Adding Texture to Images
but then weaken Get fancier if we want, um, I'm going to take this image, and I want to create kind of a creative image out of it. And so I'm going to use this in my mask. If I use this in my mask, I can make it. So the image on Lee shows up where that painting is to do so. I'm gonna select all and I'm gonna copy that. I'll close this document and we'll be working here. I'm gonna add a layer mask to this document to the layer, I should say, And then I'm gonna choose Paste, hoping that what I copied last will be pasted right into the mask. But when I choose paste, it didn't go into the mask. If you look at my layers panel, it became its own layer. So I'm gonna choose undo by typing commands E, which is the shortcut for edit. Undo. I want that to go into the mask. You can get it to go in the mask. You just need to know how in the way you do it is you somehow need the mask to be visible on your main image. There's two ways to make it visible. The first way is what we used in the last imag...
e, which is to show it is an overlay. So if you hit the backslash key, then you'd be able to paste it in. The second way is to view it directly where it's not an overlay. Instead, you just blatantly look at it. The way you do that is you hold on the option key Alton Windows in. Click anywhere within the Mask in your Layers panel that's going to make it visible on the main screen. Then on Lee, when it's visible. Either as an overlay or direct like this, can I choose paste All type Command T command. He is the same as going to the edit menu and choosing free transform and scale this down and reposition it wherever I'd like. Now the only problem is black hides things, so this would create a hole in the middle of the image and actually want the opposite of that so I can choose image adjustments. Invert Invert ends up giving you a negative of what you currently have. So wherever you have black, it's going to become white in whatever its white will become. black. So now that blackness should hide our image. And the only problem is the interior. Here. This is not completely white. You can see some gray and some texture in there. So if I stop viewing this mask, you do that by option, clicking on the mass to get it. So it's hidden again. You can see through that middle portion a bit, so just adjusted. Using any adjustment you can use to force things to black and white in levels. The upper left slider forces areas, two black. So I could use that to get the surroundings to work in the upper right slider forces areas, toe white. Here we go where we can get fancier than this. Let me grab another version. In this case, I'm gonna use this picture, and I'm gonna use this textured paper all select all and copy this just like we did on the other one. Then close it. And here I'm gonna add a layer mask just like we did before to paste it into the layer mask. The mask must be visible. This time, I'll use the back slash I mentioned. That would be another method, since the mask is completely white. Hitting the Backslash key doesn't visibly change the image, but it will still allow me to paste. That's when I'll see it as an overlay. And then I can hit the backslash again to make it so it no longer has an overlay, so it was able to pace it in. It looks a little logs. It's small, but I'll scale it up. I could go to the edit menu and choose free transform. That's how we scale things. And let's get this be large. I'll get rid of my selection because I just don't need it anymore. And up here, I can still see the picture. That's just because the image that we paste it in doesn't extend up that far. So I'm gonna grab my paintbrush tool, and I'm gonna end up painting across the top and bottom of the image to just say I'm painting with black, which means hide those areas now. The middle of this was not completely white in the area out here is not completely black. Let's just go look at the Mass to see that option. Click in the mask. We can see its contents. There it is, and I want to use this in a special way. So I want to copy it because we scaled it. And so the part we copied earlier was smaller. Select all a copy. Then let's adjust it. I'm gonna do image adjustments. Levels should work Fine. And remember, in levels the upper left forces areas the black. So I'll just do that until the surroundings are black. And then the upper right forces areas toe white and I'm gonna bring it up. Not all the way, but enough where it should mainly show up just a few areas we might see through what stopped looking at this. So option. Clicking the mask is how he got to this view. I'm just gonna option click it again. That's all clicking and windows. So there is what we have. Let's put a layer underneath it that's full of white. One way of doing that is to go to the adjustment layer icon and choose solid color that will ask you what color you want to use. And then you can put that underneath. All right. But now I want some of the texture of that paper. Remember, I copied the contents of the mask before we adjusted it, and I'm just gonna paste it in here. And I needed to copy it after I had scaled it up in everything so would line up with its current position. And then I'm gonna use something called a blending mode. We have an entire lesson about blending modes if you end up watching all the lessons related to this class, and I'm just going to slowly go over these and see if I can find one that might put some of that texture into this image, I think, actually, one of the ones up here that one now that's given this a little bit of texture that it wouldn't otherwise have. And I just want to make it so it doesn't fill in the area out here on the edge. Well, when we talked about layers in a different lesson, there was a way to clip one layer to another so this layer would only show up where there's a layer below. You do that by going to the layer menu and choose create clipping mask. Now that texture is only showing up, Um, where the layer is below. So hopefully you're getting a sense for layer mask. There's so much more we can do with them. If I want to take a screen like this and put a different picture in it, all it is is put a picture on top at a layer mask that's the shape of the screen. And then you could have as many pictures that you want to swap out there. Let's see what else we can dio other soap. In example, this is one that you don't actually get. If you purchase the class most the time, you get the images I work on. But this one is just too big because these air a weird way to set up layers. But let me show you what I have here. Here I have two exposures were in Venice, and this is my initial exposure, which is bright enough for the lower portion of this image. But then I don't like the sky. And so I have a second exposure that is darker and has that nice blue sky. And I just want to mask the two together. Well, I could use a layer mask, and when you use a layer mask, you don't always need to get an exact mask all the way around the edge of some area. Instead, oftentimes, I paint with soft edge brushes at low opacity ease, and I build things up in that somewhat of what I did here. If I turn this mask on, you'll see my end result. And if I hide the top layer, there it is without that image blended in here it is with, and if you want to see the mask option, click on it. Seeing see it that was just using a soft edged brush in my opacity might have been at 50%. So when I painted, it allowed 50% of the look of that image to show up and that I could go back and paint again to build up its appearance even more. And so there's obviously some sort of shape right there that I was tracing. So if you watch that shape and I turn this off, that was like this building I was trying to get it into, so I do use it to blend exposures together as well
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Develop an understanding of how Photoshop works
- Create your ideal workspace
- Configure the essential preference settings
- Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
- Navigate multiple images seamlessly
ABOUT BEN’S CLASS:
Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.
Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.
Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.
WHO THIS CLASS IS FOR:
- Beginner, intermediate, and advanced users of Adobe Photoshop.
- Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
- Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.
Adobe Photoshop 2020 (V21)