Painting With Adobe® Photoshop®

Lesson 16 of 40

Inverted Mask Trick & Q&A

 

Painting With Adobe® Photoshop®

Lesson 16 of 40

Inverted Mask Trick & Q&A

 

Lesson Info

Inverted Mask Trick & Q&A

I wanted to have more detail in the eyes were using the oil paint filter, you can see that it actually at a reduced size it's, it's, photorealistic. So this is for those of you who said I want to make it look like a painting, but it's, obviously I'm selling it as my photograph as a painting. Um, and I'm completely lazy, and I want to do it by hitting a button, its better friend than anyone hit my button and wanted your action, but and I want to do it, but I want a little bit more detail in those eyes. So what? I'm going to dio again, I've got one layer here. I'm going to duplicate this layer layer new via copy commander control j is the shortcut because this is a smart object is actually a very unique copy. This copy is making what's known as an instance all it's doing is taking the exact same image and duplicating it. It's referencing that image it's the exact same image it didn't actually duplicate the file size and actually just came up here and made a instances what it's known as s...

o it's the same file if I were to take this first file and turned it into black and white. This second layer would become a black and white back in adobe camera raw it's the same file the nice thing about that is you could duplicate this ten times and you're not going to take your file size up through the roof um if you really needed it to be an independent one because one is going to be black and white and one's gonna be color then you would right click on it and say new smart object via copy that actually creates a completely independent one will double your file size and do all that so you have both those flexibilities but as a default the commander control j and I mentioned it because it could be that you turn one into a black and white you're trying to do that effect and both of them become black and white it becomes very frustrating anyway this second one here I come up to my oil paint I'm going to take that stylization I'm gonna take that way down okay? So I can see the eyelashes and everything else I say okay I see a lot more detail right around the eye all I want is this idea tail in this image I actually don't like it it doesn't work as well for the hair and all this stuff up it's not as much of a painting I don't want to use I'm not going to want to mask out this effect this mask right here is from asking out the filtering I actually don't want to mask out the filter I wanna mask out the entire image I only want the eyes on this layer visible right? Just like good old fashioned days if you haven't been using layer mass and photoshopped this is how we did in the olden days later mask layer, layer mask appeal in the snow both ways and but I'm gonna give you a trick because you guys are with me, which means that you guys like tips and tricks and you like doing stuff you've never done before and you want to be ableto impress your friends and go nan in and and I know this you don't so what we want to do is often times when you have an effect on the layer you want to paint in that effect, you don't want to paint out that effect, so all I want is the eyes and if I started off with a white traditional layer mask everything would show through and I'd have to paint out black everywhere I didn't want it or then fill the layer with black and then I'd paint with white a short cut for filling with black when you make a layer mask in other words, that the default for the mask is black hiding everything so all you need to do is go dot, dot and bring in what you want instead of clicking on the adam ask icon down here regular doing it the regular way you're going to hold down the option key on the mac or the old can the pc click and now the mask starts off inverted saves you all that time and energy because you never want to do extra steps that's actually one of the more useful tips and put a shop how to make an inverted mask you'll notice that now this layer is having no effect on my document because it's being hidden so I'm just going to now come back here to good old fashioned paintbrush we won't even need the mixer brush we just want a good old fashioned regular paint brush with a good old fashioned nice off skip we're gonna come up here I used my square bracket keys we wanted at one hundred percent will get rid of our um cream here and I've got white right here and I'm going to come up and I'm painting in they added detail around the eyes okay and that's really all you need to do and it could be that you do it for other portions of the images well so now I've got eyelashes and I detail it's still painted it has the exact same texture on it I could come up here if I'm getting a little bit of from losing some detail this is going to add the little speculum highlights on the lips okay, so we are good to go and you could do that throughout okay and let's make sure that we're one hundred percent so we can see it all that did is bringing in that eye which is the tighter detail by changing the parameters of our smart filter recipe and we can do that as much as we want everyone you could add multiple areas if you want and continued changes so that somewhere really expressive and some or not we're going to be using similar concepts when we get into painting. There was a question from sam cox who had asked from colorado who had asked how sensitive are your presets in actions to image size? Well the actions applied to a small image appear differently when applied to a large image and a lot of people were asking about image size okay about how that changes things and they were probably asking that before I answered the question probably s o but reiterated because it is really important one the cool thing about image size specifically as it's related teo smart filters and the smart filter recipes as we just did with the a portrait of my daughter lower as it came in I actually scaled up after I'd even applied their filter effect to it and it says I don't care what you give it to me I'm going to do these parameters to this image no matter what size so you can actually scale up the image after the fact in terms of this specific technique in terms of in general my presets and actions and things like that most of them as you walk through an action if it's specific in terms of detail, the action will stop and say I've set my default to five pixel you know gazi and blur for this, but you will set it to taste so they're specifically set up for you to be able to find two in the parameters based upon resolution so it's an excellent, excellent question not only for this project but when it comes to my actions you're going to notice that as an example the sketch actually ran yesterday when it came to that detail it says I've said it to this, but if you want you can change it to this ok to fine tune that so most of all my presets they let you customize it so they're appropriate for whether it's a low resolution or high resolution it could also be that it's not nearly needing to do with resolution it could be that if this was a full figure shot same resolution let's say it's five thousand pixels hi whether it's a close up of the face or a full figure is again going to be a detail issue but a lot of won a lot more detail of its full figure keep in the face or not so it's maybe not resolution it's how much detail you want in the image? This is another great example where you could use this technique twice if you were doing a full gown portrait you could do the entire full figure at this rough setting you'd get the gown with all the simplified nature to it and then you would duplicate the layer and for the face you would take that stylization down so the face was much more photo realistic so it's an excellent question the panthers are one if you do need to change resolution of your file remember photoshopped sisi has great new algorithms for doing just that smart filters because of their definition are resolution independent you can work a different resolutions um works out great you can find two in the parameters like we did with the stylization that's what your main detail slider is for that particular technique and I mentioned yesterday which you may not have constance we covered a lot that when it comes to p p ay pixels per inch for printing out in image I have set my patterns and brushes and the textures within those brushes to think of your original at a two hundred twenty five p p I size that way these textures that are set up with canvas and watercolor paper will match the exact size of true watercolor paper or to canvass at two hundred twenty five p p I and you can go to your image size and set your image up to two twenty five p p I and the size that you want you know inches and there's your pee pee I and that way when you are working and if you are trying to mess with people's minds and you want the canvas that you're working on to match the exact orphan wolf of canvas it will match you know I don't care about that I'm doing a poster I'm doing greeting cards that makes no difference then don't worry about it then that resolution is whatever you want to make it look pretty but I've made it to twenty five to twenty five is a great resolution you could probably get away with one fifty if you want to for canvas wraps uhm you might want to go as high as three hundred if you're doing glossy stock to twenty five is actually a um uh great middle of the road and for most painting work it's more than enough resolution a couple of people jack while fan and the free minder had also asked about like the ideal file size so the file size is not as important as the pp I not file size that's all based upon how big you want to print it so the p p I's how many pixels per linear interest squished together in order to make that print so for most stuff that's going to be most paintings or water color paintings are drawings are going to be printed on a nun coded stock or a textured stock because of that the two twenty five is fine okay and you can choose whether to re sample it or not when you change that resolution um in terms of how much you have in your file is that you're trying to print from an iphone shot well that's based upon what you're trying to get out of it if it's going to be an eight by ten print then you're going to have plenty you know you can always start up if you want to, um, open up an image, say new and say this is the size of my original and put in those pixel dimensions and your desire to twenty five pixels right here let's say if I put in five thousand by three thousand to twenty five that right here if I switch this two inches yeah it's not going to it so if we switch that will continue to set it to pixels that's a lot of pixels and say ok, this document and we go back to image size this tells me I can print this image at thirteen by twenty two inches so you can open up a file from any camera in its default resolution and find out it will tell you your maximum print size at two twenty five if you're not worried about matching the exact warp and woof for your print on the textures, especially the textures that I've given you as I mentioned, you can get away with, um one fifty pixels per inch for something like a watercolor paper or a canvas gallery wrap that just took with the file size that I can print up to thirty three inches. So again, the difference of how big I can go at, okay, so that takes it up. Another thirty three percent two twenty five verses one fifty is another seventy five, seventy five is half of one fifty you just took it up a third. You guys all know math so you can expand it. Another thirty three percent for your watercolor paper in canvas wraps. If you're not worried about, um, matching that exact texture more, you just create your own, um, textures, and you would do it at one fifty you all I do is campus, perhaps all day, so you'll create your textures at one fifty and therefore you're good to go and you can print huge sizes, even from something like an iphone. We're now because we did the the oil paint filter, and since we are going to use that as a cheat in concert with our mixer brush, now we're ready to go into mixer brush. Section of the class, and we'll start off by talking about the mixer. Brush, how it works, the parameters for the mixer. Brush talk a little bit about setting up your walk. Um, poor it's parameters and its customization. We're going to get into it. We're going to get, we're going to get dirty, okay, as it were, we're going to get dirty with the mixer brush.

Class Description


Learn how to reshape your photographs into expressive original art quickly and easily with Adobe® Photoshop® Hall-of-Famer Jack "Wow" Davis. Clients love artistic expressions of their family and pets, especially as large (profitable) gallery wraps or watercolor prints. Join Jack as he shows you simple step-by-step techniques for transforming your photos into gorgeous oils, pastels, watercolors and sketches – all by cloning and filtering your original photographs.


Software Used: Adobe Photoshop CC 14.0

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