MASKS AND CHANNELS, WORKING WITH

Layer masks are used to hide areas of a layer and to see the content from the layer(s) below. There are two types of masks used by Photoshop to hide layer content. One is called a layer mask and the other a vector mask. A layer mask is composed of grayscale pixels, can support soft edges and is resolution-dependent; a vector mask is composed of mathematically defined objects, supports hard edges and is resolution-independent. Layer masks can be applied to a layer or a layer group. If you need to mask several layers with the same mask, grouping the layers and then applying a mask to the group makes it possible to control the effect with just one mask. Channels are composed of grayscale images and used in Photoshop to store various types of information. The default channels can store color information and luminosity; alpha channels can store selections; spot channels can store additional plates for overlaying spot color inks when using process inks to print. In the New Channel and Channel Options dialogs, you can set color overlay to indicate masked or selected areas, and the color and opacity of the mask overlay. To access the options, choose New Channel from the Channels panel menu or Alt-click, Opt-click the Create new channel button located at the bottom of the panel, or double-click an existing alpha channel. Alpha channels, not spot channels, are generally used to produce bump maps. In addition to spot channels being used to lay down special premixed inks, they can also be used to create special effects, such as glossy varnish or metallic ink. The Pixel Mask button located at the top of the Masks panel is a two-function button. If a layer mask is detected on the current layer, it can be used to select it. If no layer mask is detected, it can be used to add one. The buttons located at the bottom of the Masks panel from left to right are: Load Selection from Mask, Apply Mask, and Disable/Enable Mask. A border around a mask thumbnail signifies that the mask is selected and not the layer. You must select a mask before you can edit it. When you select a vector mask thumbnail, though it acquires a border, the previously selected thumbnail doesnt lose its border. You can click the thumbnail to deselect it, unlike a layer or layer mask thumbnail. The Vector Mask button located at the top of the Masks panel is a two-function button. If a vector mask is detected on the current layer, it can be used to select it. If no vector mask is detected, it can be used to add one.

When you add a layer mask, you can choose between Reveal All (a white mask is applied and the layer content remains visible) and Hide All (a black mask is applied and the layer

content hidden from view). Both types of masks have their uses in a workflow. Masks can be easily reversed by selecting the mask thumbnail and then pressing Ctrl+I, Cmd+I or choosing Image Adjustments Invert, or clicking the Invert button in the Masks panel. With a layer mask active and a selection overlapping the masked areas, you can modify the selection by choosing options from the Masks panel menu. The options are: Add Mask To Selection, Subtract Mask From Selection, and Intersect Mask With Selection. By default, adjustment layers are accompanied by a reveal all mask. You can manipulate a layer mask by painting on it with black, white or shades of gray in order to negate the adjustment. To subtract from an existing layer mask and partially reveal the contents of the layer underneath, select the layer mask and then use the Brush tool to paint in the document window with a shade of gray. To totally reveal the contents, as opposed to partially, paint with white. To add to an existing layer mask in order to reveal more of the contents of the layer underneath, select the layer mask and then use the Brush tool to paint in the document window with black. If you make a mistake and hide an area unintentionally, paint with white to reveal the layer content and then with black again to conceal. To disable/enable a layer mask temporarily, do any of the following: Shift-click on the layer mask thumbnail in the Layers panel Choose Layer Layer Mask Disable, or Enable Click the Disable/Enable Mask button located at the bottom of the Masks panel Right-click, Ctrl-click on the layer mask thumbnail in the Layers panel and then choose Disable/Enable Layer Mask from the context menu Disabled layer mask thumbnails are marked with a red X for easy identification. The same methods can be used for vector masks in the panels, or the Vector Mask submenu in the Layer menu can be used. To create an alpha channel and set its properties, Alt-click, Opt-click the Create new channel button at the bottom of the Channels panel, or choose New Channel from the Channels panel menu. In the New Channel dialog, you can enter a name, choose whether color indicates masked or selected areas, and specify a color for the overlay and change its opacity value (defaults are red color at 50% opacity). By default, individual channels are displayed in grayscale. You can elect to view them in color by selecting Show Channels in Color in Interface preferences. In Windows, choose Edit Preferences Interface; in Mac OS, choose Photoshop Preferences Interface, then select Show Channels in Color in the General area of the dialog. To toggle the view between the composite channel and an alpha channel, Shift-click on the alpha channel thumbnail. To toggle the view between the composite channel and the individual color channels, press Ctrl+3, 4, 5, Cmd+3, 4, 5, for red, green, and blue respectively. Press Ctrl+2 to view

the composite channel. To edit a mask and to display the mask as a rubylith overlay on top of the layer content, hold down Alt+Shift, Opt+Shift and click on the layer mask thumbnail. To turn off the rubylith display, hold down the same keys and click on the layer mask thumbnail a second time. To edit a channel, select it and then use a painting tool to paint in the image. Painting with white adds the selected channels color at full strength Painting with black removes the selected channels color completely Painting with gray adds the channels color at a lower intensity Painting with shades of gray adds the channels color at varying intensities You can use the Apply Image command (Image Apply Image) to blend the layers and channels of the current document (the source) and another open document (the target). You can output the blend through a mask and choose a single layer, or merged layers, single channel, or merged channels, as the target. You can use the Calculations command (Image Calculations) to blend two individual channels from one or two source images and output the result as a new document, new channel, or a selection. You can also apply the blend through a mask and choose a channel or an existing mask as the source for the mask. Note: source images must have the same pixel dimensions. You can use the Channel Mixer command to blend color channels and create high-quality grayscale images, or apply effects such as sepia tone, hand-tint or infrared. Once a selection, sometimes also referred to as a mask, has been stored as an alpha channel, you can modify it by painting on it. Painting with white expands a selection while painting with black contracts it. You can also use lesser opacities than 100%, or use shades of gray, to create various levels of transparency. You can reverse the masked/ selected areas behaviour in the Channel Options dialog, so that masked areas become white (transparent) and selected areas black (opaque). To create a spot channel, Ctrl-click, Cmd-click on the Create new channel button in the Channels panel, or choose New Spot Channel from the Channels panel menu. You can choose a spot color from the Color Picker; however, if you need to match colors closely, its advisable to use a swatch book, preferably one that has not faded with time. To convert an existing alpha channel into a spot channel, double-click its thumbnail, select Spot Color in the Channel Options panel, click the color box then choose a color in the Color Picker or from the Color Libraries. To access the Spot Channel Options dialog, double-click a spot channel, or select it and then choose Spot Channel Options from the Channels panel menu. The solidity and color choice options chosen in the dialog affect only the on-screen preview and have no effect on the printed separations. However, when output to a composite color printer, the spot color will print at the opacity specified by the solidity setting.

Layer masks are composed of resolution-dependent grayscale images that can be edited using the painting or the selection tools. Vector masks are resolution-independent mathematically defined objects composed of lines and curves and created with a pen or shape tool. When you create a clipping mask, the non-transparent area of the source layer (the base layer) is used to generate a clipping mask. The content of the target layer (the layer above) is then enclosed inside the clipping mask and the content outside the clipping mask is hidden. When a clipping mask is created by holding down Alt/Opt and clicking on the dividing line between two adjacent layers, the transparency from the bottom layer is used to mask the layer above it; furthermore, the overlying layers name is underlined, the thumbnail indented and a clipping mask icon (a right-angled, downward pointing arrow) added for easier identification. Selections can be stored with a document as alpha channels. To store a selection, create an alpha channel by clicking the Save Selection button in the Channels panel while the selection is active. Note: not all file formats can support an alpha channel. File must be saved as a PSD, TIFF, PDF or PSB in order to preserve the alpha channel. To convert an active selection into a layer mask, choose Layer Layer Mask Reveal Selection, or Hide Selection. Alternatively, Alt-click, Opt-click the Add Layer Mask button in the Layers panel. To convert a selection to a vector mask, choose Make Work Path from the Paths panel menu, or click the Make Work Path button at the bottom of the panel, and then Layer Vector Mask Current Path while the path is still active.

Use Quick Mask mode (press Q, or choose Select Edit in Quick Mask Mode) to edit a selection manually with a painting tool or by applying a filter, such as Gaussian Blur, or Twirl, etc. To convert a layer mask to a selection, Ctrl-click, Cmd-click the layer mask thumbnail in the Layers panel. You can also select the layer containing the mask or the mask itself and then choose Select Load Selection, and then choose the mask from the Channel popup menu. A third method is to select the layer and then Ctrl-click, Cmd-click the mask thumbnail in the Channels panel. To convert a channel to a selection, Ctrl-click, Cmd-click the channel thumbnail, or drag the channel to the Load channel as a selection button. To add a saved selection to an active selection, press Ctrl+Shift, Cmd+Shift and then click the channel. To subtract from a saved selection and an active selection, press Ctrl+Alt, Cmd+Opt and then click the channel. To intersect with a saved selection and an active selection, press Ctrl+Alt+Shift,

Cmd+Opt+Shift and then click the channel. By selecting a channel that has the most contrast between the object to be selected and its background, a mask can be extracted quickly and easily. Having created a temporary mask in Quick Mask mode, press Q or choose Select Edit in Quick Mask Mode in order to exit the mode and to load the mask as a selection. To stay in Quick Mask mode, choose Select Load Selection, and click OK.