Lessons
Day 1
1Course Intro
05:55 2Layer Masks
15:37 3Adjustment Layers
23:47 4Clipping Masks
08:38 5Intro to Groups & Smart Objects
23:44 6Quick Mask
09:18 7Defining & Creating a Brush
14:49Smart Objects & Filters
20:56 9Smart Objects from Adobe Camera Raw & Lightroom
13:23 10'Blend If' Sliders & Blend Mode Shortcuts
09:35 11Photographing & Scanning Textures
28:08 12Scanning Objects
10:23 13Photographing Smoke
30:17 14Building Frames from Illustrator Brushes
16:59 15Using Adobe Brush CC
35:59 16Managing & Saving Brushes
13:13 17Changing the Behavior of Brushes
23:25Day 2
18Type Techniques
17:22 19Type Tool Presets
18:06 20Patterns
33:52 21Overlaying Texture
15:31 22Layer Mask Edges
45:01 23Refining Edges
08:05 24Adding Borders
15:53 25Displace Filter Edges
20:45 26Using Illustrator Elements
15:33 27Creating Reusable Effects
09:27 28The Role of Actions
35:46 29Smart Filter Techniques
30:56 30Basic Painting Tools
05:53 31Turn a Photo into a Painting
19:43 32Oil Painting Filter
18:45Day 3
33Making Color Pop
23:48 34Color Grading
20:10 35Split Toning
08:50 36Luminosity Mask & Feathering
16:57 37Other Artistic Effects
12:22 38Creative Layout Options: Layer Comps
17:26 39Building Basic Templates
23:26 40Creating Smart Object Templates
25:44 41Quick Retouching: Skin
32:49 42Quick Retouching: Teeth
09:04 43Quick Retouching: Hot Spots
08:05 44Quick Retouching: Eyes
08:32 45Quick Retouching: Content Aware Move & Extend Tool
19:41 46Quick Retouching: Glass Glare
03:44 47Adding Finishing Touches to Photographs
19:57 48Displacement Filter
10:21 49Adding Suggested Elements
20:14 50Saving Files
19:20Lesson Info
Clipping Masks
layer mass are an interesting option, but for some situations is not the best solution. So when you're using a layer mask to hide part of a layer, you're doing it with shades of grey, so you paint with black to hide, being with white to show gray is somewhere in between. But for some situations, you might just want the masking to be done by a shape rather than a color of paint, particularly when you have very specific edges, like a rectangle or oval, something where you could put that on Mass. But then it would be a little harder to adjust it. Or in this case, I've taken one rectangle and duplicated number of times. I have a whole bunch of them, so why might I want to do that? Well, let's grab this photo here and dragged in. Probably make it a little smaller, cause it's a little on the big side, by the way, just pressed the shortcut for free transform and then Commander Control zero, cause I wanted to see the handles so I could readjust the way this image Look. Now look at the structur...
e of my layers panel. See, the photo is right at the top and then immediately below it is the far right of these rectangles. If I want the photographed on Lee, show up inside this shape than I create. This thing called a clipping mask clipping mask is different than a layer mask. A layer mask is is based on shades of gray. A clipping mask is based on shape of pixels, so it doesn't matter what color they are. This happened to be grey. They could be pink, purple or green. Doesn't that's got nothing to do with it now. It could have an influence if you do some other things, but usually I mean, the important part is it's the shape. So in order to create a clipping mask, I have tohave the layer that's going to be clipped, sitting right above the layer that's going to do the clipping. So this layer here the shape is the clipper, and this is the one that's going to be clipped. But what throws people off is to make the clipping mask work. You have to have the layer is gonna be visible on top, right above the thing, doing the clipping. So this is the relationship between these two layers right here. So if I go, I could do this in various ways. Create clipping mask. There's also a keyboard shortcut. Command option G or control all G and you'll see what happens is now look at the layers panel. You can see the whole photo is still there, so haven't deleted anything, but is only visible inside this one rectangle because it's tied to that shape right there. I because of that, it means I can actually move it around inside that and say, maybe I want a different area to show something like Like that Maybe now, as long as I say this is a PSD file, you'll hear me say that so many times over the next three days that will become, like, almost annoying. I was actually teaching one place where they said, we're gonna make that into a drinking game every time Dave says, save is a P s defense that you don't want to do that. You'd be, like, so wasted within, like, because I say it so often to remind people none of this means anything unless you're preserving all the layers. So the whole photograph is still there. I'm only seeing it inside this one shape. So what you need to think about if we just undo our step backwards, couple steps is the positioning. So if we hide this for a second, so you have all these different shapes. Maybe I want this rectangle right here to be the one that where that photograph is clipped inside. Well, then I have to look at where it is in the the order of layers and position my flower photograph right above that layer. So it's always has to be immediately above the layer that's going to the clipping. So in this case, I would have to take this layer, drag it down here, hide it, and then do that create clipping mask. So you see, it's in that particular one. Okay, so the reason I have multiple rectangles is first to demonstrate if you got multiple layers, you have to make sure you're putting something in the right location in terms of the stack of the layers, so that when you go to do the clipping mask, it worked out the right way. Once you have a clipping mask created, this is the structure that you will see in your layers panel. The layer that's being clipped is kind of visually indented and has this little arrow thing decided here and the layer that's doing the clipping. The name of that layer is underlined, so that tells you those two elements are working together. So, for example, if I hid that layer well, the flowers will hide, too, because it's got you can't see anymore because the layer that's doing the clipping has to be visible. So this takes a bit of practice that he used to where it fits into the equation, so to speak. But once you do now, this opens up some interesting possibility. So let's undo this for a second, and I'll show you. I took a different approach. For example, let's take our text tool and just type a word here. Make it nice and big. So ultimately, I want the photograph of the flowers to be inside the word flowers. Now could I do this with a layer mask? I could, but the problem with a layer mask. Remember, it's shades of grey, so if I pasted the word flowers onto the layer mask, it would create a mask. But then it's no longer type, so I can edit it. I want to preserve the ability to edit the type, but I still want the photograph of the flowers to appear appear inside the word. So if I try do it right now, it would not work. Why? Because the order the layers is not correct now. I did it this way initially so I could see what I was doing when I was typing. But ultimately, I need to either pull this layer down or pull the flower photograph, layer up one of the other. Then I take this. Now there's another way you could make a clipping mask, which I still do out of habit because it's the way used to have to do it many years ago is if you just hold down the option, are all key and put your mouse right on the line between the two layers. See how the cursor just changed. If I click there, that also does creates a clipping mask as well. So it's just different ways kind of the same result. But now the same rules apply. I still have the ability. Take this whole flower photograph and move it around and Also, since this is the type player, I can still change this to something completely different. You'll see that on the fly. It's changing too different typefaces and whatever you want, you can play around with it, so it's particularly useful for things like type. But that's not the only. We'll see a couple other situations. So if you're trying to make a photograph fit within a particular shape, which will be a key method, will use for some of our more artistic endeavors than this clipping mask thing become extremely important. What's really interesting to me about clipping mask and this is where the little brain starts going? Who? What else could you do is it's not restricted to one layer being clipped inside. In other words, if I now add another layer on top of this and let's just do something I don't know, just even see it. I'll just put it big red circle and you can see this is an independent layer that moves around. But if I as long as I positioned above the photograph, I used that same method. Now I've added that to the clipping mask as well. So now I have a little color circle. It's only gonna peer inside the shape of. If you look far enough down, you can see that's being clip that's been clipped. There's what's doing the clipping. So if I had more time on my hands, I could theoretically put a different photograph inside each letter just by stacking up a whole bunch of separate layers with a little skinny photograph. Put inside each one of the letters, and that sounds perhaps more complicated. Like anything else. The first time you do it, you're going to have a couple of group that's not in the right position. But then once you start looking at the stack of the layers, it starts to make sense and you got to go. I want this letter to look this way or this. Whatever doesn't have to be letters, shapes anything so that clipping mask function offers up really interesting possibilities that were not tied to layer mass. So why have both? Well, because a layer mask lends itself to paint with beautiful shades of painting with feathery brushes and make things fade out, whereas equipping masses. Here's the shape I want. So for two very different situations and there might be cases where you combine them both for different situations, as we'll see later on
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
karlafornia
I like Dave's teaching style: methodical, well-organized, VERY knowledgeable, interesting, relevant, and delivered with a really good sense of humor (he's a very snappy dresser, too!). Most of all, his lessons are most useful in teaching me how to save time processing my photos in a NON-destructive way and with a stream-lined workflow. This particular class is not only versed in technique, but I LOVE how he encourages creativity through experimentation and "playing" and pushing the envelop with the program. that is not as scary as it sounds because Dave is all about working with smart objects, smart filters and other such ways designed to save us from destroying our photos or work that has to be redone or scrapped because we went down a road of no return.
a Creativelive Student
Dave has a brilliant (as well as humorous) way of teaching and I always learn something new from him. I have purchased many of his previous classes and love every one of them! Thank you for another great course!