遮罩本质上是一个平面形状，覆盖设计中的元素，通常这些是 8 位点层。它们可以使用分离创建或手动绘制，在进行色调分离时可以选择蒙版来隔离区域。
为什么我们要戴口罩
A mask is essentially a flat shape that covers elements in your design, normally these are 8 bit spot layers. they can be created using separation or drawn manually, the mask can the be selected to isolate areas when doing tonal separations.
Masking elements in designs could be seen as a slightly old fashioned method of producing your colour separation and you might think that with AVA’s advanced separation features that there would be no need to mask out parts in your designs, however in many cases masking areas is essential to you give you the control you need of the tones and enable you to get nice clean separations. Making good masks might be the most time consuming part of your separation process, but once you have good masks you can select these areas easily which will speed up the next part of the process and give you far better separations.
In my example below, I made 3 simple layer masks using a combination of: Auto Tonal, Despeckle and Mover (to clean up). A mask for the leaves, background and flowers.
Below is an example to illustrate the advantage of having a mask and how it can be used.
In the image above, I am trying to separate the light pink in the flowers, I need this layer to be quite flat as the other darker pink colours should fall on top, but as you can see when I decrease the slider in Advanced Colour separation I get areas of pink in the background and even some in the green. I could take the slider the other way, but then the tones in the flower are too tonal so the other colour would not sit nicely on top of the light pink.
However if I select my ‘flower’ mask (Select All > Select > Snap) before making the Advanced colour separation you can see (above) that the separation is only done within the selected area. This makes if far easier to get the tones I want and it means there is no unwanted pink in other areas in the design which could look bad when you are making colourways of the design.
Typically masks are useful in designs where you have motifs that are clear sets of colours that don’t blend with others. We have said that mask are useful / essential even, for many designs, there will of cause be designs where they are less appropriate such as when all the colours blend together. However you can also have tonal masks that you might use to adjust tones in a texture.
Some other features in AVA that may help you mask your designs include:
HSL 面膜
The HSL separation techniques use hue, saturation and lightness values to create specific separations. The HSL window is located in the Window Menu. It should be opened initially, before you attempt to use any of the listed methods. This feature is particularly useful for masking out specific areas.
- Open a tonal design.
- Go to Window Menu > HSL. A small HSL window will open.
- Create a destination layer for your masked area and activate it in the Layers Palette.
- Use the Pipette Tool to pick up a colour from the image. This colour will appear in the colour box in the HSL window.
When this window is open, all brush and pipette actions are overridden. The Pipette Tool picks colours directly into the colour square in this window, rather than into the normal foreground colour box in the Tools Palette.
The HSL numbers automatically default to 10. These numbers control the amount of colour and tone that are included when painting to separate on a layer and can all be adjusted manually.
- Begin to paint on the 1 bit layer and you will see that it will only allow you to paint within the set parameters, according to the colour in the HSL box.
- Experiment by changing the HSL values. Press the enter or tab key on the keyboard after changing any of the numbers. The higher the values, the more colours are included, the lower the numbers, the smaller the range of colour and tone which are masked as you paint over the design.
You are only able to paint on colours that fall within the selected percentage tolerance of the chosen colour that is being painted. For example, if you select a blue colour, when you paint over yellow colours, no paint will be transferred.
- Finally, if you are working on a large design, just use the separator brush on a small area and go to Separate Menu > HSL to create the mask over the whole design.
Note: Remember to close the HSL Window when you have finished or your Pipette Tool and Brush Tool may not work as expected.
Delta HSL
This variation of HSL makes it easier to accurately set the values in the HSL Window. You often have to experiment with values until you find the right numbers to use for the separation, so delta HSL is designed to find the right values for you. It works by identifying the different colours you want to include in your mask.
The HSL Window has a button on it, labelled ‘0’. If you click on it, the values are set to zero. This is the starting point for creating your delta HSL range.
- Choose Window > HSL.
- Select a colour with the Pipette Tool to set it as the starting colour in the HSL Window.
- Click on the ‘0’ button to set the HSL values to zero.
Hold down ⇧ (shift key) and click with the Pipette Tool on another colour. This adjusts the values to display the difference between the original colour and the one you have just clicked on.
Similar colours will produce small numbers and very different colours will result in high numbers.Test the effectiveness of the new values by painting over the area with the Brush Tool on the mask layer.
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If the desired area is still not being included, repeat Steps 4 and 5 until the values are high enough to include it all.
This method stores the maximum values in the HSL fields. Therefore, the numbers never go down. This is so you can select multiple colours if required, but only record one value which will include them all.
Note: If you are trying to pick up a very small range of colours or tones from a separation, do not click on too many colours using the above method. The more colours you click on, the higher the numbers get and the bigger the range of colours that will be picked up by the separation. Therefore, only click on similar colours if you wish to increase the HSL values slowly.
The Movie
斑点面具
The Spot Window is a very powerful tool, and is commonly used to separate artwork. However, it is also very good for creating masks, which later help the separation process, because they eliminate parts of the design as you separate specific areas. This can result in a very clean separation.
If you want to learn about the benefits of masking designs before separating them, click here.
If you are not already familiar with the Spot Window, you can learn more here.
- Go to Separate Menu > Spot to open the Spot Window.
- Use the Pipette Tool to select the colour you would like to mask. This colour will appear in the foreground colour of the Tools Palette.
- Split the view of the Design Window.
- Click the New and Preview buttons in the Spot Window.
- The previewed separation will be tonal. Click the Depth button to convert it into a solid separation.
- Adjust the Gamma Curve to achieve the desired results.
- Click Fix to fix the separation.
This layer can now be converted into a selection by simply dragging it from the Layers Palette to the Selections Palette.
Tip: If you are creating several masks, we recommend naming the fixed layers as you go, making it easier to differentiate between each mask layer. These names are then carried into the Selections Palette when you drag them to it.
When you are ready to start separating, just drag the relevant selection into the Design Window prior to using any of the separation methods available to you.
The Movie
自动色调蒙版
自动色调窗口是一个非常强大的工具，通常用于分离图稿。然而，它也非常适合创建蒙版，这有助于稍后的分离过程，因为它们在分离特定区域时消除了部分设计。这可以实现非常干净的分离。
如果您想在分离掩模设计之前了解它们的好处，请单击此处。
如果您还不熟悉自动色调窗口，可以在此处了解更多信息。
- 使用移液器工具为文档中要遮盖的每种颜色添加图层。为此，请按住键盘上的 ⌘⇧（命令键和 Shift 键），同时使用移液器工具单击设计中的每种颜色。
注意：如果您的设计中有任何白色背景，您还必须为此创建一个图层，因为在此分离过程中，每个像素都被分离到图层面板中的活动图层之一上。
- 激活您添加的所有图层（不包括图像），然后使它们不可见，同时保持原始图像可见。
- 转至单独菜单 > 自动色调以打开自动色调窗口。您将在窗口顶部看到添加到设计中的每种颜色的列。
- 从窗口底部的操作菜单中，取消选择自动设置色调值（此选项默认处于打开状态）。
- 使用移液器工具，单击每种颜色的一系列色调，范围从浅到深。您单击的每个音调都会出现在自动音调窗口中。每种颜色只需要少量色调。
- 激活相应列中的色卡，然后单击窗口底部的 100 按钮：
- 对每种颜色重复此操作，确保在正确的列中突出显示它们。
- 单击窗口底部的“单独”按钮。
- 该设计将被分成掩模。
现在可以通过将这些图层从“图层”面板拖动到“选择”面板来将其转换为选区。
提示：我们建议您随时命名遮罩层，以便更轻松地区分每个遮罩层，特别是当您的设计中具有相似的颜色时。当您将这些名称拖到选择调色板时，它们就会被带入选择调色板中。
当您准备好开始分离时，只需将相关选择拖到设计窗口中，然后再使用任何可用的分离方法即可。
如果结果不理想
查看自动色调窗口并检查列出的颜色。一些重要的色调可能尚未被拾取，因此软件将从所包含的颜色中选择最接近的可用颜色。如果是这样，请使用移液器工具将缺失的音调添加到列表中。
选择移液器工具，然后在仅图像可见且图层处于活动状态但不可见的视图中工作，单击缺失的颜色。所有额外的颜色都会添加到列表的底部。然后重复步骤 11 – 14。
正确分离掩模区域后，可以使用去斑过滤器和移动工具对其进行清理。
电影
选型工具
您可以使用选择工具手动创建蒙版
Accessed by clicking and holding down on the Lasso Tool in the Tools Palette, this tool is a freehand selection tool, but incorporates edge detection functionality, providing the user with a fast and proficient way of selecting motifs.
Change the Lasso Tool to Magnetic in the Tools Palette by clicking and holding on it and selecting Magnetic from the tool list.
With the Magnetic Lasso selected, the cursor changes to a circle and cross hair, otherwise known as a ‘target area.’
The circle represents the width of the area AVA searches when determining an ‘edge’ and can be resized using your 1 and 2, or [ and ] keys on your keyboard.
To increase the target area press and hold 2, or ], and to decrease it press and hold 1, or [
For designs with high contrast between the motifs and the background, and small target area would be required. For designs with a softer balance between the hues, a larger target areas should be used.
The same technology is used the with the Bucket Tool.
Adding a selection to the Brushes
Selections can be automatically added to the Brushes Window. Simply activate one of the select tools (Rectangular Selection Tool, Lasso Tool or the Magic Wand Tool) and create your selection, then click ^ (control key) and choose Add to Brushes.
The Lasso Tool is used to make freehand selections and has three modes; Lasso, Magnetic Lasso and Polygon. These are all accessed by pressing and holding down on the tool in the Tools Palette. Selections will be marked by square, grey nodes, making them easily distinguishable from the round nodes of Partial Images.
Note: Any tool which displays a disclosure triangle beside it means it has different modes.
- Lasso - is used for selecting areas of a design in a freehand way. Where ever you draw with the lasso, those areas will become selected, isolating them from the rest of the design. This means, when a selection is present, only the area inside that selection can be edited.
- Magnetic Lasso - like the Lasso Tool, this is a freehand selection tool, but incorporates edge detection capability, providing the user with a fast and proficient way of selecting motifs.
- Polygon - a great tool for selecting geometric shapes, and it is very easy to use. Simply click points to draw your selection.
Note: This article focuses on how to use the Lasso Tool. To learn how to use the other modes, please refer to the Related Articles listed at the bottom of this one.
Freehand
Select the Lasso Tool from the Tools Palette or press L on the keyboard to automatically select the tool. The following settings pane will open somewhere on your screen.
From the 3 modes across the top of this window, select the one on the left hand side. This puts the lasso in 'standard' mode and allows you to make selections freely.
Draw a shape with you mouse of Wacom™. If the ends of the shape do not join together they will automatically be joined with a straight line.
Once the selection is complete, release the cursor. A selection will be created and is shown by a moving dotted line. The extremities of the selection will be marked by grey nodes at each corner and side.
If you have a complicated selection to trace, ticking 'Continuous' will allow you to lift your hand/cursor as you draw the selection, without completing it. When Continuous mode is being used. You need to press ⮐ (return key) to complete the selection.
To deselect a lassoed area do one of the following
- Click away from the selection within the design
- Go to Edit Menu > Select > None
- Use the keyboard shortcut ⌘D
Note: The settings you apply in this window can be stored to a palette by dragging the handler icon from the settings window to a palette.
Straight lines
The Lasso Tool is not only a freehand selection tool, you can create straight lines with it by holding down ⌥ (option key) while clicking.- Tick 'Continuous' in the settings window.
- Make sure standard mode is selected.
- Trace your shape by clicking around the motif, as opposed to dragging your cursor around it. A straight line will be drawn between points. Hold down ⇧ (shift key) to constrain these lines to 45º and 90º.
Press ⮐ (return key) to complete the selection.
Note: Straight line selections are constrained by any grids you may have set in the grid settings.
Removing areas from a selection
Make your initial selection with your chosen selection tool. Hold down ⌘ (command key) and draw around the area you no longer want with the Lasso Tool and it will be removed from the selection. To make a hole in a selection, it is important to loop your lasso back to where you started otherwise you may not remove the correct area.
When you hold down ⌘ (command key), a '-' symbol appears on the cursor, indicating that the area will be removed from your current selection.
Alternatively, change the mode of the Lasso Tool by clicking on the button circled below. This removes the need to hold down ⌘ (command key) as you draw;
Adding to a selection
Any existing selection can be added to using the Lasso Tool. Simply hold down ⇧ (shift key) as you begin drawing with the lasso, and the existing selection will remain in place as you add to it. Alternatively, you can change the mode in the lassos settings window.
Press the + icon, and as you draw, the Lasso Tool will add to existing selections.
Shape tracking
Instead of selecting regular shapes, add character to your selections with the shape tracking effects. When you select the Lasso Tool from the Tools Palette, the settings window automatically opens, providing you with 6 exciting shapes to apply to your selections.
Each setting can be further adjusted using the amplitude and spacing settings, which increase and decrease the height and frequency of the shape being selected.
- Line - effectively switches off the shape tracking
- Sine - from the word sinusoidal means random and sinew like. This setting enables you to make selections with rough edges, which can be effective when selecting motifs, especially when combined with feathered selections.
- Square - gives a squared appearance to the edge of the selection. This option is better suited to the paintbrush and free drawn shapes.
- Triangle - gives a triangular appearance to the edge of the selection. This option is better suited to the paintbrush and free drawn shapes.
- Spring - creates a spring-like affect selection. This option is better suited to the paintbrush and free drawn shapes.
- Random - creates a random shaped edge to your selection. This effect is better used with the Brush Tool.
Note: Each of these effects can be changed by adjusting the amplitude and spacing. Why not experiment a little! You can also further enhance the selections by adding a feather.
Click here to see the effect these settings have on the Brush Tool.
Continuous
'Continuous' enables you to draw an unbroken line with the lasso using multiple strokes of the cursor. This is great for tracing complex shapes, as it allows other tools such as the Hand Tool to be used for scrolling the design around as you draw the selection.
Once the selection is complete, press ⮐ (return) to finish the line.
Adding a selection to the Brushes
Selections can be automatically added to the Brushes Window. Simply activate one of the select tools (Rectangular Selection Tool, Lasso Tool or the Magic Wand Tool) and create your selection, then click ^ (control key) and choose Add to Brushes.
样条线选择
The Spline Tools can be used to create selections, filled shapes, brush lines and vector shapes. The resulting selection, painted information or vector depends on the type of layer which is active when using these tools.
There are four Spline Tools, which all compliment each other, and the user can choose the most appropriate tool for the work they are doing. To switch between the tools, simply hold down on the tool in the tools palette and the options will appear in a drop down menu.
Fit Points
This tool works on images, layers and vector layers, and requires the user to plot a series of nodes, perhaps around a motif, through which it will draw a smooth line.
Creating a brush outline
- Activate a spot layer or an image and select the combined spline tool from the tools window or press S on the keyboard.
- Draw the desired shape by clicking a series of points and then double click to end your spline. The shape will be painted automatically once you have double clicked using whichever brush is selected in the Brushes Palette.
Creating a filled shape
Repeat Steps 1 and 2 above but ensure that when you double click at the end of your shape you hold down the ⌘ (command key) key on the keyboard. The shape will be filled with solid colour automatically once you have double clicked.
Creating a selection
Repeat Steps 1 and 2 above but ensure that when you double click at the end of your shape you hold down ⌥ (option) and ⌘ (command) keys on the keyboard. The shape will become a selection automatically once you have double clicked. 
Creating a vector shape
- Activate a vector layer and select the combined spline tool from the Tools Palette or press S on the keyboard.
- Draw the desired shape by clicking a series of points and then double click to end your spline. The shape will form a vector automatically once you have double clicked.
Undoing the spline curve
Incorrect points along the line can be deleted while you are creating them by pressing ‘B’ on the keyboard to erase the points and move backwards one at a time.
Completing the spline curve
Double click at the point where you want the curve to finish and the spline will be completed. Alternatively, if you position your cursor exactly over the point where you started the line, you will notice that the software automatically tries to curve the final point itself, rather than leaving a straight section at the start and end. In this case, just click once and both ends will be joined together smoothly.
Tip: Try not to click too many points when creating your shape. A few carefully placed points will give a much smoother result.
With Tangents
To access this tool, click down and hold on the fit points tool, then select with tangents from the drop down menu. This tool only works on vector layers and requires a slightly different drawing technique compared to the Fit Points Tool.
As you plot the nodes on your vector layer you can instantly create curves by clicking the next point and dragging its handle into the desired position with a click and drag motion. The user continues to plot their shape using this click and drag motion and when the line is complete, simply press ⮐ (return key) to complete the vector.
- Begin drawing the vector by plotting the first two anchor points. On the second node, you can drag the handle into the desired position as shown in the picture below.
- When you click the third node, you will see your curve start to take shape. Drag its handle to suit your desired curve.
- Continue to plot your nodes and move the handles appropriately.
- Press ⮐ (return key) on the keyboard to complete the vector.
Three Points
This tool enables the user to anchor the start and end point of a spline and use a third click to adjust the curve between these two points simply by hovering over the curve and dragging it into the desired position. To access this tool, click down and hold on the fit points tool, then select three points from the drop down menu.
Once the first two points are in place, and you have amended the curve between them, the tool automatically moves on to allow the next node to be anchored.
- Click the first and second point of the vector.
- Hover your cursor over the centre of that line. You will see it start to bend.
- Once your desired curve is achieved, simply click to define the shape.
- When the curve is defined, move on to the next point.
- Continue plotting and adjusting the curves as necessary, and press return to complete the vector.
Note: When drawing a closed shape with this tool, hover the cursor over the last node until a circle appears. Upon clicking this point, the shape will close and there will be no need to press the return key to complete it.
This tool allows for rapid masking or clean copying of scanned designs. It gives extra control to the user by allowing changes to the line.
The Silhouette tool is similar in function to other spline tools, however gives the user more control and flexibility when masking their shape. Accessed from the brush tool, just click and hold to get this new option.
- Add a 1 or 8 bit layer and activate it
- Click the first and second point of the line.
- Hover your cursor over the centre of that line. You will see it start to bend.
- Once your desired curve is achieved, simply click to define the shape.
- Use the red anchor points to make manual adjustments to the curve as necessary
Tip: You can use your 1 & 2 keys on the keyboard to change the width of your line in real time.
Silhouette Settings
- Maximum width - the maximum possible size your line will be
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Width change pattern - works similarly to a gamma curve, you can add points and change the curve. The curve affects how thick the line is at different points.
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End shapes - allows the user to determine the end shape of their line. There are 4 options to choose from, in the image below you can see how each of the lines differ at the end:
- Start from last position - allows you to continue your line from exactly the last position you clicked. With this option on, you don't need to add two points each time, just click your next point as it will automatically set the first.
- Fix - this fixes the line. Once you have done this you cannot continue to edit it. If you are working on a file a shortcut for this is to click ⮐ (return key).
Saving your settings
You can quickly save the setting of the brush you are working with by clicking the plus button in the bottom left hand corner of the Silhouette tool settings window. This will automatically save your settings, so you can go back to them as needed. This allows you to build up a good selection of brushes that you can keep swapping between as you mask the file.
Tip: You can delete a saved setting at any time by clicking the rubbish bin in the bottom left of the window.