Basic functions of PS mask

Introduction: Mask, channel and constituency are the three most confusing concepts in PS. There are many kinds of masks, such as layer mask, vector mask, clipping mask and quick mask. The means of making constituencies are also dazzling, which makes people overwhelmed; The concept of channel is extremely obscure and confusing, just like being at a loss. There are different opinions on the understanding of these three concepts. The purpose of this post is to explore the connotation, essence and internal relations of the three, with a view to clearing the fog, distinguishing right from wrong and forming a unified system of masks, channels and constituencies.

There are two points that need to be explained: First, this post does not tell you how to use the tutorial of masks, passages and constituencies, but tries to explain the connotation and essence of the three in theory and further explore their internal relations. So this post belongs to the category of theoretical discussion. Second, some viewpoints and formulations in the article may be very different, mostly the opinions of the next family. Please correct me if there is anything wrong.

First, the basic role of the mask

Mask actually has another name: mask, which is called mask in ADOBE's video editing software PR and post-special effects production software AE. Although they have different names, they are essentially the same.

As the name implies, masks, or facial masks, have the basic function of shielding. That is to say, a part of the target object (that is, the layer in PS and the material in the video tracks in PR and AE) is hidden by masking, and the other part is displayed, so as to realize the mixing between different layers (different video tracks in PR and AE) and achieve the purpose of image (or video) synthesis.

Second, the type of mask.

In PS, broadly speaking, masks can be divided into three categories:

(1) layer category mask

A layer class mask is essentially a layer. As a mask, this layer controls the hiding of other layers according to its own opacity.

Broadly speaking, any layer can be regarded as a mask of all the layers below it, and the opacity of this layer will directly affect the visibility of the layers below it. It's just that this situation is not named "mask" in PS, which is actually unnecessary, otherwise the "mask" in PS will not be flooded.

Clipping mask also belongs to layer mask. It is based on a certain layer, and the visibility of all layers in the clipping layer group is controlled by the opacity of pixels in the layer.

A remarkable feature of this kind of mask is that the layer as a mask is located at the bottom of all occluded layers, not at the top, which is somewhat different from our usual understanding.

Consider the above two situations in layer mask-like: one is that a layer blocks the layer below it, and the other is that a layer blocks the layer above it. This is a wonderful and interesting situation in PS.

(2) Channel class mask

The mask of channel class is simply a channel, and it is precisely the gray image in the channel. This gray image cannot exist independently and must be attached to the channel carrier.

Layer mask is a typical application of channel masking, and its purpose is to control the exposure and hiding of a certain layer.

It should be noted that when we add layer mask to a certain layer, we will add a logo behind the corresponding layer, but this logo is not layer mask itself. The real layer mask is actually a channel, which is a gray scale map in the channel. So only by opening the channel to adjust the version can we see the true face of layer mask. If we delete this channel in channel modulation, the original mask identifier in the layer will disappear. It's really "if the skin doesn't exist, the hair will be attached."

Layer mask is just one of the applications of channel mask. In fact, the specific application of channel mask is not limited to this. For example, the familiar quick mask also belongs to the channel mask, but its main function is to modify the selection, which will be discussed below.

What needs to be pointed out in particular is that no matter what kind of application the channel mask is, it is actually based on a key information in the grayscale image-grayscale. When used for occlusion, the greater the gray value of the mask, the greater the degree of appearance of the target layer, that is, the greater the opacity of the target layer; On the contrary, the lower the gray value of the mask, the lower the degree of appearance of the target layer, that is, the smaller the opacity of the target layer.

(3) Path class mask

The path class mask is essentially a path. Vector mask is the only application of this kind of mask.

The vector mask uses paths to control the display and hiding of the target layer. The corresponding target layer in the enclosed area will be displayed, and the corresponding target layer outside the enclosed area will be hidden. For some complex intersecting paths, we can refer to the rules of odd-even winding to judge whether a certain area belongs to a closed area.

Similar to the channel mask, when we add a vector mask to a layer, we also add a vector mask identifier behind the corresponding layer, but this is not the vector mask itself. To see the real vector mask, we need to adjust the path.

Thirdly, the editing methods of various masks are analyzed.

All kinds of masks are editable.

For masks similar to layers, the main object of editing is the opacity of layers and pixels. Therefore, all operations that can change the opacity of a layer or pixel can be used to edit such a mask.

For the channel mask, the main object of editing is the gray image in the channel, to be exact, the gray level of the gray image. Because of this, you can edit this mask by various means of editing images, including various painting editing tools, color adjustment commands and various filters. Obviously, its editing method is the most diverse among the three types of masks.

For the path class mask, the main object of editing is the path, which means that we can edit this kind of mask by any way of editing the path.

Four. abstract

Confusion caused by the title of mask in (1)PS.

Clipping mask, layer mask mask and vector mask, although belonging to different mask categories, all act on the layer, and the name of layer mask is obviously based on this. This can not help but make people wonder for a lifetime: if it is named after three categories of masks, the clipping mask should enjoy the patent of "layer mask"; If the goal of the three masks is taken as the basis of command, since everyone's goal is the level, why should the level have the exclusive title? In fact, if traced back to the source, this confusion has certain historical reasons. Because layer mask appeared in PS with the earliest history and the deepest qualifications. Clipping mask and vector mask are both called masks in the latest version of PS, but not in the original version. So layer mask beat us to it and got the patent of the title of "layer mask", so the clipping mask and vector mask had to sigh and complain that they were ill-timed. Fortunately, the name is not important for learning PS, as long as you understand its essence.

(2) The connection between mask and channel is emerging.

Through the analysis of the nature of three kinds of masks, we vaguely felt some connection between the channel and the mask, and also seemed to touch the silk thread connecting the mask and the channel. One end of this silk thread held the channel and the other end held the channel mask. Next, we will follow this silk thread into the interior of the channel and continue to discuss the channel mask more deeply.

At the same time, the discussion of layer class mask and path class mask ends here. For convenience of expression, in the following description, "mask" in this paper refers to channel mask unless otherwise specified.

Ps color matching skills

1, RGB value with color.

The range of RGB values is 0-255, where R stands for red, G stands for green and B stands for blue.

Black: R, G, B (0,0,0)

White: R, G, B(255, 255, 255)

Red: R, G, B (255,0,0)

Green: R, G, B (0,255,0)

Blue: R, G, B (0,0,255)

Cyan = Green+Blue R, G, B (0,255,255)

Magenta = Red+Blue R, G, B (255,0,255)

Yellow = red+green R, G, B (255,255,0)

With the above knowledge of color matching theory, the actual color matching has a soul. If you want cyan and RGB values to match, you should increase green and blue, and add less red. If you want to match yellow, you should add red and green and use less blue. If you want to match magenta, you should add red and blue, and less green.

2. CMYK value and color

In CMYK, c stands for cyan, m stands for magenta and y stands for yellow, and the range between them is 0- 100.

Cyan: c, m, Y( 100%, 0%, 0%)

Magenta: c, m, Y(0%, 100%, 0%)

Yellow: c, m, Y(0%, 0%, 100%)

Red: c, m, Y(0%, 100%, 100%)

Green: c, m, Y( 100%, 0%, 100%)

Blue: c, m, Y( 100%, 100%, 0%)

You can get such a color matching skill: when using CMYK mode to color, if you want to adjust the red tone, you should add more magenta and yellow, and less cyan. If you want to highlight the green tone, you should add more cyan and yellow and less magenta. If you want to emphasize the blue tone, you should add more cyan and magenta and less yellow.

PS adjust the function of the layer.

What is an adjustment layer?

Adjusting the layer is a method of drawing adjustment, which can realize lossless drawing adjustment and let you adjust the color and tone of your work quickly and easily.

Is the adjustment layer suitable for digital painting?

Many PS beginners think that adjusting the layer is only useful for photographic works, but it is also suitable for digital painting. The only difference is that digital painting begins with your painting. Once you are familiar with the adjustment layer and apply it to digital painting, you can get incredible gains.

Adjust the type of layer.

Here, we briefly introduce the types of adjustment layers in Photoshop:

Brightness/Contrast:

Brightness/contrast is a common tool for adjusting sensitivity and contrast. By adjusting the button range, you can increase/decrease the darker and brighter parts.

Color scale:

Color scale is a tool to adjust the brightness of a picture. Through the color scale tool, we can adjust the middle tone, darker and brighter of the picture.

Curve:

The use of curves is quite simple, just move the points on the chart.

Exposure rate:

Adjust the lighter and darker parts to create a similar HDR effect.

Natural saturation:

Natural saturation is mainly used to adjust color saturation.

Tone/Saturation:

Changing the hue/saturation will change the brightness level of individual colors.

Color balance:

Color balance can easily adjust the darker, middle and brighter parts of a work.

Black and white:

The black-and-white adjustment layer can turn the whole picture into a gray-scale image (black and white), and at the same time control the influence of each color in the conversion process.

Photo filter:

Imitate lens color filter to adjust color balance and color temperature.

Channel mixer:

Easily modify the gray value of the selected color channel.

Color search:

By loading different files, you can change the color of the work.

Reverse phase:

Create a photo inversion effect quickly and easily.

Tone separation:

Like a flat poster, this tool can reduce the number of colors in your work.

Threshold:

Quickly convert your work into high-contrast black-and-white images.

Gradient mapping:

By marking the gray range, a certain color effect is mapped to a certain color fill.

Optional colors:

Apply color correction technology, similar to high-end scanners and color separation programs.

The benefits of adjusting layers to digital painting;

Here are some changes in digital painting and artistic accomplishment when you use the adjustment layer.

1, quickly learn about color matching.

2. Overcome the monotony of color by improving color intensity.

3. It is easier to choose the color that needs to be replaced.

4. Improve the influence of the whole work through unique color effects.