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Selecting an eye

Selecting an eye provides you with in-depth training on Design. Taught by Deke McClelland as part of… Show More

Photoshop Masking and Compositing: Fundamentals

with Deke McClelland

Video: Selecting an eye

Selecting an eye 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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Selecting an eye
Video Duration: 7m 1s 11h 35m Intermediate


Selecting an eye provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Fundamentals

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

Selecting an eye

In this exercise, we are going to begin the creation of this Eye world.psd file in which we are wrapping this map around the flesh tones and into the iris as well. We are going to start things off in this exercise by selecting the eye and we will do that using a combination of the Ellipse tool, the Polygonal Lasso, and the Smudge tool. Let me show you how it works. I have saved my progress this Crazy yellow iris.psd and I am going to go ahead and grab the Elliptical Marquee tool and the reason is that you can almost, always select eyes using this tool and let me show you how that works.

Notice that the eyelids are essentially smooth arcs which you can define as ellipses so I am going to start things off by selecting along the bottom eyelid and notice what a great job the Ellipse tool does of getting into that edge. So I am using the spacebar to align the Marquee on the fly and as soon as I have selected this region right here, along this bottom left edge of the eyelid, then I'll go ahead and release. Now I will press the Shift key and draw another Ellipse down here along the bottom right edge and it's going to have to be a pretty wide ellipse in order to select that entire area.

So I will keep increasing the width of the Marquee, it's not very tall as you can see. I will of course use the spacebar in order to align the Marquee along the bottom edge of that eyelid until I have selected this region right there. Alright, now we need to take advantage of that intersect calculation in order to select along the top eyelid, so I'll press the Shift and Alt keys, that would be Shift and Option keys on the Mac, and then I will begin dragging up like so, and I will go little bit too far and then use the spacebar to drop that selection downwards and the reason I'm drawing this selection this way, that is up into the left as opposed to down into the right as I don't want to invoke that auto scroll.

So once I get the top edge of the Marquee, aligned along the top eyelid, I will go ahead and Release and I end up just keeping that portion of the selection that falls inside of the eye. All right, I am going to draw one more whoppingly big selection outline here while pressing the Shift and Alt keys once again. So press Shift and Alt, we are on the Mac and press Shift and Option and I just want to scalp away that far left side of the eyelid, you can see how some of that needs to come away over there and I'll make sure, by the way, you don't want to draw selection like this, that's cutting into the right edge of the existing selection, you want to go ahead and move here new marquees efficiently far outward.

So you're just barely clipping that left-hand side and then release and that left edge will go away. All right, so that takes care of the marquee work. The next step is to select this area in here and I am going to do that by zooming in, by the way, so that I can see it more closely. So I am zoomed into 100%. I want to be able to select this region right there without selecting too much of this sort of pearly skin that's inside the eye and I am going to do that using the Polygonal Lasso tool. Now if you were to grab the Polygonal Lasso tool, all you would have to do is Shift+Click in order to add to the selection or Alt or Option click in order to subtract from the selection.

However, I am going to show you a way to do this using the Lasso tool. So you may remember back in the previous chapter, I was telling you that you can press and hold the Alt key or the Option key on the Mac while using the Standard Lasso tool and that will give you the Polygonal Lasso tool, however, if you press the Alt or Option key now while a selection is active then you will get a little minus sign next to your Lasso, telling you that you are going to subtract from the selection. Well here is what we are going to do instead. I want to add to this selection, so I am going to press the Shift key, I get a little plus sign next to my Lasso, and then I will start dragging, like so.

I will keep my mouse button down and release the Shift key because I have already told Photoshop now that I am adding to the selection. Now I will go ahead and press the Alt key or the Option key on the Mac and with that key down, you have to keep it down. You can now release your mouse button and notice I now get my horned cursor which is telling me that I am drawing a Polygonal Lasso and now I can click. I will have to have that Alt key down, the Option key on the Mac and I am going to go ahead and click all the way around here like so and it's going to be a little polygonal, I am not too worried about that.

We will go ahead and solve that problem in just a moment and then once I get back inside the eye selection, I will go ahead and release in order to add that area. Now I went ahead and selected too much, I didn't want to select this pearly flesh right there, so I am now going to press the Alt key or the Option key on the Mac that gives me the minus sign next to the Lasso cursor. Now, I will begin dragging outside the selection like so, so once I start getting close to it. I will keep the mouse button down, release the Alt or Option key and then press and hold the Alt or Option key, so you just release it and then repress it, crazy as that sounds.

Now with the key down, you have to hold it down from this point on. Then you can begin clicking with your mouse and you will create a polygonal subtraction from that selection outline. So I will go back all the way over here, and then I can release the Alt key or the Option key on the Mac and I'll go ahead and scalp that area away. All right now this selection has too much corner action going on. So we are going to smooth it out the easy way by going up to the Select menu, choosing to Modify command and then choosing the Smooth command. Once again, I am working blind because I don't have preview check box, but I have been through this image before and I know that a Sample Radius value of 12 pixels works well.

So I will go ahead and click OK and that smoothes out the contours of the portion of the selection that was created with a Polygonal Lasso. All right, things are looking pretty good here. I am going to press Ctrl+0, Command+0 on the Mac to zoom out from the image and I am going to turn on this Map layer and click on it to make it active. Now I want to express the selection as a layer mask and I actually want to drop out the area inside the eye, that is the area inside the selection, if you go down to the Add layer Mask icon and just click on it, while then you will go ahead and mask the map into the eye.

And that's the opposite of what I want. So I will press Ctrl+Z or Command+Z on the Mac in order to undo that modification. I could have in advance gone to the select menu and chose the Inverse command, I will press Ctrl+Shift+I, Command+Shift+ I in order to reverse this selection and then click on the layer Mask icon, however, you can skip this step if you want by doing the following. Just go ahead and drop down to that icon at the bottom of the Layers panel once again and this time Alt+Click or Option+ Click on it and you will get the reverse effect. So you are masking the map away from the eye and onto the skin.

Now it doesn't look right that's because it's opaque. We need to apply a Blend mode. By going up to the Blend mode pop up menu and changing the setting from Normal to the first to the contrast modes Overlay and you end up getting this effect here. All right, that's a good start but we still have some work to deal on that layer mask as you can see. It's just too harsh around the contours of the eye and it doesn't take into account the eyelashes and we are going to make those adjustments plus a few more in the next exercise.

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