Touching up the Mask in Photoshop
There's our mask I just option clicked on the mast to view it all right so let's look at a few of the things we could work with first sometimes you need to touch up the mask and I'm not saying that in this particular image you might need to do it but let me show you some tricks for doing it let's say that um over in this area I need this area where you see the transition to beam or white because too much of the images disappearing do that kind of greys that are on the edge there. So if I paint with white though and I come over here and simply paint with default settings this is what I get and that means I have to be absolutely precise I'd have to get a relatively small brush and I'd have to be surgically precise to get that edge to look right let me show you a trick where you can get away with being sloppy and still be able to touch up the edge I'm going to change the blending mode of my brush which is found at the top of my screen and the options bar is right here I'm going to change ...
it to a choice that is called hard micks and that long in a paint and let's see what happens, huh? We try that again I'm just gonna paint a painting with white and notice it's hard to tell exactly what's happening there, but what I can tell you is it's not affecting solid black did you notice the solid black areas? Even though I painted way out beyond the head, they didn't change. Well, the only thing is it's making too big of a change when I paint if I paint, you see it just dramatic change right away. So what I'm going to do is lower the opacity of my brush. I'm going to bring it down to around twenty or thirty percent and now let's see what it does come over here and paint now let go, I'll do it again! I could do it again in what's happening is it's protecting the areas that are solid black and it's, concentrating the change that I'm making into the lighter shades that are in the mask? So I choose undo a few times here, let's, try it again. We'll see what happens so met twenty percent opacity in hard micks mode. I'm paying you white, and I'm just going to blatantly paint across here and you'll notice that black areas are protected and it concentrates the change into the brighter shades in the image, so I get that I could go over in a second time if I need more and a third time if I need more to build it up. It will be more effective on images that are noisy is this once I noticed the edge becoming a little grainy looking but it can be interesting so if you ever have any areas of hair like maybe these little wisps of hair are barely showing up at all and you need them to be more prominent well if you use this particular technique then if I come over here to these hairs and paint watch what happens I'll choose undue can you see how they picking up a little bit became more white but I didn't have to have a microscopically small brush ramping exactly on the hair because I'm using a different setup where black is protected so I don't have to worry about over spray into that surrounding area and it concentrates on those brighter shades and so I can go over there and do it I can always dial my opacity to control how aggressive it is usually around twenty or thirty percent is gonna work relatively well then I could do the exact same thing when penny with black if I simply switch my foreground color so I'm painting with black now everything's been reversed and that means that now white is being protected and now it's going to be aggressive about changing the dark areas instead so if I come down to part of this image not sure where it would be most appropriate here but if I wanted to thin these out for instance, I can come up here now and paint, and it'll be more aggressive getting into the dark areas, but if I come over here, nothing happens toa white, because white is protected so you could do it too, just either side it's going to protect the opposite of what you're painting with. So if you're paying with black it's, protect the white, you're painting with white it's protecting black, and I find that to be overly useful when working on a lot of masks of that include hair. And now what you khun deal is once you set this up for hard micks mode at twenty percent capacity is you can create a preset for it, so you don't have to remember what was that mode and what percentage? Instead, just go over here to your brush. If you look at the options bar, you'll find there's, an icon on the far left of it, and that's just a copy of the icon for the tool that I'm working with, right next to that icons a little down point, an arrow, and if you click on it, you can create presets so here already have hair, mask, brush, hide stuff were revealed stuff, all this does is it remembers what color and painting with white or black uh and so to create one of those I can click on this little icon over here on the right remember to get to this I just got in the paintbrush tool and then of the options bar up here I set it up the way I want it click on this little arrow and I took that guy and then I could say what you want to call it um whatever you feel is is useful this part here called include color means remember the color and painting with my foreground color so that when I choose this pre set in the future it will switch here for around colored to that color and therefore you can name it whatever you think is most useful just make sure your foregone color set to what you need before you turn that on where's right now I didn't look at mine so I'm not sure if it's set up appropriately click okay and when you do you would have a new preset already have these two preset so I don't need to create new ones but if I clicked on these then I can easily switch between them. I have my default brush over here which is nice because then that gets me out of it because otherwise you're going to go to use the brush tool in the future and it's not going to act the way you're used to it so now I got nice three little presets here, default brush. And then that automatically sets me too hard. Micks, twenty percent opacity. Paying with black so I think that isa nice, where we don't remember how it's done. You just need to remember, you saved it somewhere.
Complex textures can be a challenge for image editors – but they don’t need to be. Join Ben Willmore for a guide to working with furry, fuzzy, and hairy textures in Photoshop.
You’ll learn how to isolate complex objects from their backgrounds and tackle hair, fur, and other difficult image textures. You’ll also explore ways to refine your work to get professional-quality, sophisticated images every time.
Software Used: Adobe Photoshop CC 2014.2.2