The Photoshop Toolbox: Essential Techniques for Mastering Layer Masks, Brushes, and Blend Modes

I can distinctly remember when I first started using Adobe Photoshop. I was briefly introduced to it by an uncle who showed me how to remove red eye from portraits of family members about 11 years or ago, and I was hooked. Maybe I shouldn’t admit it, but back then I managed to get myself a copy of Photoshop and I remember being so excited to start playing. I loaded it into my Gateway computer with its 19-inch monitor (that had a depth of about 38 inches), but once the welcome screen was gone I didn’t have a clue where to go next. Menus, dialog boxes, something called a toolbar, and more . . . man, I was really confused. But I think, in fact I know, this is quite a normal reaction.

Photoshop is a huge piece of software. It’s only limitation is the imagination and skill of the person using it. However, after using it for the past few years, I truly believe that anyone can learn how to use it and, with plenty of regular use and practice, feel at home with it.

Now, you’d probably expect me to say this, but with this book at your side you will start to feel more confident with Photoshop. After using this software on an almost daily basis for the past few years, I believe there are just three main things you need to know in Photoshop. I’m not talking an in-depth, advanced understanding, but rather a basic understanding of three things: layer masks, brushes, and blend modes.

Sure, there’s lots more to Photoshop than layer masks, brushes, and blend modes, but if you know how to use these three tool groups, then all that’s left is practice. Whether you’re looking at what work has gone into retouching a simple portrait or what went into creating an incredibly detailed composite, layer masks, brushes, and blend modes will be at the heart of it.

What Is the Photoshop Toolbox?

Whether you’re new to Photoshop or you have been using it for a while, you likely know that there is never one single technique that gets you perfect results for every picture you use it on. Because of this, my advice is always to get to know as many techniques as you can that do the same kind of thing, so that when you do come across a situation when, for example, your favorite skin smoothing technique isn’t working so well, you’ll have another technique in your toolbox that you can take out and try.

About This Book

This book is split into a few distinct sections. We start off with what I’m calling The Basics, which is where I cover layers. I guess I could have included layers as the fourth area you need to know in Photoshop, but as I see it, layers are Photoshop. If we don’t know what they are and how to use them, then we’ll still be staring at the welcome screen like I did when I first started. So, if you don’t quite get what layers are, then chapter 1 is a MUST. Don’t skip it; otherwise, nothing we do in the rest of the book is going to make sense. Okay?

In chapter 2 we’ll take a look at layer masks. Once I’ve explained what these are so that you understand exactly why you’d be interested in them, we’ll start looking at how we can use layer masks in our workflow to save time, in our retouching, to create special effects, and more.

Chapter 3 is where we take a look at brushes. When I first started using Photoshop, I thought that the brushes were only for those folks who can draw (and I am most definitely not one of those people), but oh how wrong I was! Brushes are an incredibly powerful tool in Photoshop and you’ll find that there are seemingly endless ways to use them. They are, without a doubt, one of my favorite tools in Photoshop for creating effects and retouching.

In chapter 4 we look at blend modes. This is where magic really can happen. Don’t worry, we won’t go into all the mathematics of why they do what they do, but you will come away from this chapter with a greater understanding that will ultimately help you move forward as I cover various techniques that range from basic to advanced.

I thought it would be good to add in a bonus chapter with some of my favorite tips, tricks, and techniques not covered elsewhere in the book, so look for those in chapter 5.

It’s great to learn about lots of different techniques, and there are plenty of them in this book, but there’s no better way to cement this new information in your brain than to use these techniques in a workflow—that’s where chapter 6 comes into play. We’ll work our way through a complete retouching project from start to finish, beginning with an out-of-the-camera file and following through to the final print-ready image.

As you work with this book, you’ll discover that working in Photoshop is very much a personal practice, and what you do and the order in which you do it doesn’t have to be regimented. Remember, there is no right or wrong way to do something in Photoshop; there are simply good and bad results. You use the techniques how and when you choose because it’s your Photoshop Toolbox!

How to Use This Book

The best way to learn is to follow along, so make sure you download the files for this book at the link found at the bottom of this page.

To get the most out of this book you don’t necessarily need to start at the beginning and work your way through page by page. I’ve written it in such a way that you can simply dive in and out. However, like I said before, if you’re fairly new to Photoshop and don’t quite understand the whole layers thing, I’d definitely recommend you check out chapter 1, The Basics.

What I really want this book to do is encourage you to approach Photoshop with the mindset of what would happen if . . . ? Once you’ve gone through a technique, think about where else you could use it, or even how you could adapt it. Experiment. Take sliders to their minimum and then to their maximum—what does that do? Try different blend modes to see how they affect your image. You can’t break Photoshop (I’ll show you what to do in case of emergencies in chapter 1), so just experiment and play with it because that’s how new techniques are discovered.

Finally, before you get started, I’d like to thank you so much for purchasing this book. Please keep me posted with your progress. I’d love to see anything that you go on to create, and hear about your successes having used some of what is contained in the pages ahead.

Keep creating, but most of all, keep enjoying!

Best wishes,

Glyn

Before we dive into the goodness that is layer masks, brushes, and blend modes, I thought it would be a good idea to go over some of the basics of Photoshop, just in case you click on something you didn’t mean to or press a number of keys in quick succession that causes Photoshop to throw a hissy fit (as I have done more times than I care to remember).

We’ll take a quick tour of the Photoshop workspace and discuss how you can rearrange and organize it to suit how you work. We’ll also go through how you can tidy up and put everything back into place quickly and easily, should you need to. But first, we’ll take a look at the basics of layers: what they are, how to use them, and what working non-destructively is all about.

If you’re a seasoned Photoshop user who understands layers and already knows how to organize the Photoshop workspace, then feel free to skip past this bit and dive straight into chapter 2 and beyond.

Right, let’s get going . . .

LAYER BASICS

The best explanation of layers I’ve ever read came from my friend Matt Kloskowski in his aptly named book Layers, which was published in 2008, but is still as relevant today as it was then. (Thanks, Matt, for giving me the all clear to cover layers in this book the way you did in yours.)

Think of layers like this: Imagine you have a very special photograph. You’d never in a million years think of drawing on it with a Sharpie and then later trying to erase what you’d done, would you? Well, that’s exactly what you would be doing if you didn’t use layers in Photoshop, and instead made all of your adjustments to the original image.

If you were going to draw over your photograph, you’d probably create a copy first, or better yet, use some clear acetate sheets and draw on those. That way the original photograph would remain safe and intact. Let me show you what I mean.

1. So here we are with a photograph of my best mate, Dave Clayton, and just for giggles we’ll give him a moustache, blacken out a front tooth, and color in one of the lenses of his glasses (Figure 1.1).

FIGURE 1.1

2. So what do we do now if we want to change or maybe even erase the black ink we’ve just used to draw on the photograph? It certainly won’t be easy. We might start rubbing on it with a cloth, but that’s dangerous because we may end up erasing not only the ink, but some of the photograph, too. Yep, at this point we’re pretty much stuck with it (Figure 1.2).

FIGURE 1.2

3. Okay, let’s rewind and do this again, but this time we won’t mess up the original photo. Let’s say we still want to draw on the picture for a giggle, but this time we’ll do it with a piece of clear acetate (Figure 1.3).

FIGURE 1.3

4. Now instead of drawing directly onto the photograph, we’ll place the clear acetate on top of it so that we can still see the picture beneath and draw on the acetate instead. Everything still looks the same, right (Figure 1.4)?

FIGURE 1.4

5. Now let’s imagine that we want to erase what we just drew. Well, that’s easy—we can just remove the sheet of acetate we drew on, and the picture below is untouched and intact (Figure 1.5). By drawing on the acetate on top of the photograph, we’ve achieved the same result, but we used a much more flexible method that allows us change it later if we want to. Does that make sense?

FIGURE 1.5

Let’s compare this process to using Photoshop:

1. Open the dave.jpg file in Photoshop and choose the Brush Tool (B) from the toolbar (Figure 1.6). Click on the brush size drop-down in the options bar at the top of the screen to open the Brush Preset picker, and select a round, hard-edged brush (Figure 1.7). Press D to set your foreground and background colors to their defaults of black and white (press X to swap foreground and background colors if needed), and then draw directly on the Background layer just like we did before (Figure 1.8).

FIGURE 1.6

FIGURE 1.7

FIGURE 1.8

Download all the files you need to follow along step-by-step at: http://rockynook.com/pstoolbox

2. So now you’ve drawn over Dave’s face, and let’s just say you’ve changed your mind and don’t want him to have a moustache after all. Grab the Eraser Tool (E) from the toolbar and start brushing directly onto the picture to erase the parts you don’t want. The trouble here is that you end up erasing not only the moustache, but parts of the picture as well (Figure 1.9—you see white here because the background color in the toolbar is set to white). Obviously, this isn’t a good way to work, so how can we use Photoshop like we did before with the clear acetate? Close this image (making sure not to save what you’ve just done), and let’s look at a better way to work in Photoshop.

FIGURE 1.9

3. Open the clean picture of Dave in Photoshop one more time. This time, before using the Brush Tool, click on the Add New Layer icon (which looks like a sheet of paper with a folded corner) at the bottom of the Layers panel to add a new blank layer (Figure 1.10). This new layer, which is labeled Layer 1, will be positioned on top of the picture of Dave in the Layers panel. This gives us the same setup as the photograph of Dave with the clear acetate on top of it, but this time it’s in digital form.

FIGURE 1.10

NOTEYou can change the name of the new layer by double-clicking on the words Layer 1 in the Layers panel and typing in a new name.

4. Make sure Layer 1 is selected in the Layers panel, and then use the black, round, hard-edged brush to draw over Dave’s face in the main workspace once again. Whatever you draw with the brush will appear on the Layer 1 thumbnail over in the Layers panel (Figures 1.11 and 1.12).

FIGURE 1.11

FIGURE 1.12

NOTEYou need to click on a layer in the Layers panel to select it and make it active. You can tell when a Layer is selected because it will be highlighted in a different color (e.g., gray, blue, etc.).

5. Now comes the magic of using layers. Make sure Layer 1 is still active and, just as before, select the Eraser Tool