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Layer Style: Knockout Deep

Lesson 102 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

Layer Style: Knockout Deep

Lesson 102 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

102. Layer Style: Knockout Deep

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Layer Style: Knockout Deep

so I often structure my documents using those groups, and here is a very complex image. But when I open the image, you'll see that my layers panel is very easy to understand that obviously what's in here is my retouching and refinements for me means adjustments from just optimizing the image. And then, with this particular serious of images, I do a partial black and white effect which is contained in there. So if I turn off all the eyeballs for these groups, you can see the original image. And then I could turn on the eyeball for my retouching to see how extensive of retouching have done. If I expand the group, I can see that there's a total of three layers. And if you look at him once called weeds be gone, that's usually my overall retouching. And then here I wasn't certain if I really wanted to in the end, get rid of the stuff that was on the right side, but I wanted to try it, so I put it on a separate layer so I could turn on and off. And then I made a separate one for a moving on ...

electronic sign. That's on the left side of the picture, and here's the right side of the picture. I wasn't sure if I wanted to do so anyway. Those are organized, then I usually have my retouching directly above the original picture, and if you structure your document that way above that, you can have adjustment layers and everything works out nicely. So here I'm gonna now Tanami refinements, and let's see if the image changes at all. Yeah, it seems like the color within various areas. I've been enhanced, and if I open that, you can see all the adjustment layers that are contained within each one of them is either curves, adjustment layer or a hue and saturation. Those are the two adjustments that I use most the most, and that's why we covered them. We covered curves in a tonal and adjustment layers lesson as part of Masters Academy, and we covered hue and saturation in a color adjustments lesson. So if you have those lessons, Frito Watch and you'll see that those are all stacked or so many of them now that I put them in a folder. Then up here we have 10 to black and white and there. I have a black and white adjustment layer that's in this layer down here, and then I have some special stuff going up here in. This is stuff we haven't talked about yet. So that's what I want to dive into and show you some special settings we can use related to groups. So if I look here and I turn off the eyeballs and some of these layers would I have inside of this group that's doing the majority? The work here is a black and white adjustment layer. Now I could at a mask to the black and white adjustment layer toe limit where it can affect the picture. The problem I find is having a single mask isn't versatile enough for me in Oftentimes, I want to come back and make additional changes later on. If all the masking I've done it's in a single mask, that makes it much more difficult to be able to have the versatility to come back and adjust things later. So let me show you how I have this set up here. I have a layer where if I hit the backslash key that's right above her Turner, enter the layer mask that's attached to that layer. We'll get over late on the picture so only the area had not seen Read on is affected by this layer. That layer is what is commonly referred to as an empty adjustment layer. What's an empty adjustment layer? It needs an adjustment layer that would not change the look of your picture at all. That would be like going in to do ah levels adjustment layer and just never moving a single slider in levels. Then that would be levels waiting to be used, waiting to have the sliders move, but not actually making a change to the image yet. Well, this one is set up for the trees, and what I wanted it this later to do is to be special. I want this layer to act as a mask for the layer that's below toe limit, where it can affect the image, and I want to be able to dial in exactly how strong that adjustment is applied. Well, let me show you how that could be done. All create a brand new one of these layers, just in case you're not completely falling. What I mean by an empty adjustment layer and then I'll turn these back on to get a better sense. So I'm gonna come down here and create an empty adjustment layer. I could use a, um, brightness and contrast and just don't move the sliders levels don't move the sliders, curves, hue and saturation. There are many different adjustments you can use. The actual type of adjustment does not matter as long as you can get it to not change the appearance of your picture. And that means you shouldn't use a black and white adjustment because it's not possible to not change your picture. Using that, it always makes your inch black and white. So anyway, here I have a levels adjustment layer not going to touch the sliders at all. So I leave this as an empty one. Then I'm going to make a selection or just paint on its mask. However, I like eso. I'll grab this. I'm gonna fill that mask with black and then I'll grab my paintbrush and I will try to get this round circle right here. Can't, uh, I gotta paint with White. You're not actually seeing anything changing the image yet, but I am playing with the mask. So when I let go of the mouse, if you look in the mask, you'll see I painted with white in a tiny air. If I do my little overlay with the backslash key, that's what I've painted on in my mask. So how can I get this toe act like a mask for the layer that's under it? Well, the way I could do that is with a special feature that barely anybody ever notices exists. Um, here's what it is. I'm working on an empty adjustment layer. The empty adjustment layer has a mask attached to it. I go to the bottom of my layers panel. I click on the letters FX and I choose blending options, and that brings up this screen full of choices. We're just gonna look at one choice that's contained within here, and it is called Knockout. The default for knockout is set to none. I'm gonna change it to shallow. What a shallow, mean shallow means Look at the folder I'm currently working on, which is known as a group in caused this layer wherever this layer would usually be visible to poke a hole or mac out any layers that are below it within this folder. So if I choose knockout shallow suddenly it's causing Ah hold to be poked through the layer that is found underneath, and it's allowing it so it preventing it from affecting that area. All he did was set knockout too shallow in what it's doing is looking at this layer in the mask is controlling. Where would this layer usually show up on Lee, where it's white in the mask? So that little part. So then I could create another one of these. I could come in here and let's do another levels adjustment layer. Not gonna move these sliders at all, and I'll fill the mask with black so usually wouldn't apply anywhere. And I'll choose a different area to come in here and paint on. Ah, here. I'm gonna come in and with my paint brush painting with white, I'll get you on the pump and I'm not being precise right now. But imagine I waas. Then I'm going to take that layer, go to the letters FX, choose blending options and say, Let wherever that layer would usually be visible. That's where there's white in the mask. Make that knockout in shallow means Onley through the contents of this folder. So, folks a hole in it and I can continue painting on the mask. Maybe I pain up here. There we go. So now I can have more than one layer that's poking a hole through that black among adjustment layer. Well, what I want to frequently dio is I want the black and white adjustment layer to partially apply to areas just not at full strength. So now what I can do is click on either one of those adjustments and go up to the opacity setting that the top of my layers panel. And I'm just gonna lower it. If I wrote down to 0% it means it's going to affect the image 0% of the way. But if you bring it up a little bit, I can now make it so I'm controlling how much is the black and white adjustment layer able to affect this area? So I'm gonna throw those two adjustment layers away that I just created and show you the ones that were already in here. So if we look at the first adjustment layer that was here, if I overlay the mask you noticed the area that doesn't have red in it is where there are trees, trees both in the left side of the photograph and trees you can see through a window in the building. And if I turned the eyeball on there, that is causing the black and white adjustment layer to apply 73% of the way to those areas. So they're almost black and white. How do I know it's 73% of the way? Ah, actually, it's 63% of the way because it's the opposite of whatever this number is. This is how much we're preventing that from showing up to removing 37% of the adjustment. The next one is this area, and that's where I want your eye to be drawn. So I want that to be the most colorful area in the photograph, and so that one, if I turn it on, is set to 100%. That means block 100% of the black and white adjustment. Then there's here, and I see on the building their system stars in those little lights that are above it. In that one is set to 77% because I just didn't want it to be quite as vivid as the areas where I wanted your eyes to go to. Then we have one that is, of the station itself in that is set to 53% so about half amount can apply to the station. So by stacking a bunch of empty adjustment layers adjustment layers that wouldn't change the look of the image at all. I can use the masks that are attached to them. And if I set the layers to knock out shallow, those masks are knocking a hole in this black and white adjustment layer, and I could isolate various areas within the photograph and then adjust the opacity of each one to control how much of the black and white adjustment layer is prevented from being applied in. So this is something that I do that it was a very advanced use of layers to give me much more versatility and in this case, have four separate masks that are controlling where that black and white adjustment layer applies to the image. The key to it is that when I go to the letters f x and choose blending options that this right over here is set to knock out shallow. So then that begs the question. What is knockout deep? Do knock out deep will knock through all layers that are contained below this layer that set to knock out deep until it hits a layer called background. And so, if I said this to knock out deep and I up the opacity to 100% said 53 right now there is not a layer in my document called background, and so it just knocks a hole all the way through the bottom of the document. If the bottom most layer within the document was a background, then it would have knocked through until it hit the background. And so that's an advanced feature in layers that I love using. But I showed you it's mainly knockout shallow because I'm usually trying to knock through things that are contained within a group. I'm guessing not everybody will use that one. But for those of you that do, I think it will be bring you to another level with what you can do

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

Student Work