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Turning a path into a shape layer

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Turning a path into a shape layer

Now I have brought back up the final version of this composition, the version of the composition that we shall be creating together by time this chapter is over. Just so that you remember how cool this graphic is going to be, and you remember what we are going for, you know what the end result is, we want to go ahead and take this woman, who is so expertly carved out of her background here, and we want to put her in a super suit. We actually want to put her underwater a little bit, so we are going to blue up her flesh slightly. Then, we are going to add this hem to her super suit, which is a shape layer, and then we are going to finally add the super suit itself, and super suits, of course, are so great. They are lightweight, and they are bulletproof in a whole number and they trace every single little hair and wrinkle on your body.

Turning a path into a shape layer

Now I have brought back up the final version of this composition, the version of the composition that we shall be creating together by time this chapter is over. Just so that you remember how cool this graphic is going to be, and you remember what we are going for, you know what the end result is, we want to go ahead and take this woman, who is so expertly carved out of her background here, and we want to put her in a super suit. We actually want to put her underwater a little bit, so we are going to blue up her flesh slightly. Then, we are going to add this hem to her super suit, which is a shape layer, and then we are going to finally add the super suit itself, and super suits, of course, are so great. They are lightweight, and they are bulletproof in a whole number and they trace every single little hair and wrinkle on your body.

So you can only wear super suit if you are in super great shape, because otherwise you are going to show off all your pudges and everything. You look like the Michelin Man, otherwise. Then we are going to add these waves and all this other jazz and text, you will see. But in this exercise we are going to blue up her flesh slightly and add the hem. It's all we are going to do. So here is the image. If you want to catch up with me, it is found inside of the 15_paths folder. I am going to Shift+Tab up my palettes on screen here.

Notice I am going to go ahead and zoom in a little detail here. I feel like I got something slightly wrong. Notice that we have a little bit, maybe I should zoom even farther in. We have a little bit of the background showing through underneath her chin and if that bugs you, here is how to fix it. Go ahead and click on the vector mask associated with the Profile layer to make sure it's visible, if you need to click that is, and I am going to Shift+Tab away my palettes for a moment. I am going to grab the White Arrow tool from the toolbox and I am going to click on this segment to make it active, this top segment that's associated with the shoulder path.

I am going to go ahead and drag this control handle down so it's underneath that little weird edge. I am going to drag this control handle over like so, and then I will check out to make sure that I didn't reveal any of the shoulder that I shouldn't have over on that side, and it looks pretty good actually, so that's all fine and dandy. And then, since I have my Arrow tool selected, I can just press the Enter key here on the PC, or the Return key on the Mac in order to check that edge, still not looking exactly the way we want it to, we've still got a few pixels there.

So let's try again. I will press the Enter or Return key again to bring the path back up, and I tell you what we are going to do here. Let's go ahead and take this point and drag it over a little bit, and see if that doesn't do the trick. We are so zoomed in that it's hard to tell, but I think that actually worked. Now let's press the Enter key or the Return key on the Mac, and you will see some weird little edges going on, but those are the tiny little hairs underneath her jaw. So we don't want to totally eliminate those because if we did, then you know she wouldn't have any shoulder left at all. So that looks good to me. Anyway, I just wanted to show you how, once again impress upon you how infinitely flexible these path outlines are here in Photoshop. All right, let's go about making her blue, giving her a blue cast because she is underwater after all.

We are going to do that by making sure the Profile layer is active and then I am going to press the Alt key or the Option key on the Mac. Click the Black/White icon and choose Solid Color. Once you do, you should see the New Layer dialog box appear because you have the Alt or Option key down. I am going to call this blue 1. I am going to turn on the Use Previous Layer to Create Clipping Mask, and I am going to change the Mode from Normal to Multiply. Then I am going to click OK in order to create this new dynamic fill layer, and that's going to bring up the Color Picker dialog box, and here is the values I want you to enter, 215 for Hue, and that would be a 100 for Saturation and 50 so we get this color here, very deep beautiful cobalt blue.

That matches the barracuda background. Then I will click OK to accept that. Now I want to reveal some of the lighter colors in her flesh, and I am going to do that using that Underlying Layer slider thing in the Layer Properties dialog box. So I want you to double-click in an empty portion of the blue 1 layer. It's very important that it's an empty area over here on the right. Don't double-click on the name, that renames, don't double-click on the thumbnail, that would bring up the Color Picker dialog box once again. You could double-click over here on the left hand side if you want to too, because you have a little bit of room, because you clip the layer inside of the face.

Anyway, here is what I want you to do. We are not going to get anywhere with this layer, because this layer, the active layer, just contains three luminance levels, one each in the Red, Green, and Blue channels, that's it. So this slider isn't going to do us a lot of good, but the underlying image has tons of luminance levels so we can use Underlying Layer in order to bring out the flesh. I am going to drag the white triangle over to 210 here like so. And then, we have some fairly rough transitions, I would say. So I am going to Alt+Drag or Option+Drag the left half of the white triangle all the way over to 0, like that, so that we have this continuous drop-off. Then, I am going to click OK.

So, your values by the way say 0 and then 0/210. Click OK, and you get this slight cast associated with her flesh. This is without that layer, this is with it. I think it helps a lot. It makes it look like she is being cast in some sort of gloom, and in this case, it is a little bit of an underwater gloom, a good gloom but still, it does cut the light down. Now for the hem, we are going to use that exact same shade of blue. In fact, we are going to use that same shade of blue three times, one for the color cast, one for the super suit and a third time for the hem.

So go ahead and jump this blue 1 layer by pressing Ctrl+Alt+J or Command+Option+J on a Mac, and I want you to call this layer blue 3, because the super suit is going to be nudged between the two. It will end up being blue 2, but the hem is blue 3. Turn on, Use Previous Layer to Create Clipping Mask once again. Multiply is fine for now I expect, so go ahead and click OK in order to accept that new layer. Now we are going to cut it. We are actually going to cut it using a path that I have created for you in advance. So go over to the Paths palette, and you will see right there, there is costume hem ready and waiting for you.

Now that costume hem path is a pretty advance path so far as paths go. I am going to zoom in on it because it contains a lot of cusp points that are being joined by curve segments, and it's kind of waving organic curvature right there. I did draw it from scratch, you can give it a try too. It actually took me a fair amount of time to draw, I am here to tell you. But if you want to take a look at it, you can sort of piece through it using the White Arrow tool, and you can even edit it if you want to. I find actually on this side here, that I think I want to cut this up, farther a little bit, so that we are better matching this line here. I had to create three points on this side in order to match what I could just do with two points on that side because this point right there is raised by comparison to this one. So you have to make those decisions when you are working with path outlines.

Now I have got the costume hem path active here inside the Paths palette. I have got some points active too, it doesn't matter if they are. Go now back to the Layers palette, and with the blue 3 layer selected, I want you to Ctrl+Click or Command+Click on this layer mask icon here at the bottom of the Layers palette. Now then I want to change the blending a little bit. So I am going to double-click in front of the layer this time in order to bring up the Layer Style dialog box, and I am going to adjust the Underlying Layer properties here.

I am going to try to drag that left half of that white slider, but it's not going to let me, so I will have to do that in a separate operation and then put the black triangle back where it was. Then I am going to move that left half of the white triangle up to 120, actually. So let's bring it back down here. So 120, and then I am going to bring the right half of that white triangle up to 255. I figure that looks a little gloomy, it looks a little kind of dark blue, kind of low-saturation blue. So I am going to change the Blend mode to Hard Light.

That gives me a more saturated color and then I will click OK in order to accept that modification. If we go ahead and click on the vector mask to hide it from view, then we can see, this is the bluish version of the woman's face along with the hem. And of course, the hem is staying inside of her face because we are working with the Clipping Mask. If we were to unclip that by Alt+Clicking or Option+Clicking on that horizontal line right there, you can see that the path would exceed the boundaries of her face a little bit at the top and just ever so slightly at the bottom in the chin area.

So make sure by Alt+Clicking or Option+Clicking that horizontal line again, that the path is clipped, otherwise, it's going to bleed over into the barracudas, and we don't want that. Goodness knows, they are terrifying enough without irritating them with some extra path overflow. In the next exercise, we are going to add the super suit, and we are going to create that super suit using a traditional layer mask that is based on our path outlines.

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This video is part of

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

190 video lessons · 26337 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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