Grand Opening Pasar 8 Alam Sutera

Grand Opening Pasar 8 Alam Sutera

Tommy Christanto @ Alam Sutera

Posted via email from tommy christanto's playground

how to make RSS feed from your Facebook status

Do you want your facebook status update shown on your twitter account, on your blog, or may be on your web page?

You may try these steps:

1. login to your facebook then find Notifications icon on lower right of your facebook page,
   
   click it and when a pop-up comes - you may click again on See All link -- shortly you can come to this link after login: http://www.facebook.com/notifications.php
   
2. find Notifications feed at bottom of right column after applications list,
   
   then right click on the RSS feed URL and select Copy link address
   
3. To test that it works, paste that copied URL into your browser and hit enter. (You will see your notifications feed show up)
   
4. In that URL, change ONLY the portion that stays “notifications” to “status” and hit enter.
   
5. The resulting page 'should' be your facebook status RSS feed.
   

Don't forget to save above URL for your future need.
To ease of use of the RSS feed, you could burn it on feedburner

If you want to make it shown on twitter, put it on twitterfeed

That's all ....

:-)

CSS Techniques I Wish I Knew When I Started Designing Websites

By Tim Wright and TJ Kelly

CSS is the best thing to happen to the web since Tim Berners-Lee. It’s simple, powerful, and easy to use. But even with all its simplicity, it hides some important capabilities. Ask any designer, and they’ll tell you that the majority of their code headaches are caused and ultimately solved by CSS.

All designers at some point in their career go through the process of encountering a weird display issue, searching for a resolution, and discovering a trick, technique, or hack could have saved them hours of frustration—if they had only known when they started.

We’ve put together a list of the most frustrating and time-consuming CSS headaches and, more importantly, their solutions (along with examples and further resources). I hope this list will help you save some gray hairs. As for me, I think I feel some coming in right now…

Resets & Browser Inconsistencies

Not all browsers are created equal. In fact, every browser is different. What is the default margin, padding, or font-size of a 

 element? You might be surprised at the wide range of values. To handle the differences between browsers, many of us want to level the playing field and start from scratch, by using CSS reset styles.

The early stages of resets, designers dealt with differing margin and padding values, using a global reset:

* { margin: 0; padding: 0; }

But, as more people used and discussed resets, it became clear that resetting only margin & padding wasn’t enough (and, applying the above rule to every element is taxing on the rendering engine). Thanks to the work of Eric Meyer and other CSS pioneers, a better, more complete collection of reset rules was created:

html, body, div, span, applet, object, iframe,
h1, h2, h3, h4, h5, h6, p, blockquote, pre,
a, abbr, acronym, address, big, cite, code,
del, dfn, em, font, img, ins, kbd, q, s, samp,
small, strike, strong, sub, sup, tt, var,
dl, dt, dd, ol, ul, li,
fieldset, form, label, legend,
table, caption, tbody, tfoot, thead, tr, th, td {
 margin: 0;
 padding: 0;
 border: 0;
 outline: 0;
 font-weight: inherit;
 font-style: inherit;
 font-size: 100%;
 font-family: inherit;
 vertical-align: baseline;
 }
/* remember to define focus styles! */
:focus {
 outline: 0;
 }
body {
 line-height: 1;
 color: black;
 background: white;
 }
ol, ul {
 list-style: none;
 }
/* tables still need 'cellspacing="0"' in the markup */
table {
 border-collapse: separate;
 border-spacing: 0;
 }
caption, th, td {
 text-align: left;
 font-weight: normal;
 }
blockquote:before, blockquote:after,
q:before, q:after {
 content: "";
 }
blockquote, q {
 quotes: "" "";
 }

As important as it is to note which elements are included in the most popular CSS reset available today .It’s also important to note some of the elements that are deliberately excluded from this list:

• input
• button
• hr

These elements were excluded because their cross-browser differences are so vast that you would have to completely unstyle them to create a "bulletproof" element. They’re so weird, that even then, there’s no guarantee.

Resources for Resets

• Eric Meyer’s Resets and the reasoning behind them
• Smashing article: “Design from Scratch”
• Google BluePrint CSS & Resets
• Yahoo YUI CSS Resets

Box Model — Margin, Padding & Borders

The box model is the basis for all layouts. It governs the dimensions & spacing of the elements on a page. To understand it, we have to understand the difference betweenblock-level elements and inline elements.

Block-level elements, by default, take up the entire width of their containing element and the height of the default line-height. They will stack up underneath each other, top-to-bottom. Therefore, by default, they will take up their own line on a page. Some block-level elements are: 

, 

, , 
, 
, 
, etc.

Inline elements are, just as their name implies, in-line. They will stack up next to each other, left-to-right. When given content, they will take up the exact width and height of that content. Given no content, they will collapse down and have no width or height. Some in-line elements are: , , , , , etc.

All HTML block-level elements have five spacing properties: height, width, margin,padding, and border (inline elements have them too, they just work a bit differently). Width and height are tricky attributes, as they require a bit of calculation. When measuring an element’s width, designers must consider the entire box.

In the example below, the box has a total width of 260px. The margin, padding, and border are 30px each (remember, that’s 30px on top, 30 on bottom, 30 right, and 30 left). So, in this example, the margin takes up 60 pixels of the box’s width. Likewise, the border and padding consume 60px each. All together, the margin, border, and padding amount to 180 pixels of the box’s total width.



We know that the box’s total width is 260px, but in CSS the width attribute refers to thecontent area on the inside of the box. So, for this example, we have to subtract 180 pixels (for margin, border, and padding) from 260 (total box width), leaving us with a content area of 80px. Therefore, our CSS looks like this:

div {
  margin:30px;
  border:30px solid yellow;
  padding:30px;
  width:80px;
  height:80px;
}
Extras
All of the examples and rules we’re discussed for the width property also apply to height.
margin can support negative values. Use them cautiously but they can prove to be very strong design elements.
Don’t forget the units with the box model. Only a zero-value (margin:0;) can be written without a unit specified.
Resources for CSS Box Model

W3C CSS Specifications
HTMLsource Box Model tutorial by Ross Shannon
“Beginner’s Guide to Margins and Paddings” at Web Designer Notebook
Dimensions — Width, Height, Min & Max
Now that we understand how to use width and height in unison with the box model, let’s look at some of the flexibility of CSS dimensions. Modern browsers support min- and max-width (and the same for height), allowing us to get creative with dimensions and create flexible layouts.

Width/height specify the space an object should occupy. They can be measured in pixels (10px), ems (10em) and percentages (10%), as well as a few other units. Defining a width or height for an element will force that element to keep those dimensions, regardless of the content inside it. So, if our content is too big for its container, it will be cut off, hiding the bottom of our content (or just look really messed up).

Min-width & min-height
Giving an element a min-width or min-height will set the element to our exact dimension by default. But, since we only provided a minimum dimension, as the content grows, the containing element will allowed to stretch and all of our content will remain visible.

Min-width & min-height can he useful for form elements like  and 

Mario Teguh Super Note - Kesederhanaan yang paling bernilai adalah kebaikan

Sahabat saya yang hatinya baik,
yang sedang menjadikan kehadirannya bernilai dalam kehidupan ini.

Mudah-mudahan sapa saya malam ini mendapati Anda sedang dalam kedamaian bersama keluarga dan kerabat terkasih.

Tidak terasa satu tahun telah berlalu lagi, dan tahun yang baru ini akan juga menua dengan kesegeraan yang tidak menanti penundaan dan keraguan-keraguan kita.

Kita sering mengeluhkan kurangnya waktu untuk mengerjakan hal-hal penting yang akan membesarkan kehidupan kita, tanpa menyadari bahwa semua pribadi besar yang namanya tercatat indah dalam sejarah kemanusiaan itu, juga menggunakan jumlah waktu yang sebanding dengan yang dijatahkan bagi kita.

Waktu itu bernilai, bukan karena panjangnya, tetapi karena kebaikan yang kita lakukan di dalamnya.

Maka siapa pun dari kita yang menyibukkan diri dengan pikiran dan tindakan yang membaikkan kehidupan pribadi, keluarga, dan mereka yang kita layani, akan menjadi pribadi yang bernilai hidupnya.


Sahabat saya yang mulia hatinya,
dan yang berhak bagi kehidupan yang sejahtera, yang membahagiakan, dan yang cemerlang,

Berikut adalah sedikit catatan bagi pelengkap renungan Anda di ruang keluarga MTSC yang ramah dan saling memuliakan ini.

Please kindly enjoy, absorb, and apply.

...........

MARIO TEGUH SUPER NOTE
Kesederhanaan yang paling bernilai adalah kebaikan. 

...........

Kesederhanaan yang paling bernilai adalah kebaikan.

Marilah kita terima dengan ikhlas, bahwa

Tidak ada kekuatan yang lebih besar daripada kasih sayang.
Tidak ada tindakan yang lebih indah daripada kebaikan.
Dan tidak ada kebaikan yang bisa disampaikan tanpa kasih sayang.

Maka, kehidupan ini indah apabila kita mentenagai pekerjaan kita dengan kasih sayang,
dalam hubungan yang penuh hormat antara sesama.

Selamat Tahun Baru
1 Muharram 1431 Hijriah 

Linna dan Mario Teguh 
dan
segenap MTSC Management Team

...........

dan satu lagi ...,

Besok pagi, 18 Desember 2009 - kami akan berangkat bersama 28 rekan-rekan Management Team MTSC dan keluarga, untuk beristirahat dalam pelayaran di Virgo Star Cruise, yang bertolak dari Singapura ke Malaysia dan Thailand.

Setelah satu tahun yang padat dan sibuk, kami akan beristirahat sebentar dan sedikit bekerja di atas kapal untuk penyiapan program pelayanan publik MTSC yang mudah-mudahan diijinkan Tuhan untuk menjadi lebih bernilai dan berjangkauan lebih luas di tahun depan. Amien.

Jika sampai tanggal 25 Desember 2009 status dan posting dari kami tidak teratur di Facebook dan Milist MTSC, kami memohon pengertian baik rekan-rekan, karena di lautan lepas - kami tidak akan mendapatkan koneksi internet yang memadai.

Sampai kita berjumpa dan berjabat-tangan suatu ketika nanti.

Mohon disampaikan salam sayang untuk keluarga Anda terkasih, dari Ibu Linna dan saya.

Terima kasih atas kemuliaan untuk melayani Anda.

Loving you all as always,

Mario Teguh


Data Foto

Kamera Nikon D3, lensa Nikkor 24-70mm f/2.8
Normal Program
1/320 second. f/9, ISO 200, @ 45 mm

Berbincang bersama Pak Siswo, yang beristirahat setelah memandikan sapi beliau.

di sebuah kalen kecil, di desa Ngemplak Caban, Sleman, Jogjakarta.
diambil oleh Pak Adi Pakosa

http://www.facebook.com/notes/mario-teguh/mario-teguh-super-note-kesederhanaan-yang-paling-bernilai-adalah-kebaikan/205186464404

Unveiling Photoshop Masks

Design is a fluid and shifting process in which layers are constantly modified and tweaked. As complexity builds, so does the need for preserving data in a flexible way. Learning non-destructive editing techniques helps you produce documents that bend along with your creativity. Photoshop Masks are the cornerstone of this process. Not only do they preserve important pixel data, but they allow for the creation of flexible interface elements as well. In this article, we’ll explore the technical aspects and creative advantages of incorporating masks into your workflow.

Photoshop offers five methods of masking: Pixel Masks, Vector Masks, Quick Masks, Clipping Masks and Clipping Paths, all of which define pixel opacities without affecting the original data. Each of them has its own pros and cons, and knowing which method to use is extremely important for creating clean, flexible and properly masked layers.

Pixel Masks

Pixel masks determine opacity values based on a raster image with grayscale values that correspond pixel for pixel to the original layer. This makes them ideal for masking complex photographic imagery (e.g. the hair on a model or leaves on a tree). Pixel masks allow 100 shades of gray, which correspond directly to opacity percentages. The ability to vary opacities is unique to pixel masks, making them an invaluable tool.

Pixel Masks are ideal for extracting complex photographic imagery. (Image Source)

While pixel masks can be easily modified, they aren’t ideal for every situation. Because of their raster format, scaling them can cause unwanted artifacts and interpolated bluriness. Smooth curves and perfect edges can also be tricky to create when painting a mask. Under such circumstances, vector masks would be preferable.

Pixel masks should not be used when you might have to rescale.

Creation

Creating a pixel mask is as easy as selecting the layer or layer group and clicking the “Add Layer Mask” button at the bottom of the layer’s palette. A second thumbnail will be added to the layer, giving you a preview of the mask. By default, this will be entirely white. However, if you happen to have a selection active when creating the mask, the selection will be used to define the grayscale values of the mask.

Once a mask is created, it can be edited as if it were any other pixel data by clicking on the mask’s thumbnail. You can then paint in black to hide areas or white to show them. The mask can also be tweaked using adjustments and filters such as Curves, Threshold, Unsharp mask and Gaussian blur.

Painting the mask black is much like using the eraser tool. (Image Source)

View Modes

While creating a mask, there are a number of ways to view the mask data. Option + clicking on the thumbnail will display only the mask on the canvas; this is great for fine-tuning areas but doesn’t allow you to see the actual layer as you work. If you’d like to see both the mask and the layer at the same time, you can view the mask as a Ruby overlay. Simply press \ with the layer selected to toggle the overlay on and off. The color and opacity of the overlay can also be changed by double-clicking the mask’s thumbnail. Additionally, if you’d like to temporarily remove the mask, you can toggle it on and off by Shift + clicking on the mask’s thumbnail.

Turning the mask off and the overlay on can help with fine-tuning. (Image Source)

Channels

Every time a layer with a mask is selected, the mask is shown as a temporary alpha channel in the Channels palette. From here, you can save the channel for later use by dragging the channel to the “Create new channel” button at the bottom of the palette or by selecting “New Channel” from the fly-out menu. You can also change the mask’s Ruby overlay settings by double-clicking the channel’s thumbnail. Because a temporary channel becomes available whenever a masked layer is selected, you can use some keyboard shortcuts to toggle between the actual layer and its mask. Pressing Command + \ will select the mask and Command + 2 will bring you back to the layer data.

A temporary channel is available whenever a layer with a mask is selected.

Vector Masks

Vector masks pick up where pixel masks fall short. By defining the mask’s shape using paths, vector masks provide a superior level of finesse and flexibility. They’re ideal for defining shapes with clean, crisp lines, such as interface elements.

Vector Masks are ideal for masking crisp-edged objects. (Image Source)

The disadvantage of vector masks is that they are unable to vary pixel opacities; they are basically either 0 or 100. For this reason, many masking jobs require a hybrid implementation. By using a vector mask to define the solid edges and a pixel mask for the more complex areas or for varying opacities, you can effectively extract objects while maximizing flexibility.

Creation

To add a vector mask to an existing layer, simply Command + Click the “Add Layer Mask” button at the bottom of the layer’s palette. If a path is currently active, the mask will be created using it. Otherwise, the mask will be empty. Paths can then be added, subtracted or modified by clicking the mask’s thumbnail.

Being able to create flexible interface elements is one of the best advantages of vector masks. Using the Shape Tool (U) set to Shape Layers allows you to quickly create a fill layer with a Vector Mask. These layers are far more flexible than a raster level and are perfect for creating buttons, rules and other elements that can be resized without interpolating data.

The flexibility offered by Vector Masks make them perfect for interface elements such as buttons.

View Modes

By clicking on the Vector Mask’s thumbnail in the the Layer’s palette, you can show or hide the paths saved in the mask. These paths can also be accessed from the Path’s palette, but only if the layer itself is selected. Toggling the mask on and off can be done by Shift + clicking the thumbnail.

Paths

Much like how layer masks appear in the Channels palette, a temporary work path would be displayed in the Paths palette when a layer with a vector mask is selected. You can then save the mask by dragging it to the “Create new path” button at the bottom of the palette or selecting “Save Path” from the fly-out menu. This temporary path can be accessed at any time by first selecting the Path Selection tool (A) and then pressing Enter; it can be dismissed by pressing Enter again. You can also quickly create a selection from an active path by pressing Command + Enter.

Applying

Before a vector mask can be applied to a layer it must first be rasterized by right-clicking the vector mask thumbnail and choosing Rasterize Vector Mask. If the layer already has a pixel mask, the two masks will be composited together to create a single pixel mask. It can then be applied like any other layer mask (right-clicking the thumbnail and choosing “Apply Layer Mask”).

Quick Masks

The Quick Mask mode allows you to create a selection using pixel editing tools as opposed to the primitive selection tools. This is a more logical approach to creating a complex mask with variable opacity. You can access this mode by clicking on the “Quick Mask” button in the Tools bar or by pressing Q.

Once in Quick Mask mode, you’ll no longer be editing the current layer. Instead, you’ll be editing a Ruby overlay that can be edited as if it were regular pixel data. By default, entering this mode will cover the entire canvas with a semi-transparent red color. You can then paint white to remove the overlay and black to add it back. The Quick Mask is essentially a more visual representation of a selection. Therefore, every area that you remove from the overlay is added to the selection.

Quick Mask mode allows you to quickly paint a selection. (Image Source)

Options

You can modify how the Quick Mask mode is displayed by double-clicking the “Quick Mask” button in the Tools bar. Here you can change the color and opacity of the mask as well as whether the mask color indicates masked areas or selected areas. Personally, I find painting selected areas more intuitive than painting masked areas, which is the default.

The Quick Mask Options menu allows you to change the color, opacity and target of the overlay.

Saving

After creating a quick mask, you can immediately apply it to a layer by creating a layer mask or save it for later use. By selecting Selection → Save Selection, you can save your selection as a new channel or apply it to an existing channel. This allows you to come back to the selection at any time by Control + clicking the channel in the Channel’s palette or by selecting Selection → Load Selection

Saving a Quick Mask creates a new channel.

Clipping Masks

You’ll often run into situations in which multiple layers require the same mask. You could group the layers and mask the layer group, but that is not always ideal. Clipping masks allows for a layer simply to adopt the opacity of an underlying layer. This is extremely helpful when using adjustment layers; by clipping them to a layer, you can apply adjustments to a single layer without affecting those below it.

The easiest way to create a clipping mask is to Option + click between the two layers in the Layer’s palette when the clipping mask cursor appears. Alternatively, you could press Command + Option + G to clip a layer to the one below it. Any number of layers can be clipped to one master layer, but a clipped layer can’t be used as a clipping mask itself.

Clipping Masks are great for constraining Adjustment Layers. (Image Source)

Clipping Paths

Clipping Paths are a lot like Vector Masks except that they apply to an entire document rather than a layer or layer group. They are primarily used by print designers to specify uniquely shaped objects that are imported into a page layout program. The path is imported along with the image to ensure a crisp clean edge.

To create a clipping path, first be sure that you have a path saved; having a temporary Work Path does not suffice. You must select “Save Path” from the fly-out menu in the Paths palette if your path is not saved. Then, from the fly-out menu, choose “Clipping Path.” Your document’s appearance will not change, but if you were to import the document into Illustrator using the Place command, it would be clipped to the path.

Masks Palette

The Masks palette, introduced in CS4, adds some useful features to help with creating and refining both pixel and vector masks. For the first time, you can feather a mask and change its density without losing the original mask.

The Masks palette was a great addition to Photoshop CS4.

Create/View Buttons

At the top of the palette are two buttons that can be used to select the layer mask or vector mask or to create one if one doesn’t exist.

Density

The density slider basically controls how strong the mask is. At 100%, fully masked areas will be completely transparent. When density is set to 50%, those same areas would be only 50% transparent.

The Density slider controls the strength of the mask. (Image Source)

Feather

Feathering the edges of a mask used to require applying a Gaussian Blur, which would destroy the original mask shape. With the Masks palette you can now change the amount of feathering at any time while maintaining the original mask data.

With the Feather slider, you can now change the mask’s softness on the fly. (Image Source)

Mask Edge

The Mask Edge menu provides some long-desired features that aid in refining a mask’s perimeter. They come in extremely handy when the extracted object is still picking up color from the masked background.

Radius
The Radius setting is similar to feathering, but it retains some of the edge’s crispness. This can be helpful with reducing awkward or overly sharp edges on complex shapes.

Contrast
Contrast simply modifies the contrast of edge elements, which helps crispen any soft edges. Using this in conjunction with Radius can help remove unwanted artifacts in the mask.

Radius and Contrast can be used to remove unwanted artifacts. (Image Source)

Smooth
Smooth simplifies the complexity of the mask’s edges. This can be useful if you’ve painted the mask by hand and need to quickly clean up some rough edges.

Feather
This feather command is nearly identical to the Mask palette’s primary feather command, but it restricts the blur more to the edge of the mask. The difference is slight yet noticeable.

Contract/Expand
The Contract and Expand slider allows you to grow and shrink the edges of the mask. This is extremely useful for reducing unwanted color fringes.

Smooth and Contract helps tighten up masks to reduce color fringes. (Image Source)

Preview Mode
At the bottom of the palette are five different preview modes that allow you to view the mask as a (1) selection with marching ants, (2) quick mask ruby overlay, (3) black matte, (4) white matte or (5) grayscale mask.

Check the mask in different views to ensure its quality. (Image Source)

Color Range

The Color Range menu is one of the most powerful ways to extract an image from an evenly colored background. With only a few clicks and adjustments, even the most complex object can be cleanly masked. For further details, see the “Techniques” section just below.

Techniques

Each masking job is unique and requires a different method of creation and refinement. However, some common techniques can drastically improve the efficiency and maximize the flexibility of your masks.

Color Range

When your masking task requires an object to be extracted from an evenly colored background (much like the video editing process of Chroma keying), the quickest means is often the Color Range command. First, use the Eyedropper Tool to select the primary color of the background. Then, you can use the “Add to sample” and “Remove from sample” tools to refine the color selection. The fuzziness slider lets you broaden the range of colors selected. If the color data is there to support it, this process makes short work of an otherwise tedious task.

The Eyedropper tools allow you to easily select the sky in the photo.

Color Range can make quick work of complex masks. (Image Source)

Channels

A mask is often hiding in one of the layer’s channels, just waiting to be unlocked. Depending on the image you’re using, you may be able to find a channel with strong contrast between the target object and its surroundings. You may even want to try temporarily changing the color mode to Lab or CMYK to provide alternative channel options. Once you find a channel with a strong enough contrast, Command + click it to create a selection. Then, apply the selection as a layer mask. You’ll then be able to tweak it as you would any other mask.

As the image below demonstrates, simply selecting a channel is not always sufficient for a clean mask. You may need to do some mixing with other channels.

(Image Source)

1. The original image has strong vibrant colors, making it a great opportunity to create a mask using channels.
2. The red channel has the foreground-to-background contrast, so we’ll start there. We’ve copied and pasted it onto a new layer and then inverted it.
3. The green cup is still very prominent, so we’ve converted the blue channel to a layer and will use it to negate the green and red cups.
4. By setting the Blending Mode on the blue channel’s layer to Multiply, we can effectively erase any extraneous white areas.
5. The two layers are then flattened and applied as a layer mask to the original image. This leaves us with a cleanly masked blue mug.

Pixel/Vector Hybrid

Objects will quite often have a combination of sharp edges and soft feathered edges. In instances like these, using both a pixel and a vector mask may be best. One common example of this is extracting a figure. You can use the pen tool to draw all of the smooth edges along the figure’s body and then use a pixel mask to paint in the fine details such as hair.

Multiple Masks

There may be times when you want to apply more than one mask to a layer. You could choose to apply the mask by right-clicking the layer and selecting Apply Layer Mask, after which you could apply a new mask. This, however, is not ideal because the data behind the mask will be lost.

A far better method is to create a Smart Object from the layer and mask the new layer. This allows you to apply two masks to one layer without losing data. In fact, if needed, you could repeat this process over and over.

Converting a layer to a Smart Object allows you to add multiple masks without losing data.

Layer Styles

If you have ever added a mask to a layer with layer styles, things may have gotten messy, especially if the mask had soft edges or varying opacities. This is because, by default, Photoshop uses a composite of the layer’s opacity along with any masks on it to define the area used by the layer styles. This is desirable but can also be a nuisance. To counter the default behavior, open the Blending Options menu for the layer, and apply either “Layer Mask Hides Effects” or “Vector Mask Hides Effects.”

Messes can often be tidied by using the “Layer Mask Hides Effects” option.

Blend Clipped Layers as Group

By default, Photoshop assumes that all layers in a clipping stack should be blended with the base layer before the base layer is blended with the layers below it. This makes sense sometimes, but other times you may need the clipped layers to adopt the shape of the base layer but not the blend mode. To prevent this behavior, open the Blending Options menu for the base layer (right-click the layer and choose “Blending Options”), and uncheck the “Blend Clipped Layers as Group” option. Now, each of the clipped layers will blend with underlying layers as if they weren’t clipped.

The “Blend Clipped Layers as Group” causes all clipped layers to blend together first and then blend with underlying layers using the base layer’s Blend Mode.

Type Masks

Grouped with the Type tool in the Tools bar is the deceptively named Type Mask tool. It allows you to create type just like the regular type tool; but once committed, the type is converted to a selection. This selection can be converted to a layer mask but will no longer be editable. This is not ideal. If editability is important, you may want to create a regular type layer and use it as the base of a clipping mask. This is the only way to mask objects to the shape of type without losing the ability to edit the text. Perhaps someday Photoshop will let us create an editable Type Mask for a layer.

Removing Edge Fringes

Even after using the “Refine Edge” command in the Masks palette, you may find random color fringes left along the edge of your mask. This is where some manual brushwork comes in handy. The Paintbrush tool can be used here, but I recommend the Healing Brush, Stamp Tool or Smudge Tool because they will blend better with the subject.

First, create a new layer and clip it to the masked layer. Then, set your tool of choice to sample all layers. You can now select your sample area and paint the fringes out; the original layer data will be preserved. Often, changing the brush’s Blend Mode will help preserve the detail of the layer.

Color Fringes can usually be smudged or painted away on a clipped layer. (Image Source)

Keyboard Shortcuts

• \
  View Layer Mask as an overlay
• Command + \
  Set layer focus to Layer Mask
• Command + 2
  Set layer focus to layer data
• Command + Option + \
  Create selection from Layer Mask
• Command + Option + G
  Make/Release Clipping Mask
• A, then Enter
  Activate/Dismiss Vector Mask
• Command + Enter
  Create selection from active vector mask
• Command + Click Mask Thumbnail
  Create selection from mask
• Command + Option + Click Mask Thumbnail
  Subtract mask from selection
• Command + Option + Shift + Click Mask Thumbnail
  Intersect mask from selection
• Q
  Toggle Quick Mask mode

Inside the Color Range Menu

• Option
  Toggle the Reset button and the “Subtract from Sample” tool
• Command
  Toggle between the Selection view and Image view
• Shift
  Toggle the “Add to Sample” tool

Further Reading

• Nesting Smart Objects for Multi-Mask Effects in Photoshop
• Using Masks to Improve Landscape Images
• Photoshop Masking and Compositing
• Masking a Tree
• Seamless Compositing
• Fluid Mask, by Vertus
• Selecting and Extracting Hair
• Mastering Photoshop With Paths

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Thomas GiannattasioTom Giannattasio resides in Bethesda, Maryland, where he works as a Web designer and Flash developer. His personal website, attasi, showcases his most recent work.

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