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Using Photoshop Channels

Lesson 7 of 8

How To Pick-Up Textures From Channels

 

Using Photoshop Channels

Lesson 7 of 8

How To Pick-Up Textures From Channels

 

Lesson Info

How To Pick-Up Textures From Channels

What we're gonna do is we're gonna go ahead and we're gonna take textures. Got this burlap texture right here. We also have this paint peel. Both are awesome. Both were awesome in different ways. So what I'm gonna dio is I want to pick up the texture of this burlap or the paint peel right here. And I want to take this paint peel effect, and I want to put it over my image. Now, I'm not going to just drag this entire thing on there because there's no way that I'm gonna make this transparent and make it look like it's going to be. My image is actually peeling. Well, the reality of it is Is that all I want out of this image here or the shadows? That's all I want because the very basics of rendering anything is highlights and shadows. You ever went to drawing one? 01 If you could just render the shadows of something that's all you need to indicate its shape in its position. So that's all we're gonna capture and we're gonna do that by going into our channels are Red Channel, bring Channel an...

d Blue Channel. So in this case because I want to take just the shadows from my image. Nothing else. I'm gonna take the one that has the lightest information in here because then I can make that white, which, because it's on a channel, will then become completely transparent. And so I'm going to duplicate this channel, never work on the existing channel. Always create a copy. Always. I'm going to click on that. Turn off the old one, make sure that's active. And on now, I'm gonna treat this like a grayscale image onto do a levels directly on this duplicate channel. And I'm going to bring my highlight slider past my hissed a gram here so that I know that this is going to be completely white and therefore totally transparent. Now I can go in and I can adjust my shadows here. If I would like to make thes a lot darker, I actually don't. Okay, I just need a little hint of shadow here. Not much. Doesn't need that much at all. So basically, this is the essence of my cracked and peeling paint is the shadow. That's it. So if I really am and if I'm really concerned, did I get that white enough. I could always go under my info panel here, and I could go over this and I could read my Total Inc. And I can see that that is zero. So I know that that is not going to bring any tone into my image. I'm not gonna go. And I'm in a command click on my channel. I'm gonna get my selection here. The key to this is you want to use any one of your selection tools to then drag your selection into your existing image. Okay? You don't want to use the move tool. If you move the move tool, you're going to cut the entire all the pixels. I don't want the pixels. I simply want the depth of selection of those pixels I hadn't wrapped out around your brain. I'm gonna use my selection tool, and it's really important to know what is selected. What isn't meant to get to the burlap. You're not going to know what is. It isn't selected. So any time you have your selection tool, if you have your selection cursor with little selection box, you know you're inside this election. If your cursor shows up as just the normal cursor. That means you're not inside this election. So you want this cursor to show up and you congrats this election from your image, drag it up to and then drop it into your existing image right here. If you want to size your selection, you can't go on to your edit menu and then choose transform because then you're transform the pixels. But I want to do that. I want to take my selection and I want to resize my selection without moving the pixels. So I transform this election and then I can make This is Bigas. I want Teoh on there Set my selection. Now I got all my color adjustment that doesn't make any difference here. Gonna put a new layer on here and this is going to be my paint peel layer, because I have my selection active right here. It's gonna fill everything, so I want the exact opposite. So if I fill this with color here, it's gonna feel way too much. I'm gonna show you that. So if I do that filled with color, it's all gonna become black. That's not what I want. So I'm gonna select the inverse here. So I get just the shadow areas. That's it. All I want is the shadow areas. I'm on my layer. I have my selection active. I have black selected option delete is then going to fill all those pixels Mandy for de select. Now the intensity of my shadows was selected from my channel by command, clicking on them. It selected the pixels, but it on Lee selected the depth of the pixel, something I can't do with a normal selection tool. It only selects the capacity of the pixel, which is awesome. Okay, there it ISS. So now I have this on a separate layer, which then I can adjust. I can select. I can add any colors to it as well. And I can also go through and use my different blending boats. So if I hold down my shift key and do my shift plus, this will run through my blending modes here, and I can create all different types of things that I want on here. If I'd like to go in and intensify this, this is a layer that has pixels I could go into by levels or channels, and I coulda just that little bit more or I could go in and I could duplicate this layer on top of itself to double it up, to make it more intense. I want just by duplicating that layer. So now I get this really cool. Look where things were starting to peel off the wall. If I wanted to go even further, I could put a mask on here and it could mask out this. Sections of the color didn't come through so that it would look like I have a mural on my wall that's actually cracking and peeling, and that could be kind of cool as well if you want. But this is just being able to go in and get the texture or get the shadows of something and you got it. If you really wanted to have a lot of fun, then you could go into your original image, cut it apart and start using your warp tools to start warping your image to match the curling paint. That would be fun as well, but that doesn't necessarily acquire channels, but this is a really quick and easy way to get something out of a photo shop in the way of textures without going in and using it. Otherwise, had I done this any other way and had I just gone into my paint peel, I'm going to my channels, clicked off that de selected it and just grabbed my entire paint peel and dragged it on to my island right there and put it on here. That's what I end up with. And then, no matter what type of blending mode that I use, it's always gonna look kind of weird because I'm always gonna be dealing with the yellow. And, yeah, you get some weird, interesting things, but it literally looks like you took an image and just dumped it on top of the other one, Not what I wanted. I didn't care about the image. I just wanted that specific detail. And you can fill these with any color that you want to. I just filled them with black, but you can fill in with any color if you'd like to create any type of tonal range. So I have my burlap again. I'd like to capture the essence of this burlap here, and these channels are pretty similar in quality. This one's fairly light the green has got some good depth right here. And really, all I'm looking for is the shadow because you have you ever to draw or illustrate this. All you have to do is illustrate the shadows and you're going to get this feeling of the burlap. So the green looks like a nice contrast in between here, not to light, Not too dark. Gonna right click duplicate this channel and turn that on off. Turn this one on selected. I'm going to go in and adjust my levels here so I can lighten this up substantially, because all I want is the shadows. I don't want to retain any of the detail in here because the shadows are what is going to give me my actual look and feel. If I do retain any of the detail there that's gonna muddy my image when I put it in there, I want that to be white. So if I had my info panel, I could actually measure that to be white right there. And if I want more contrast, I could definitely dial that in like that. So I call up my info panel and I have her over that right there. I can see that. That's not white White out it iss right there. Perfect. So now if I were to capture this, this would allow me to go in and have this to be completely transparent. It's like they sound like we just did this, but there's always more to it every single time but a command click on my burlap Jump back over to my layer here, and here's the tricky part. When I'm doing this, it's really hard to see where my selection tool is. So you want to make sure that it's not your little crosshairs, because that's your original tool. You want to make sure that you click on here and you see your actual little selection tool, because you could easily click off this if you dio just go back on your select menu and she was re select, it may take a couple tries to get this, so I'm gonna drag this selection over to my island and drop it in turn off my other layers. This election isn't big enough, but then I can go in and I can expand the selection anywhere that I want by going in and doing my select and then I could transform my selection. There it is and there is my selection. Said it in a place. Create a new layer, fill that whole thing and here it's not what I wanted. So I'm gonna invert this election. Here's like the inverse. So I get just the shadow areas and then fill that and then do my command D for D Select. So there's my burlap over the whole thing. It's pretty intense. I could cut back the opacity, go back to my move tool hit, shift plus go through and kind of run through all my different blending modes here to kind of create. You know, it looks like it's kind of going through, and it's your any kind of looking through a curtain here, and it's like, You know, it just kind of looks like it's soft and over laid on this object, and it's like, Yeah, you know, it's not the best. So here's what we're gonna do. This will go back to my selection here. We're gonna use this for another image right there. That was okay, but this is the awesome trick. So I take my selection here, and I'm gonna drag it over onto my chili pepper, and I'm going to transform my selection because the clients like ho, wouldn't this be cool if we had, like, a burlap chili pepper? You know, and I want this thing wrapped in burlap to make it look like it grew this way. It's like, Yeah, sure I'll do that will do anything. Especially when it comes to photo shop. Oh, yeah. Okay. I'm gonna create a new layer. Fill that layer in verse, the whole thing. Fill that layer just like so. And there's my entire layer right there. Okay, I get rid of all this extra stuff around it that I do not need. It's not necessary. Not a big deal. Here we go. Delete that. Awesome. There it is. Now, the problem is, the chili pepper is curved, so we're gonna throw a little bit of transform and warp. And stuff like that has nothing to do with channels. But what we do next rocks Okay, So bear with me, do my command t for transform a right click inside and then choose my warp. And then I'm gonna begin working on warping my texture and my pattern here to conform it to my chili and each one of these points I can pull and I can move. This distorts a little bit more than I want Teoh on tail there. But you know what? When nature grows, things get distorted as well. So I'm just gonna run with it. So I'm gonna pull this going to get this distorted as I can, and then I'm gonna go in. I'm gonna see if I can't round these as well to kind of get a little bit more rounded in this in my chili here and kind of deal a bit more round right there around round, round. Not perfect. But you get the idea. Okay? Now, what I'd like to dio is I'd like to go ahead and put a mask on this. Well, before we had class, guess what? I had saved this election right there in my channels cause I knew was going to use it later. So I decided to grab that. So I put a selection around my chili, and I just David is a selection for later use. So many command. Click on that selection. Go back to my layers panel and gonna name my layers, and I'm going to throw a mask on there just like that. Okay, so yeah. I mean, it looks like somebody wrapped in burlap around the whole thing. It's like, Yeah, I get it. Okay, so if I then go in and I use my blending modes here and I start running it through, I get these different blending modes, and it's like, Oh, you know, that's a really cool one right there. It kind of gives this look, but it also kind of looks like it's been just, like, photocopied on there, you know, like a clear overlay. And it's like, totally not convinced. That's because we haven't done the bevel in boss on there. Mm. Yeah. Layer layer effects bevel in. Boss, I'm gonna go in, and I'm going to bevel on Boss This which is actually going to take that detail, and it's going to give me those little bumpiness and that will look and feel that it's actually growing on the object. I know. Okay. Yeah. And so that's a little bit much right there on. So I could do up or down, depending on what we want. Their K don't want too much right there. So the depth is like that. Okay, so now we're getting someplace. Okay, so there's the bevel in, Boss. So now that looks a little bit better on there. A little bit more realistic. But now I want the color to go away. I just want the bumps with no color. How do you get rid of the color and have the bevel in, boss? Well, if you know anything about layers, you will know the $64,000 question. What's the difference between opacity? What's the difference between Phil? Capacity is going to affect the entire layer with all of your effects. I want just the Belleville in. And, boss, I can't have that without my pixels on the layer. If I adjust the fill that will take away all of my pixels and leave me with just the bevel and in Boss, I could then go in and I could adjust the opacity here. And that leaves me with just my Belleville in Boston here, which I could then go in and I could affect by double clicking on that. And I could control how this is I can do an outer bevel that actually looks better and I can set the depth and everything. And now all I get is the shadows and highlights with no actual pixel based detail. And that's how he Congar Oh, in and create something that looks like it grew that way. Uh huh, Yeah. If you want to take it a step further because why not? We're already here. If you want to go in and you want to just your highlight in your shadow Totally separately, Right. Click on your bevel in, Boss, go down to the bottom and break this into layers. Now we go and we will get to separate layers. One for our shadow, one for our highlight. So if you'd like to adjust the separately, they're no longer a layer effect. But there's my shadow. So it just gives me the highlights. And there's my highlights. So I could go in and adjust the separately one slightly too intense. There we go. So that's my shadow. I could go here. I could cut back the Phil here so I could do it a lot more or a lot less right there. And all of a sudden, now, when you look at that, you're like? OK, that looks like it grew that way. And if I do my shadows, If I wanted Teoh with my shadows here, these air just black I could actually go in. And I could clip a layer to the top of this right here. And if I wanted Teoh, I could paint this in red like a darker red here, so my shadow isn't black, but it's actually in red. So my shadow would no longer be black. It would actually be read. So I'm actually painting on red in that layer right there. So no more black shadow. All red. Now that looks like it was born that way completely. You wouldn't guess that that's actually burlap either, would you? You see that? Detail everything. So we could do that here. We could do that on the other image. Couldn't wait. Oh, yes, we could. And we will. So jumping back to our island here. This really isn't that convincing. But we're gonna make it look convincing by going in and adding ARB Evelyn and boss to it. There's our bevel in boss and we've got this size is too big. There it is, controlled the depth of it right there. And now this is going to look like we actually have texture on your here, which is the way you can add, like paper texture, all that other good stuff. We could just dial this in. So there's my layer effect right there. I could adjust the Phil on this to get rid of all of my fill pixels to Then give me this kind of texture or canvas or linen. If I would like to go and make it look like this is a painting on linen, I can select my channel, take this election, fill it, put a bevel in, boss set the filled A zero So all those Phil pixels disappear and I'm left with just the bevel in boss and nothing else Before I want to adjust that Break these into separate layers go in and adjust those layers separately if I want, There is my shadow. There is my highlight So I could take that shadow layer and I could fill it with less so I could cut back the detail. Now what looks like it was actually painted on the rough surface. You want to look it, make it look more real. I can always take the original image. And I could go and copy it on top of this. Unlock it first. There it is. And then copy it all the way to the top. There you go. Place it right there. And then I could use a blending mode over this. Grab my move, tool. Use the blending mode, Put it over the top. And now it looks like I've got this nice, moody painting on any surface that I want. Wood tile, Lenin, Burlap. You got it.

Class Description

Channels are a hidden yet incredible way to make extremely accurate selections for color correction as well as a way of isolating images for background removal. Jason Hoppe will walk through how to make the most of them in a variety of scenarios, including how they can be used in creating high-contrast B&W images quickly and easily. He'll show how for hard to select areas such as hair, channels make it much easier to isolate and remove subjects from a background without using the traditional selection tools. He'll also show how to get a more effective color correction and adjustment workflow by isolating your color channels.



Software Used: Adobe Photoshop CC 2017

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