Photoshop: A creative example of super Pull diagram synthesis

This tutorial originality is provided by Zhu Baoli (orange perfume) plmm, in some thanks:

Material:

Suitable reader: Photoshop Intermediate Level Reader advanced

Teaching Focus: The adjustment of hue saturation has a further understanding

Teaching difficulties: The understanding of color mixing mode, hue saturation adjustment to the different effects of color, channel to image of the idea of resistance breakthrough,

This example is unique: break through the idea of the limit, the channel as the final production results for the synthesis, the material itself is only an auxiliary image

A friend posted in the forum asked me how to pick up white peacock feathers in a messy yellow background. A fierce look, the white feather seems very clear, but when using the channel to pick up when it will find that is not the case. There are many weeds in each color channel that are similar in color to feathers and cannot be distinguished by color bands. It's hard to get rid of the noise a little bit with a black brush.

Is there a way to get rid of weeds as best as possible in the shortest time? We're going to start by analyzing the image. Step by step to achieve our goal.

To ensure that the final image is clear, we need to enlarge the image, after the completion of the pull map and then reduce the image back to the original size. Notice that the magnification here is not magnified with a magnifying glass tool, instead of the image as a whole with the "image"-"image size" command to enlarge, as shown in the figure, the unit to the percentage, tick the "constraint ratio", the image width is set to the original 400%, click Good, the image is magnified.

The following step will take a destructive action on the image. Because this example treats the footage as a design-only image, the background layer is not replicated. If you want to pick up the feathers in the original material, you can pull the background layer to the new Layer button, copy one. In this way, after the operation of the hue saturation of the replica, we will have a background layer that has not been destroyed, which is convenient for later production.

Use the image-adjust-hue saturation command, as shown in the figure, to adjust the colors to change the yellow grass to green. Increase color saturation at the same time.

You can see from the observation that after using the hue saturation command, the white part changes the smallest and the background changes dramatically.

This is because pure white and pure black in the adjustment of hue and saturation is unchanged, only at the same time adjust the brightness, can be white and black color changes, the closer to pure white and pure black color, the more such characteristics. It is through this step that we distinguish the white feather from the yellow background clearly. Facilitate the next step.

As for why to turn the background green, and to improve the saturation of it? This is related to our color blending mode. Our image is RGB color, as long as we turn the background into red, green, blue in any one of the primary colors, you can put the grass background in the corresponding color channel, so that the other two channels in the dark. The same, increase the saturation can be yellow weeds in the primary color channel more light, in another channel dark, white in any channel are white display, so such a palette, there will be a channel of feather and background of the greatest degree of separation, to facilitate our next meticulous repair.

The following figure adjusts only for this figure, and when you do another instance, you can determine the value yourself. The key is to understand the principles described above.

After this adjustment, as shown in label 1, in the blue channel, black and white is the most distinct, use this channel to make it. Pull the blue channel onto the new button and copy it.

It can be seen that the image of the various parts of the feather clarity of different degrees. There's a lot of weed information on the lower right side of the feather. And the feathers in other places are more clear. So we need to make two channels, and combine each other to make a final plan.

Then copy the Blue channel.

Below we have different levels of color-level processing for two channels, one that has been handled a little bit, that the weeds are completely filtered out, and the other is lighter to ensure more feathers are visible. In this way, we can make two channels to complement each other, maximize the feather, and remove weeds to the maximum extent.

The blue channel copy is first "image"-"adjust"-"level", as shown in label 1, the weed is filtered out and the feathers are lost. As shown in label 2, the slider adjusts to the right, and the entire channel is darker.

Color-level processing of the blue Copy 2 channel, as shown in label 1, retains more feathers.

Press CTRL and click Blue Copy 2 to load the blue copy 2 channel into the selection. Press Ctrl+h to hide the selection. The selection is not visible at this time, but the constituency works so that we can visually repair it.

Go to the Blue Copy channel, choose a softer brush, use white, reduce the brush opacity, in the more severe loss of feathers paint, you can see the feathers will be slowly added. Be careful not to paint the images of weeds. This method combines the advantages of two channels and filters out the extra parts perfectly.

Press Ctrl+d to cancel the selection when finished. If you finally find a weed in the image inside, you can use a soft black brush, reduce the opacity, in the redundant image slowly repaired.

This is the approximate shape after the change, the weeds are gone almost. This step is more time-consuming and energy, only more practice, can be in the future work to improve efficiency.

Use the image size command, and then reduce the image to the size it was initially opened. The feathers are kept to the maximum extent.

Press CTRL + A All elective good channel, CTRL + C copy. This time we do not use layers to complete the synthesis, directly using the image in the channel to synthesize the work.

Open the background image provided previously, and press CTRL + V to paste it in the new layer.

Some people would say that the black background is too ugly. It doesn't matter, we just have to change the blending mode of this layer to "color filter" Black will be perfectly removed. This is the "filter" mixed mode of the skill, but also the most common way to go to the black background.

Open the girl's picture material, we want to pull out the girl image, I believe that learning this pull the reader to pick this image without any problems. With magnetic lasso can also use the magic wand to select the white part of the outside, and then ctrl+shift+i, directly with the mobile tool pull into the image.

Put the girl layer on top, ctrl+t free transform, press the SHIFT key to ensure that the character image will not deform. Reduce the character to the right size.

Create a new layer between the background and the peacock layer, with the black soft brush, slowly paint the shadow. Shadow is the key to reality, must be carefully made. The effect of the work is proportional to the time and energy of the production. More practice can improve the later production efficiency.

Final effect: