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Lesson Info

How to get Text to Interact with Ink & Plants in Photoshop CC

Hi there in this tutorial, we are going to use all the techniques we've used so far to create this. There's a little bit of quick selection, a little bit of selected mask, a little clipping mask and we should get the text to interact like this. Alright, let's get started. First up. Let's go to file, let's go to open and then our exercise files, there's one called text interaction oh one. Okay. It's in that folder we've been working in called 05 selections. Open them up now. This one is a PSD rather than a J Peg. Why? It's because that I wanted to use a specific font and for us all to use the same font and because all machines are different, you're probably not going to have this particular font called lust if you want to, you can just obviously click on this layer and hit delete and type out your own text. But for the moment, while you're practicing, let's just work with this font here. What I did is you can right click text here and say convert to shape. It's not appearing there and i...

t just turns this font here into shape rather than editable text. So that means it loads on your machine, but you can't change it. You're stuck Anyway. What we want to do is let's turn the type on and off and I'm just kind of looking at parts mainly this chunk through the middle here and this would be good to kind of overlap. So I want to select this mask it, have it on its own layer above the text. So let's do that. We're using all the skills we've learned so far. Just putting it to a practical example, I'm going to turn off the Scots layer and click on the link there, grab my quick selection tool In terms of the brush size, it doesn't really matter. I've got minded about 50. I'm turning this on and off to see how far I need to go up and down so I'm gonna grab most of that. I'm gonna grab most of this. Do I want you see I can go through and keep selecting this but I don't need it because the text is not gonna maybe I will just for good measure added to it doesn't really hurt. Okay, you're just trying to work out what you need from this to be above. Perfect. So I've done a selection from it. If I just added a layer mask now it's going to kind of work. That's not what I want. I'm going to do one extra step first. I'm going to undo that is I'm going to duplicate this layer so I'm going to right click it, say duplicate and this is going to be top inc no one. So I've got two of them Now. Now when I add that to the slayer, Okay, I've got this topic here that's just got the sink and the one underneath is this and the one underneath just kind of fills in the background. So now it's just about layer order. Okay, Like we did earlier on with the text and the model. It's very similar. Okay, so I'm gonna turn the text on, drag this above, so this is above that now it looks okay as is I'm gonna zoom in but I wanna yeah, there's a bit second tidy up. So some of these edges here aren't great. So with the layer mask selected, remember you have to click on this, click on select and mask like we did in the previous tutorial and then some of these global ones, we'll definitely these global ones are going to work better in this case, you can work on them individually with the paintbrush but because they're all very similar, we can just drag these things around so edge detection might work smoothing in this case I really like so I just kind of picked a random number, I'm going to turn this on and off and I'll get the editor to zoom right in. Can you see maybe across this area here? So that's the original, that's where the smoothing turned on. Just kind of makes it nice shift. Edge can be helpful as well, increased it actually, I want to decrease it, so that's it now, that's it. Before now it's a little nicer. I'm going to click OK, awesome. So I've got that layer, the mask is pretty good and I'm gonna work on a couple of other parts and there is some bits we're going to do when we start shadowing the background to kind of make it fit in so you can skip ahead the next minute or two. Okay, while I do the rest of these. So what else do I want to see? This big, this big sticky thing here. I want that to be above the S. So what I'm gonna do is I'm gonna do the same thing as before. I'm going to turn this top one off just to make things a little easier to look at. I'm going to duplicate the in Clare duplicate layer, you're going to be called top inc do great. Myles will move it to the top so with this layer selected quick mask to, I'm going to grab all of that. Turn this on actually it's probably better underneath it for the moment. Turn the ticks on and off, that's probably what I want, correct. So I'm gonna turn them all off except for this guy here. I'm going to add you to a layer mask. He's gonna be above my text in the text on And there is there now in my haste, I am too much because I didn't want the I don't want it above the H so I'm going to paint out that selection and this is going to bring in some of our techniques that we learned earlier on. Remember we're able to paint directly on the mask with black and white to either show or hide things. So on my mask, I'm gonna grab my black paint brush. There he is there paintbrush, do I want it to be black? I do want it to be black, I'm gonna make sure my capacity is at 100% and I'm just going to paint out, mine is a bit of a fuzzy brush there, it doesn't really matter. In this case you can see it kind of starts bringing through the f so I'm going to undo that a couple of times step backwards and I'm going to go to my brush size and I'm just going to have the hardness up a lot higher so that I can paint this out. There you go, h there's a lot of tooling and throwing now with that mask selected, I can go to select and mask and I'm going to zoom in now again, I'm going to crank up the smoothing, you can see it just made it nice, I'm happy with that shift edge in a little bit, I'm happy with that as well. What we'll do here though is we'll show you see this one says remember settings, it just means it's gonna, every time I load this back in for the subsequent mask that I'm gonna do, it's gonna remember that kind of smoothing, that kind of shift edge handy, zoom out and let's go through and do the last bit. So I'm gonna turn them on something kind of cool. Now I'm gonna turn top these two both off and what am I going to do next? I'm going to do this kind of like this bit that blobs out and this little stalk thing. So duplicate the layer, right click duplicate top called the other one link. You noticed? I didn't kate topping three now, where is it going to go? It's going to be all of this stuff. So quick selection tool and I'm going to drag across that that that not that I'm holding down the option key on my Mac or okay on my pc to paint that stuff out. There's some weird stuff around there and continue on and and I see there that it's going to go across the T that I don't want. So I can either paint it out with the black paint brush later on. Like I kind of did in the last but I did remember over here or I just removed it from the selection here. So with this layer selected, I'm going to turn into a layer mask. I'm going to pop it just above my scott shoes instantly. I can see there's a little bit there that I don't like. But that's okay, let's look at painting it out on my layer mask, black paint brush. You are. And I'm going to paint that out. Just kind of mocking it up there. Cool with it selected. I might tie it up with select a mask and hopefully because it's remembered my selections, it's done the smoothing and the shift edge. Okay, I'm gonna turn on, you can see it across there, turn it off, nice and smooth. All right, let's kick. Okay, turn all through them on. It's kind of cool. I like it when there's this kind of like interaction looks better from afar. It's the same stuff as we've learned, but in a different practical exercise because sometimes cutting people out and you're like, oh, I can understand that. It's quite simple, there's just one person. But when there's this like interaction, it's the same principle, but we've had to do it across three layers and we didn't even have to do it across three layers. I just broke it into little sections to make a little easier for us to understand. You could have just selected all all of these and one big go, but I'm not that clever. The last thing I wanna do is I want to kind of darken these parts in here. Now the problem with, we used the technique earlier on, remember when we settled that model in the grass. Okay, we use the burn tool. The burn tool is amazing when you're dealing with images, but because I want to darken up the text, watch this. It just, there's a big kind of like Ghostbusters. No go. The burn tool can only work on what's called Rust orbit map images. Don't sweat it. All we need to do is a slightly different technique. So this is new stuff. What we're gonna do is we're gonna create a new layer. That's this little turned up page here, we're gonna call this one shadows. I'm gonna grab my paintbrush. I'm going to pick a color so I'm going to click in here. Okay, my foreground color, make sure it's down at black. I'm actually going to maybe pick a slightly warmer maybe in the pinky space. Where's my pinkie space? Just a match because it's kind of pink in the background there, it's still dark black but it's got a hint of magenta in there now in terms of my paintbrush, I'm going to have the hardness down at zero so it's nice and fluffy looks like that. And do, I'm going to pick a nice big brush, size 300. And what I'm looking to do is I want to kind of like actually I'm going to undo, I'm going to turn the opacity down at 100%, it's coming out a bit strong. Okay, so I'm going to slow it down a little bit. Okay, and what I want to do now, if I click, I can kind of build it up, you can see. So it's just a nicer way of building up stuff. So I'm going to go edit step backwards a good few times. I'm using my shortcuts, I don't have to keep clicking on there. So what I'm gonna do is I'm gonna, let's say, let's do a really obvious one, let's do across this. H so I'm going to do across there and it works pretty good except it's coloring in the background and everything. I'm going to go on full noise. Can you see it's actually covering? I've gone way too far as an example for you, but you can see it's just coloring in the background, which is not amazing. But there is a cool little trick. It's combining what we did a little earlier on. It's called a clipping mask. So at the moment the shadow is for it to only cover the thing straight underneath. Remember that little arrow that appears when we're using some of the adjustment layers, you can do the same thing with a layer with it selected go to layer, go to this one that says create clipping mask and you can see now this layer is only affecting the scott shoes layer and I can paint out here. I like it's appearing. Can you see it on the on the little thumbnail there? It's appearing up here, but it's only affecting the things underneath. So what I'm gonna do is a select all and then I'm going to go edit claire, gets rid of all that junk. I've done select de select So with the shadow layers selected it's got a clipping mask just above scott. I'm going to go through here. My capacity. What is it at 38? I'm just gonna kind of do some some broad kind of shadow stuff. I'm just clicking a couple of times, getting the big stuff done first. You might have to be careful because you don't want to cover this and the s I'm going to just make it a little smaller here, Clickety click. If I miss anything. Probably you guys are watching me. Cool. So I'm getting this and I'm actually gonna go double down, get a smaller brush. I quite like the big broad stuff first and then get in the smaller and getting a smaller brush and just kind of like it quite sharp where it exactly comes out but then gets more fluffy, more fluffy clicking and dragging, clicking, clicking, clicking and dragging holding space bar and clicking and dragging the mouse. You can see it's quite handy when you are doing this type of thing. You want to kind of move around nicely. Have you been avoiding shortcuts so far? I finally get here today. Hold space bar, click hold and drag. Alright, it's looking kinda cool. What do you think? I'm liking it? I do realize you can't read the words shoes, but we're going for like abstract Cool. It could be like a nice big graphic for the front cover and supported with maybe a logo that kind of helps define the text a lot. You see this quite a bit in covers of magazines where they have like the name of the magazine along the top but the image kind of interacts with it a little bit and the brand of the magazine is strong enough that you know that the magazine is GQ or Glamour or I don't even know Glamour magazine. Don't you get what I mean? So play along with this tutorial, give it a go and in the next video I'm going to set some homework where I'm going to give you examples for you to work on your own. I'll see you there.