I'm gonna show you something a little more complicated now. And I'm gonna show you the break up of it first, just so when I show you, you can understand it. There's the code for that, all very easy. All right. What if you want to do a graffiti kind of look? But you don't want to have to mask this out. So do you see this? Like you can see the wall looks a little faux banks-y? I'm gonna show you how to do this without masking, all right? And why you wanna do that is... I'm crying a little inside because I just had to do this on a job. When we do jobs like this, we have to do multiple buys. We have to do a vertical, we have to do a horizontal, we have to do an Instantgram, we have to do a square. And you're forever moving stuff. If you're pulling channels to mask this out, you have to redo the mask every time when you change the wall. (popping) Who wants to do that? So instead we're gonna do Blend Modes. Now we're gonna do these Blend Ifs. They are my favorite thing, I love Blend Ifs. Aga...
in, you move them based on the image and this'll come with the paperwork. Full disclosure, I can never remember what these numbers are. I do it by hand and by eye so for me to redo this demo, I have to cheat, and this is how I cheat. And I want you to cheat the same way when you're doing yours. Let's look at the graffiti job. And there's no shame in cheating, having cheat notes. 'Cause we're all learning, and it's all new technology. I'm gonna tell you something though, I'm crazy ass embarrassed about this. These Blend Ifs have been around since I think, Photoshop 3, and I just started using them a few years ago. So how do you access the Blend If? You right click on the name, or you Control + Click on the name and you go to your blending options. My friends, these have been here forever. So when you open up the file, this is what you have, okay? And then what you wanna start to do is split. I'm slitting my Blend Ifs, and what I'm gonna do because I can never remember what I set it at... I'm gonna cancel that real quick. I'm gonna put my little cheat note right behind it. You're gonna wanna do this, have the cheat note. There's no harm in cheating. And then eventually we'll get it. I haven't been doing this long enough to be able to do it by number. And what that means for you guys when you do this, you're gonna have to do this a few times. You're gonna have to write things down and don't feel bad about it. So if he's back at zero, he's back at zero, what I want to do is I want the whites, this is telling Photoshop "Get rid of the whites. "Drop out the whites." I don't have to pull it very far. I put it at a two three three, but now the key of the day, Option. You hold the Option key and you split the house. And I'm pulling the other one down, and I think I went down to 198, or 196. And what that's gonna do is make it a little more gentle, all right? A little more gentle. This layer I'm on you guys, that is him. This layer, that's the dancer. The bottom line is for the underlying layer. So on the underlying layer, let me see if I can move this, oh I can, good, so you can see. The underlying layer? I'm really bringing that down. And that's the wall. So basically it's making the wall appear, and then once again, key of the day, Option. And you can do this as much or as little as you want. I'm going to say Okay for that, let's just say for giggles we like that. Then I'm gonna put a white wall because we're doing a piece like this, chances are they want some type on it, right? So I need that wall to be, but I still want to be texture-y. So if I did a wall that was regular, I'm gonna hold the Option key down. Excuse me, I'm gonna hold the Control key and go back to the blending options. So even this pure white layer, oh, look at that, that's a double split. Whites go back to their house, blacks of back to their house. All right. The code right here is right here in the center. What did I do? I split the underlying layer, but I really split it. I pull it all the way over here. And then the whites, I said, "Hey you, you're splitting. "I'm holding the Option key, and you're coming "all the way down here." And then do you see what that does? No masking. No masking. And then I did the same on a piece of graffiti but I think I'm beating a dead horse here. Meaning, I think you got it. Hopefully you get that idea and you can find out how it's useful. No masking. I've got a news flash for you also you guys, you can use this on color curves and adjustment layers, so you don't have to mask your adjustment layers. That's another class.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Create rim lighting effects
- Create an illustration look to your images
ABOUT LISA'S CLASS:
In this class, you will learn how to create special effects within your photos by adding elements like rim lighting. Lisa Carney will discuss how to create an illustration light look when there is none. She’ll give you the tool to take an ordinary image and make it look like its a promotion for the next hit television series.
WHO THIS CLASS IS FOR:
- Photographers and retouchers looking to create cinematic effects
- Intermediate to advanced users
Adobe Photoshop CC 2019
ABOUT YOUR INSTRUCTOR:
Lisa Carney is a high end retoucher who has spent over two decades working with the most dynamic players in the print, motion picture, and television industries.
Besides being a regular presenter at the Adobe MAX conference, her teaching roster runs the gamut from beginners to professional retouchers, and includes universities, design studios, movie studios, corporations, and private students.
Lisa has worked with all major movie studios and many television networks including Disney, Buena Vista, Paramount, 20th Century Fox, Fox Searchlight, Sony, Universal, Newline, Columbia, MGM, ABC Television, ESPN, TNT, CNN, CBS, CW,Warner Brothers and Sony.
Advertising credits include Burger King, Baskin-Robbins, Lowes, Jordana Cosmetics, Strategic Perceptions, Mattel, Chrysler, Mercedes, Mazda and Best Buy.