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Painting a texture into an eye

From: Photoshop Masking and Compositing: Fundamentals

Video: Painting a texture into an eye

Now I am pretty happy with the way the image looks, however by virtue of the fact, that we've integrated these Iris and Map layers. We have ended up brightening the image so it's a little bit washed out. I want to darken it up so that we have some nice rich shadows. I also want to increase the contrast. And then finally, we are going to integrate the map texture into the iris. I have saved my progress as Blended texture.psd with that greenness layer selected that is the top adjustment layer there. I want you to press the Alt key or the Option key and a Mac, drop down to that black one icon at the bottom of the Layers panel and choose Brightness/Contrast which is going to be the best tool for this job.

Painting a texture into an eye

Now I am pretty happy with the way the image looks, however by virtue of the fact, that we've integrated these Iris and Map layers. We have ended up brightening the image so it's a little bit washed out. I want to darken it up so that we have some nice rich shadows. I also want to increase the contrast. And then finally, we are going to integrate the map texture into the iris. I have saved my progress as Blended texture.psd with that greenness layer selected that is the top adjustment layer there. I want you to press the Alt key or the Option key and a Mac, drop down to that black one icon at the bottom of the Layers panel and choose Brightness/Contrast which is going to be the best tool for this job.

And I am going to go ahead and call this layer B/C because it's a standard Brightness/Contrast layer. I just like to control my layer names as I move through a composition. Make sure Use Previous layer to Create Clipping Mask is turned off, because we want this layer to affect all the layers below it, so go ahead click OK. Then, I'm going to take this Brightness value down to negative 25 and you can see that darkens the image pretty nicely. And then I will take the Contrast level up to positive 25. Make sure, by the way, that the Use Legacy check box is turned off, that way we won't clip any highlights or shadows.

Alright, now I will hide the Adjustments panel because we are done with it and now I am going to drop down to the Map layer and I am going to click on it's layer mask to make it active. All right, so as I was saying, I want to integrate that map texture into the iris, I could go ahead and select the iris using the Elliptical Marquee tool but there's a better way in this case. Once we have got a layer mask active, it's just as easy to use the brush tool. So go ahead and select the Brush tool which you can get by pressing the B key and then right-click inside the image window and take that Size value where this specific effect is concerned up to 500 pixels and then take the Hardness value up to 50%.

And of course, you could figure that out on your own, but I went ahead and determined those values in advance. I will go ahead and press the Enter key or the Return key a couple of times in order to hide that panel, and now watch this. You need to make sure that your foreground color is white, if it isn't, go ahead and press the D key for the default masking colors, and then, just click make sure also that the layer mask is active. We need all of our ducks in a row here. Then go ahead and click on that iris in order to paint the map into it. That's all it takes. One click and you're done. So as you can see, the Brush tool is a pretty awesome tool when working inside of a layer mask.

All right, I am also going to click way over here like this, just to introduce little bit of edge softening on that bit of flash there, that's inside the eye, so one click should do it. And then, I am going to switch back to my elliptical marquee tool. Now, at this point, I decided that, that iris layer was brightening things too much. If you turn iris layer off, you will see that we have a darker iris, turn it back on, it's much too bright, however I think it's too dark when the iris layer is off. So let's put the difference by turning it back on and double-clicking in an empty portion of this layer, to bring up the layer Style dialog box, and we are going to once again take advantage of that Underlying layer slider.

What I want you to do is press the Alt key, or the Option key on a Mac and drag the right half of that black triangle all the way up to 150, so the value should read 0 / 150 and then 255 over here. What this is saying is anything with the Luminance level inside the image of 150 and 255, is being covered up essentially by that bright iris effect. Anything between 0 and 150, starting at 150 and going down to 0 which is black, is becoming progressively more opaque and forcing its way through.

Anyway, the end result is that we have a darker iris. So I will go ahead and click OK to accept that effect. As I say, we'll be looking at those sliders in all kinds of detail, in my Advanced Blending course. But for now, just go ahead and press Ctrl+Z or Command+Z on a Mac to see the before version, then press Ctrl+Z or Command+Z on a Mac to see the after version. And just so you have a sense for the contribution of this iris layer, go and turn it off you can see that the iris is darker now, turn it back on and the iris is brighter. And that finishes the effect.

I am going to go ahead and press the F key, a couple of times and Zoom on in and this gives you a sense for the amazing, absolute power, of combining selection outlines here inside Photoshop.

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This video is part of

Image for Photoshop Masking and Compositing: Fundamentals
Photoshop Masking and Compositing: Fundamentals

128 video lessons · 31068 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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 5s
    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 10s
    7. Painting behind and inside a layer
      5m 27s
    8. Blending image elements
      6m 1s
    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
      52s
    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 55s
    14. Resolving edges with layer effects
      7m 52s
    15. Adding lines of brilliant gold type
      7m 28s
  6. 1h 11m
    1. Selections reign supreme
      55s
    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 29s
    8. Cooling a face, reflecting inside eyes
      4m 45s
    9. Creating a layer of ghoulish skin
      4m 28s
    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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