Single-channel grayscale
      5m 12s
    7. Mixing a custom "fourth" channel
      5m 15s
    8. The other three-channel mode: Lab
      5m 45s
    9. A practical application of Lab
      4m 55s
    10. The final color mode: CMYK
      7m 6s
    11. Introducing the Multichannel mode
      5m 56s
    12. Creating a unique multichannel effect
      5m 18s
  3. 44m 27s
    1. The alpha channel is home to the mask
      1m 40s
    2. The origins of the alpha channel
      3m 40s
    3. How a mask works
      7m 10s
    4. Making an alpha channel
      4m 2s
    5. Using the new channel icons
      6m 27s
    6. Saving an image with alpha channels
      4m 23s
    7. Loading a selection from a channel
      4m 7s
    8. Putting a mask into play
      3m 55s
    9. Loading a selection from a layer
      4m 27s
    10. Loading a selection from another image
      4m 36s
  4. 1h 0m
    1. The mask meets the composition
      1m 8s
    2. Viewing a mask as a rubylith overlay
      6m 13s
    3. Changing a mask's overlay color
      5m 34s
    4. Painting inside a mask
      6m 3s
    5. Cleaning up and confirming
      5m 18s
    6. Combining masks
      5m 11s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 2s
    9. What to do when layers go wrong
      6m 3s
    10. Hiding layer effects with a mask
      4m 22s
    11. Introducing clipping masks
      5m 29s
    12. Unclipping and masking a shadow
      3m 50s
  5. 1h 35m
    1. The seven selection soldiers
    2. The marquee tools
      6m 31s
    3. The single-pixel tools (plus tool tricks)
      6m 48s
    4. Turning a destructive edit into a layer
      5m 34s
    5. Making shapes of specific sizes
      7m 7s
    6. The lasso tools
      5m 49s
    7. Working with the Magnetic Lasso tool
      7m 19s
    8. The Quick Selection tool
      8m 13s
    9. Combining Quick Selection and Smudge
      4m 52s
    10. The Magic Wand and the Tolerance value
      6m 55s
    11. Contiguous and Anti-aliased selections
      6m 58s
    12. Making a good selection with the Magic Wand
      6m 34s
    13. Selecting and replacing a background
      6m 56s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
    2. Introducing "selection calculations"
      4m 19s
    3. Combining two different tools
      7m 29s
    4. Selections and transparency masks
      5m 17s
    5. Selecting an eye
      7m 1s
    6. Masking and blending a texture into skin
      5m 1s
    7. Painting a texture into an eye
      4m 19s
    8. Combining layers, masks, channels, and paths
      4m 54s
    9. Moving selection outlines vs. selected pixels
      5m 36s
    10. Transforming and warping a selection outline
      7m 45s
    11. Pasting an image inside a selection
      7m 26s
    12. Adding volumetric shadows and highlights
      6m 54s
    13. Converting an image into a mask
      4m 42s
  7. 1h 5m
    1. The best selection tools are commands
      1m 5s
    2. Introducing the Color Range command
      5m 59s
    3. Working in the Color Range dialog box
      7m 7s
    4. Primary colors and luminance ranges
      4m 12s
    5. A terrific use for Color Range
      4m 57s
    6. Introducing the Quick Mask mode
      7m 43s
    7. Moving a selection into a new background
      5m 43s
    8. Smoothing the mask, recreating the corners
      8m 43s
    9. Integrating foreground and background
      4m 44s
    10. Creating a cast shadow from a layer
      2m 51s
    11. Releasing and masking layer effects
      3m 11s
    12. Creating a synthetic rainbow effect
      4m 30s
    13. Masking and compositing your rainbow
      4m 46s
  8. 1h 17m
    1. The ultimate in masking automation
      1m 6s
    2. Introducing the Refine Mask command
      6m 58s
    3. Automated edge detection
      8m 23s
    4. Turning garbage into gold
      6m 19s
    5. Starting with an accurate selection
      7m 11s
    6. Selection outline in, layer mask out
      7m 48s
    7. Matching a scene with Smart Filters
      4m 30s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 29s
    10. Adding dark circles around the eyes
      5m 20s
    11. Creating a fake blood effect
      5m 38s
    12. Establishing trails of blood
      7m 40s
    13. Integrating the blood into the scene
      7m 3s
  9. 1h 48m
    1. Using the image to select itself
      1m 37s
    2. Choosing the ideal base channel
      5m 7s
    3. Converting a channel into a mask
      6m 34s
    4. Painting with the Overlay mode
      7m 27s
    5. Painting with the Soft Light mode
      5m 55s
    6. Mask, composite, refine, and blend
      4m 40s
    7. Creating a more aggressive mask
      7m 2s
    8. Blending differently masked layers
      7m 0s
    9. Creating a hair-only mask
      6m 0s
    10. Using history to regain a lost mask
      3m 42s
    11. Separating flesh tones from hair
      8m 28s
    12. Adjusting a model's color temperature
      4m 30s
    13. Introducing the Calculations command
      7m 22s
    14. Extracting a mask from a Smart Object
      6m 34s
    15. Integrating a bird into a new sky
      5m 40s
    16. Creating synthetic rays of light
      6m 4s
    17. Masking and compositing light
      7m 39s
    18. Introducing a brilliant light source
      7m 5s
  10. 1h 34m
    1. The synthesis of masking and compositing
      1m 36s
    2. White reveals, black conceals
      6m 45s
    3. Layer masking tips and tricks
      5m 8s
    4. Generating a layer mask with Color Range
      5m 38s
    5. The Masks panel's bad options
      5m 18s
    6. The Masks panel's good options
      3m 50s
    7. Creating and feathering a vector mask
      3m 42s
    8. Combining pixel and vector masks
      3m 50s
    9. Working with path outlines
      7m 10s
    10. Combining paths into a single vector mask
      7m 52s
    11. Sharpening detail, reducing color noise
      4m 27s
    12. Recreating missing details
      8m 49s
    13. Masking glass
      5m 50s
    14. Refining a jagged Magic Wand mask
      5m 53s
    15. Masking multiple layers at one time
      5m 15s
    16. Establishing a knockout layer
      6m 6s
    17. Clipping and compositing tricks
      7m 37s
  11. 1m 17s
    1. Next steps
      1m 17s

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Watch the Online Video Course Photoshop Masking and Compositing: Fundamentals
Video Duration: 6m 3s11h 35m Intermediate Nov 04, 2011

Viewers: in countries Watching now:

View Course Description

Photoshop Masking and Compositing: Fundamentals is the introductory installment of Deke McClelland's four-part series on making photorealistic compositions in Photoshop. The course shows how to make selections, refine the selections with masks, and then combine them in new ways, using layer effects, blend modes, and other techniques to create a single seamless piece of artwork. Deke introduces the Channels panel and the alpha channel, the key to masking and transparency in Photoshop; reviews the selection tools, including the Color Range tool , Quick Mask mode, and the Refine Edge command; and shows how to blend masked images so they interact naturally.

Topics include:
  • Setting up a workspace
  • Working with the seven key selection tools
  • Using the Color Range command
  • Automating masking
  • Matching a scene with Smart Filters
  • Choosing the ideal base channel
  • Converting a channel to a mask
  • Painting with the Overlay and Soft Light modes
  • Using History to regain a lost mask
  • Working with the Calculations command
  • Extracting a mask from a Smart Object
  • Masking and compositing light
  • Masking with black and white
  • Working with path outlines
  • Combining pixel and vector masks
  • Creating and feathering a vector mask
Deke McClelland

Painting inside a mask

In this exercise we'll modify our mask so that it matches this forward boot as closely as possible. I've saved my progress as Complementary overlay.psd and I have the boot channel selected down here at the bottom of the Channels panel. I'm viewing the RGB image at the same time. I'm going to go ahead and zoom into this image. So I can take it in that much more closely. Now we're going to switchover to the Brush tool, which you can get by clicking on it or pressing the B key. Now just to make sure that you and I are on exactly the same page, go up to the Options bar, right-click on that brush over there in the far left side and choose Reset tool.

Then I want you to right-click inside the image window, and I found that a Size value of 17 pixels served us well for the work we are about to do, and then you want the Hardness value to be 100%. Next, go ahead and press the Enter key or the Return key on a Mac a couple of times in order to hide that panel. And the easiest way to deal with this right side of the boot, which, by the way, is a man-made object, so it's very likely to have precise, often times straight, other times smooth arching sides, which means that we can take advantage of the following trick.

As opposed to just brushing in your modifications like so, which even if you work with a drawing tablet, can be a fairly haphazard proposition. My preferred way of working is to click and Shift+Click and notice that when you click and then Shift+Click you connect the click points with a straight brushstroke. All right! Now it's a little difficult to see exactly where the boot ends and the background begins, because everything is so dark down here in the lower right region of the image. So tell you what, why don't we go ahead and boost the brightness by adding an adjustment layer? So I'm going to switch back to the RGB image, click on the Layers panel.

Notice, by the way, that we're still seeing the mask, so we can make decisions inside of our layered composition based on the appearance of that cyan overlay. So with the background layer selected, I want you to press the Alt key or the Option key on the Mac, click on that black/white icon, and let's go ahead and choose the Levels command, and I want to name this layer let's say brightener and then click OK to bring up the Adjustments panel. I'm going to go ahead and collapse the Color panel, so that I have a little more room to work, because my Layers panel down here is getting kind of squished. All right! Now let's go ahead and make a couple of fairly absurd edits.

I'm going to change the white point value to 200. We're just going to clip an awful lot of highlights inside the overall image, and then I'm going to take the gamma value up to 1.5, which is going to boost the heck out of the midtones. Now this is a terrible edit where I am trying to correct the colors in the composition, but it's a great temporary edit for gauging the quality of the mask. So I'll go ahead and collapse that Adjustments panel by double-clicking to the right of the word Masks, and then I'll switch back to the Channels panel and click on the boot channel once again to make it active.

Right now, that we can see what's going on here on the right side of this boot, we can go ahead and make some more authoritative changes. So I'm going to click at this point, Shift+ Click down here toward the bottom of the boot. I notice that I'm not getting in quite tight enough. So I'll click here, Shift+Click at this location and let's try Shift+Clicking right about there. That looks pretty good to me. By the way, if you end up getting a sharp corner, for example, I'll go ahead and click here, Shift+Click here; it looks like I've cut into the boot a little bit at that location. So I'll press Ctrl+Z or Ccommand+Z on the Mac to undo that modification.

I'll click here and Shift+Click here instead, then click and Shift+Click and continue to do so. What you can do if you end up getting a sharp corner? Is you can go ahead and click and Shift+Click it away. So if you notice something that's not smooth enough, just go ahead and click and Shift+Click right along that corner to cut it short. All right, now I'm going to paint away the tip of shoe like so, and I'm really painting into the shoe as you can see, possibly a little bit too much, but let me show you why? I'm going to increase the size of my cursor by pressing the right bracket key ] and I'll do so a couple of times.

So my cursor has 25 pixel diameter as indicated by that number 25 over there on the left side of the Options bar. Then I'll press the X key to switch my foreground color to white and I'll click on the toe of the shoe in order to reveal it and I'll reduce the size of my cursor by pressing left bracket key [ and I'll click in that toe again to see if I can bring a little bit more of it back.] then click and Shift+Click like so, in order to better represent that toe. So I'm just doing as much finessing as I feel like I need to, in order to get this area right. All right! This is looking pretty good.

I'm going to go ahead and click and Shift+Click here as well. That was a little bit too much, so I'll press Ctrl+Z, Command+Z on the Mac. Click here, let's say, and Shift +Click there. That looks good. Click here, Shift+Click there, in order to cut away some of that obvious corner. Click at this location and then Shift+ Click there, and I'll go ahead and scroll up a little bit by spacebar+ Dragging, Shift+Click again. So notice you can Shift+ Click multiple times in a row. The other thing to note about the work that I'm doing here is that I'm doing it with a hard brush. So if I right-click again to bring out that pop-up panel, you'll see that the Hardness value is set to 100% and by now you've noticed that doesn't mean that you get a jagged brush, that just means you get a nice sharp brush as you paint inside the image.

And when you're painting this way, that is exactly the way you want to work, unless you've got a soft blurry edge, then you don't want to work with a soft blurry brush. So in other words, you want to match the brush to the job at hand and usually when you're painting with the Normal mode and 100% Opacity, you want a nice sharp brush to work with, so you can make some, once again, authoritative and ultimately credible modifications. All right! I'm going to press the X key in order to switch my foreground color to white and click and Shift+Click along this edge and that takes care of most of the bottom of this boot.

So things are looking pretty darn good. We do have this obvious area that needs to be brushed away over here on the right-hand side, but I urge you not to do that yet, and then we have some work to do along the ankle of the boot, and I'll demonstrate how to make those edits in the next exercise.

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