Adobe® Photoshop® Intensive

Lesson 20 of 68

Layer Masks: Gradient Mask Collage

 

Adobe® Photoshop® Intensive

Lesson 20 of 68

Layer Masks: Gradient Mask Collage

 

Lesson Info

Layer Masks: Gradient Mask Collage

Let's use the great and tool in the collage instead of hand painting it with the brush okay, we've been using the grand ayatollah mass pretty much this whole afternoon with our reflection and so on and so forth so here's a collage that you might want to make this little turquoise line you're seeing over here I'm going to switch to the move told us to get rid of this honking big brush cursor for a moment see this line right here this is what's called a guide in photo shop okay if you turn on your rulers, you have a set of horizontal and vertical rulers and photoshopped that help you align things you could turn them on by choosing the view menu and choosing rulers are by pressing command or control are once you have those rulers on see how they appeared above and beside the image once you have those rulers turned on, you can click within the ruler and as you drag you will add guides and they can help you with alignment when you're creating ads and so forth. So that's what these old thing...

s are if you create them you can click and drag them back into the ruler area to delete them, so since I had a couple going on this image I figured I'd tell you what they think they are going to go and turn my rulers off by person commander control are so here we have in image here and if you look in the layers painful, you can see what it's comprised of again ok, we've got a type player for our text foot shop creates that when you grab the text tool and click on your document we've got one image layer that's been scooted to the left with a layer mass that's letting you show letting you see where that pictures being revealed in the documents and then you've got the other image layer of the campus down there at the bottom and it's been scooted over to the right so I can see transparency here so let's close this and let's open the two images that I used k so again arrange documents in the applications bar click the two up icon dragged one image into the other doesn't really matter which direction you go I'm going to drag the girl into the campus shot so click to activate the girl document from the layers panel click and drag I'm gonna close the girl now what I really want to have happen is I want her head to be on the left side I want her looking to the right instead of looking to the lift remember in our reflection technique when we summoned free transform and we had the handy poppet menu and we flipped the photo vertically you can flip a photo horizontally too, so don't let a good collage opportunity passion by if you're subject is facing the wrong direction because you can do anything and photo shop, so I'm going to summon a free transformed by either choosing, edit free, transform or by pressing commander control t in with my mouse inside the box control or right click within the box in this time choose flip horizontal now, she's facing the right way, smile smugly impress return or enter, and now we're going to skip her over to the lift already got my move till activated, so activated if it's not or press v for move, move, hold on your shift key. If you don't want to move the photo vertically, now, add a layer mass to that layer. Click the circle within a square icon at the bottom of the layers panel, and in this situation we could hand paint on the mask with a very large brush, but let's use the grady and told just because we can summon oppress g to grab the radiant I still have my black to white radiance that in the radiant preset picker, I still have my linear gravy and chosen now what I want to do, he is click and drag from the right to the left on the image, okay, because I want the black to be on this side because this is what I want hidden that's it keep dragging until it looks good to you let's get to me about their so that's how you create collages very, very, very simple let's see what other examples I have for you we won't go through this one, but it kind of gives you an idea of what you can create so this was another fake at, you know it's fake because I don't think there's a tofu lane in denver, but I thought that was pretty funny. So what we've got here, our three different images all faded together with a variety of using this the soft brush tool painting within the mass or using the gravy and tool so there's no limit to how many images you can fade together with either of these techniques and let me tell you it's a heck of a lot of fun and you it's a way for you to take snapshots or photos and turn them into real pieces of art and over here in the layers panel, you can see exactly how this is created over here case so at the top, we've got our techs layer so that's where our tango tuesday's coming from and then we've got this layer with an anybody rose tucked up at the top left corner and we've got a big old layer mass there's not very much of that rose photo being revealed because it's mostly black and then we've got our dance or photo positioned at the top right again, these are miniatures of what you're seeing in the large preview area case and you can tell on this one that okay, all this area and the photo is being hidden can the only things being revealed is this part over here and with the guitar all of it's being revealed? I don't have any kind of mass going on so it's nothing is being hidden and the very bottom layer the layer stack is thie solid color phil layer and that's where our black background is coming from and again, the reason I'm using the solid color film layer is because it quickly allows me to change color so it's good for experimentation when you're designing and because there's really no pixels on this layer you've just told photo shop a flower shop I want black to be here so that's how you can create that okay, so idea I didn't give you the image files at home or if you're trying this at home. So you've got all three of these guys right here, so if you want to give that one a try please day but I want to make sure we have time to get through the last thing because I have several little several little goodies that are built into here if we want to take a couple of questions on the hand painted collages and the grady ants and all that would go and take those questions just a few and then we'll get back into this yes one real quickly and then if there's time another quickie when you move the girl over to the left the portion of her that we can't see is still there correct? Is it affecting the file will it ever print somewhere when you don't want it to ok since that was a real quick grace question really great questions so so the rest of that photo was just hanging off the documented so she's not ever going to papa accidentally not lets you grab the move toll and you do regular back cool because I've been going to the trouble of cutting the portion off that I don't want on the ganges good news the other one is sometimes you out of layer and then add a mask to that layer and other times you have added an adjustment layer does it matter? Yes so we've been adding adjustment layers when we want to fill that layer with color so we've been using a solid color phil adjustment layer okay in in one place it calls it a phil layer well let me let me open up the document here we'll go back to our girl here she is ok so if we go out to the layer mini and she's new phil layer then we get solid color okay layer mask comes with any of these guys with the phil layers and the adjustment layers phil layers are actually adjustment layers don't know why they have them in two different minis like that but they are exactly the same thing so the reason we use an adjustment layers because it was efficient for experimenting with color when we added the paint because we only went wanted the pain to be in a certain area and we hand painted it to colorize that photo right there we added a regular image layer because we really did want to lay down really paint in a certain area that we hand painted so that was why we use an image layer on that technique and then other times especially for background color we've been using a feel layer so that's why I give you back on that question even though the girl won't show again does that increase the file size and there is that a full size photos still there that's a good question it probably does affect the way you have a crop it to make it small yeah since we haven't cropped it she's still all there so your file size rule reflected that whole images there you know in the size images that I'm working with I'm not working with four gigabyte files here so in my experience for what I do, it doesn't really matter that much so unless you're working with gargantuan file sizes it probably won't affect you your questions on that I have a question from one of our regulars surely in new jersey would like to know if you will show us how to turn the grady and gray to a darker colors there's no white edge in the fade yeah, I think we're going to get into that in later days okay? Yeah later on in the week okay? And there is a question from jen garcia can you add a great the mask and paint on the same mask? Can you add yes so you could start out let's say like we did on this photo you could use the grady and tool within the mask and then let's say that you couldn't get it exactly right you could click to activate the mask and go back in with the brush tool and you could find him certain areas so if you can't get the the masto look perfect by using the greatest tool, then you can go in and finding it by hand with brush tool it using the radiant tool can oftentimes be much faster as you've seen no but ifyou've if you use the grady and tool and you get like a sharp edge of your photo showing up and you can't get the grady of the right angle to get rid of it than you, you have to go in with the brush toll and fine tune it

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.


Software Used: Adobe Photoshop CS 5.1

Lessons

  1. Introduction: Nitty Gritty Basics + Layers
  2. Workspace Overview
  3. Q&A: Workspace
  4. The Truth About Resolution and File Formats
  5. Changing Resolution Without Changing Quality
  6. Q&A: Resolution and File Formats
  7. Resizing with the Crop Tool
  8. Cropping with the Ruler Tool
  9. Resizing with Content-Aware Scale
  10. Resizing for Print/Web
  11. Layers and Layer Types
  12. Duplicating, Moving, and and Aligning Layers
  13. Q&A: Layers
  14. Creating Reflections
  15. Layer Alignment Tools
  16. Simple Slimming Technique (Resizing Layers)
  17. Colorizing a Black and White Image
  18. Creating a Solid Color Fade with Fill Layers
  19. Layer Masks: Hand Painted Image Collage
  20. Layer Masks: Gradient Mask Collage
  21. Layer Blend Mode Collage (Include Load Images as Stack)
  1. Using Selections Part 1
  2. Using Selections Part 2
  3. Q&A: Selection Tools
  4. Color Selections: Fixing Animal White Eyes
  5. Tightening Up Layer Masks
  6. Painting Selections with QuickMasks
  7. Using Vector Drawing Tools
  8. Vector Shapes: Creating an Oval Vignette
  9. Vector Shapes: Rounded Edges to Photo
  10. Use Channels to Create Selections
  11. Tough Selections Around Hair & Fur
  12. Refine Edges Part 1
  13. Refine Edges Part 2
  14. Creative Edges on Photos
  15. Embellishing with Vector Art
  16. Creative Vector Photo Frames
  17. Editing Smart Objects
  18. Smart Objects Template: Creating Dark Edge Vignette
  1. Smart Objects: Selective Blurring
  2. Smart Objects: Selective Sharpening
  3. Sharpening with the High Pass Filter
  4. Q&A: Sharpening
  5. Auto Color Adjustments
  6. Shadows and Highlights
  7. Using Levels
  8. When to Use Smart Objects
  9. Using Curves
  10. Lightening and Darkening with Blend Modes
  11. Enhancing Eyes and Teeth
  12. Changing Colors with Hue/Saturation
  13. Changing Colors by Hand Painting
  14. Faux Dodge/Burn: Reduce Wrinkle
  15. Color to Black and White
  1. Healing Brush
  2. Content Aware Fill
  3. Using Text in Photoshop
  4. Designing with Baseline Shift
  5. OpenType Fonts
  6. Placing Text Behind an Object
  7. Barely There Text: Faded and Hollow Text
  8. Pushing Photos Through Text
  9. Adding Texture to Your Text
  10. Convert Text to Paths
  11. Combine Images using Advanced Blending
  12. Realistic Photo Aging
  13. Faking HDR
  14. Wrapping Texture Around an Object

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