Main idea and supporting details worksheets: Main Idea & Details Worksheets
Posted onMain Idea Worksheets | Ereading Worksheets
Are you looking for main idea worksheets and resources? This page features a collection of high-quality worksheets and a PowerPoint lesson! Many students have difficulties identifying main ideas in nonfiction texts. I hope that these resources will help.
The reader must COMPREHEND the text AND also MAKE CONNECTIONS within the content to FIND OVERARCHING IDEAS. The reader must also RECOGNIZE and DISREGARD NONESSENTIAL INFORMATION.
Identifying main ideas may come simply and naturally to good readers. But it is actually a two or three step process. Struggling readers may trip up on any one of those steps. Here are some practice activities. Students can try to identify the main idea in a variety of texts with these main idea worksheets.
Main Idea Lesson 1
Here is an animated PowerPoint lesson on main idea. The slideshow explains main idea and how to identify it in a text. There is also a practice activity at the end of the lesson with five practice problems.
Main Idea Worksheet 1
Here is a double-sided main idea worksheet. Students read seven original nonfiction passages and summarize the main idea of each passage. Also, students must think of a title for each passage that relates to the main idea of the text. Suggested reading level for this text: Grade 6-10.
Main Idea Worksheet 2
Here is another double-sided main idea worksheet. This worksheet features six more original nonfiction passages for your students to analyze. Students read the passages, disregard nonessential information, express the main idea, and think of a title for each passage related to the main idea. Suggested reading level for this text: Grade 6-10.
Main Idea Worksheet 3
Here is yet another double-sided main idea worksheet. This one is themed around robots and robotic technologies. Students practice identifying main ideas and coming up with appropriate titles for each passage. Suggested reading level for this text: Grade 6-10
Main Idea Worksheet 4
Here is one more double-sided main idea worksheet. Students read seven passages about money and systems of exchange. They summarize each paragraph, state the main idea, and think of an appropriate title for the passage. Suggested reading level for this text: Grade 5-9
Main Idea Worksheet 5
Here’s another great activity to help students master main idea. Learn about some of the greatest scientists in human history while reviewing main idea. Read the passages, identify the main idea, and create appropriate titles for each passage. Suggested reading level for this text: Grade 7-11.
Main Idea & Text Structure Valentine’s Day Worksheet
Your students will LOVE working through these six passages, expressing the main idea of each, titling them, and visually representing the text using graphic organizers. Suggested reading level for this text: Grade 7-11.
You’ve got to put it all together to find the main idea.
Main Idea Anchor Standard
R.2 — Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.
RL/RI.K.2 — With prompting and support, identify the main topic and retell key details of a text.
RL/RI.1.2 — Identify the main topic and retell key details of a text.
RL/RI.2.2 — Identify the main topic of a multiparagraph text as well as the focus of specific paragraphs within the text.
RL/RI.3.2 — Determine the main idea of a text; recount the key details and explain how they support the main idea.
RL/RI.4.2 — Determine the main idea of a text and explain how it is supported by key details; summarize the text.
RL/RI.5.2 — Determine two or more main ideas of a text and explain how they are supported by key details; summarize the text.
RL/RI.6.2 — Analyze how a particular sentence, paragraph, chapter, or section fits into the overall structure of a text and contributes to the development of the ideas.
RL/RI.7.2 — Analyze the structure an author uses to organize a text, including how the major sections contribute to the whole and to the development of the ideas.
RL/RI.8.2 — Analyze in detail the structure of a specific paragraph in a text, including the role of particular sentences in developing and refining a key concept.
RL/RI.9-10.2 — Analyze in detail how an author’s ideas or claims are developed and refined by particular sentences, paragraphs, or larger portions of a text (e.g., a section or chapter).
RL/RI.11-12.2 — Analyze and evaluate the effectiveness of the structure an author uses in his or her exposition or argument, including whether the structure makes points clear, convincing, and engaging.
Click to VIEW Grade Level Standards for R.2
View CCSS Source
Related Content
Still looking for something?
Search here.
Main Idea Worksheets
The main idea, also called the central idea or main point, is the primary concept of a passage. It represents the essential point that the author is trying to convey. The main idea may be clearly stated as a sentence. The main idea is usually reinforced by a series of other points or details which support the premise of the main idea. These are called supporting ideas and may also be stated or implied. Please use any of the printable main idea worksheets below in your classroom or at home. Just click on the worksheet title to view details about the printable PDF and print or download to your computer.Be sure to check out all of our reading worksheets. If you’re looking for more activities, check out www.readingvine.com’s main idea reading passages.
After reading a brief passage about storms, students are prompted to write the main idea and 3 details.
- Grade Levels:
- 2nd and 3rd Grade, Grades K-12, Kindergarten & 1st Grade
A short passage about Spots the Barn cat. Students circle the main idea from a list of options.
- Grade Levels:
- 2nd and 3rd Grade, Grades K-12, Kindergarten & 1st Grade
Students read a short paragraph about carnivals, circle the main idea and write 3 details.
- Grade Levels:
- 2nd and 3rd Grade, Grades K-12, Kindergarten & 1st Grade
A main idea worksheet about the book, Anne of Green Gables. Students write the main idea and two supporting ideas.
- Grade Levels:
- 2nd and 3rd Grade, 4th and 5th Grade, Grades K-12
Students read a passage about planets and then write the main idea and supporting ideas.
- Grade Levels:
- 2nd and 3rd Grade, 4th and 5th Grade, Grades K-12
Students read a passage from Rudyard Kipling’s book, The Jungle Book, and write the main idea in the large oval and two supporting ideas in the small, linked ovals.
- Grade Levels:
- 2nd and 3rd Grade, Grades K-12
- CCSS Code(s):
- RI.3.2
Students read about the fascinating Meerkat and write down the main idea and supporting ideas.
- Grade Levels:
- 2nd and 3rd Grade, Grades K-12
- CCSS Code(s):
- RI.3.2
Learning how to properly structure an essay can be difficult. With this Main Idea Tree, students will create an outline that allows them to better understand the different parts of a five paragraph essay. Students will be asked to write their introduction, a main idea, three topic sentences, three supporting details for each topic sentence, and a conclusion.
- Grade Levels:
- 2nd and 3rd Grade, 4th and 5th Grade, Grades K-12
- CCSS Code(s):
- RI.3.2, RI.4.2, W.3.1, W.4.1
Students read about the dolphins and write the main idea and two supporting ideas on the lines provided.
- Grade Levels:
- 4th and 5th Grade, Grades K-12
- CCSS Code(s):
- RI.5.2
Students read about the Louisiana Purchase and write the main idea and two supporting ideas on the lines provided.
- Grade Levels:
- 4th and 5th Grade, Grades K-12
- CCSS Code(s):
- RI.
5.2
Students write the main idea and three supporting ideas after reading a short passage from the book,The Wonderful Wizard of Oz.
- Grade Levels:
- 4th and 5th Grade, Grades K-12
- CCSS Code(s):
- RL.5.1
A main idea worksheet about the book, 20,000 Leagues Under The Sea. Students write the main idea and two supporting ideas.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
A reading passage about Ben Franklin. Students read and write the main idea and supporting ideas.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
After reading a passage from “Black Beauty” by Anna Sewell, students write the main idea and two supporting ideas.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
Students read a passage from Louisa May Alcott’s book, Little Women, and write the main idea and two supporting ideas.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
- CCSS Code(s):
- RL.
8.2
Students read a passage from The Legend of Sleepy Hollow and write the main idea and supporting ideas.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
- CCSS Code(s):
- RL.6.2, RL.7.1,RL.8.1
Students write the main idea and up to 5 supporting ideas after reading a short passage from the book, The Adventures of Tom Sawyer, by Mark Twain.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
- CCSS Code(s):
- RL.6.1, RL.7.1, RL.8.1
One passage about the U.S. Constitution and one about the sport of soccer. Students read both, circle the main idea and write a supporting idea.
- Grade Levels:
- 6th — 8th Grade, Grades K-12
After reading a passage from “Call of the Wild” by Jack London, students write the main idea and two supporting ideas.
- Grade Levels:
- 9th — 12th Grade, Grades K-12
A worksheet about the major art movements. Students write the main idea and 4 supporting ideas.
- Grade Levels:
- 9th — 12th Grade, Grades K-12
How to reduce the weight and cost of the product and improve the quality of its work?
Proceedings of the 3rd conference «TRIZ. The practice of using methodological tools».
How to reduce the weight and cost of the product and improve the quality of its work?
Skuratovich Alexander Ivanovich
Independent consultant and trainer on TRIZ, FSA and Lean Manufacturing
“There are hidden reserves of improvement in any system.”
Postulate of the FSA+TRIZ method
In my consulting practice, there are situations when a customer wants to reduce the weight and/or cost of manufacturing a product without compromising the quality of its functioning. Sometimes, in parallel with this, it is required to eliminate the shortcomings of the product and increase the reliability of its operation. At the same time, as a rule, the customer is not ready and does not want to change the principle of operation of the product, cannot use modern durable and lightweight materials, and is deprived of the possibility of using modern technological equipment.
The customer knows and actively uses well-known typical engineering techniques and ways to reduce weight and cost, but this is not enough. How can TRIZ and FSA help in this case?
The arsenal of TRIZ and FSA has accumulated many tools and techniques that allow revealing hidden reserves to reduce the weight and cost of the product. These techniques can significantly complement and expand the capabilities of technology developers. For example, these are such techniques and procedures as: identifying and eliminating duplication of functions, eliminating redundancy in the level of performance of functions, the procedure for “folding” the product structure, Sobolev’s element-by-element economic analysis, introducing “emptiness” into materials and parts, some methods for eliminating technical contradictions, and others.
The best way to reduce the weight and cost of a product is to remove parts of the product as «unnecessary». No detail — no mass, no manufacturing process, it costs nothing! Sometimes it is possible to restructure the structure of the product so that its components or the product itself become “unnecessary”.
In 2007, my TRIZ and FSA colleague Petr Chuksin and I took part in a project to improve stripper harvesters of the British company Shelbourne Reynolds for grain harvesters. The stripping header implements a promising technology for harvesting grain crops — stripping plants. Its essence is that only ears with grain are harvested, and the stems of plants remain on the field. Combines equipped with such headers consume 40% less fuel, and their productivity increases by 2-3 times. These harvesters are in demand in the USA, Australia, Brazil, European countries. But the use of Shelbourne Reynolds stripper headers in Russian fields is limited by a small number of powerful foreign combines. Most Popular Overseas 9- meter stripping header weighs about 3 tons (Fig. 1). Not all Russian harvesters can work with it. Therefore, our Russian customer and co-owner of Shelbourne Reynolds was tasked with finding ways to reduce the weight of stripper headers and adapt the lightest of them with a working width of 5.4 meters to the Russian NIVA combine.
Fig. 1. Shelbourne Reynolds stripping header on a John Deere combine.
The Shelbourne Reynolds staff were surprised at the challenge. They have been perfecting the header for many years, they know it to the last nut. The design looks logical and optimal. The harvester does not break, it has proven itself well, farmers are happy to buy it. The company is a leader in the production of stripping headers. And then engineers from Russia come and say that it is necessary to reduce its weight! But how? For what? Nothing can be thrown out of the harvester! All knots and parts needed!
This header’s lead designer and company owner, Keith Shelbourne, said that if we reduce the weight by even 5%, he will personally shake hands with us. But when we started working together, our British colleagues became convinced in practice of the effectiveness of TRIZ and FSA methods. As a result, we found ways to reduce the weight by 20 and even 30% (see Fig. 8 at the end of the article), and Shelburne not only shook hands with us, but also took a picture with us against the backdrop of the company banner (Fig. 2).
Fig. 2. From left to right: consultants Alexander Skuratovich and Petr Chuksin, chief technologist of Shelbourne Reynolds Eric Taylor and company owner Keith Shelbourne.
This result was achieved by actively applying the well-known in TRIZ procedure of “folding” to the auxiliary elements of the header design. But not all auxiliary parts can be removed from the design of the machine. How to reduce the cost of the product in this case?
In this case, Sobolev’s element-by-element economic analysis helps a lot. The main idea of this method is the selection of the main and auxiliary elements of a part or assembly and the removal or change of auxiliary elements in such a way that the mass of the part, the laboriousness of its manufacture or its cost become lower.
For example, while studying the manufacturing process of the stripping tine sections of the header rotor (Figure 3), we found that 36% of expensive stainless steel is wasted (Figure 4).
Fig. 3. Stripping teeth section.
Fig. 4. Waste sheet steel.
Such a large amount of waste indicates an inefficient use of material and leads to an increase in the cost of manufacturing sections and the entire header.
We set out to find ways to make better use of sheet metal space and reduce waste.
If you look at the stripping tine sections, you can see that the elements that perform the main function are the teeth, and the auxiliary part of the section is the opposite straight side, through the holes in which the sections are attached to the stripper rotor.
The shape of the gear profile has been “suffered through” by numerous calculations, experiments and tests of prototypes made by previous generations of researchers and practitioners. It is clear that changing the profile of the teeth is impossible and the company’s engineers will not take such a risk. How to be?
The tooth profile is regular and in order for the sections to take up less space on the sheet, the teeth of one section can be tried to be placed between the teeth of another and partially pushed into each other. This idea is obvious and it occurred to many, but the gain was small.
And what if we “admit the unacceptable”, as the respected TRIZ master Vladimir Mikhailovich Gerasimov teaches us, and push the toothed sections into each other to the end?
But then the “suffered” profile will change! And you can’t change it!
Yes, it will change, but a little — each tooth of the section will need to be made thinner by 1 mm — 0.5 mm per side, and they will fit into each other like in a puzzle (Fig. 5).
Fig. 5. Serrated sections nested within each other.
As a result, 44 sections can be placed on a sheet of metal instead of 34! And this is already a very significant savings in metal. At a meeting with the developers of the header, it was decided that thinning the profile by such an insignificant amount should not lead to a strong weakening of the teeth.
But the passion so disassembled us and the developers of the harvester that the next day, independently of each other, an even more economical option was found. On the rectilinear auxiliary part of the section, the location of the mounting holes cannot be changed, but the material between them can take any shape that is beneficial to achieve our goals. And if so, then you can «press» the sections into each other and auxiliary parts, while maintaining the distance between the mounting holes. What came out of this can be seen in Fig. 6.
Fig. 6. Sections «pressed» into each other by auxiliary parts.
As a result, it turned out that 48 sections can be cut out of one sheet instead of 34! It was even more incredible! As a result, it turned out that it is possible to significantly reduce the amount of purchased expensive steel. Metal waste decreased from 36% to 10% (see Fig. 7).
Fig. 7. Waste sheet steel after cutting nested sections.
What’s more, the laser cutter now cut not just one side of one section, but two sides of different sections in one pass. As a result, the performance of the section cutting operation has increased, and the waste and cutting time per section have been significantly reduced (Table 1). The technological operation of cutting sections has become more ideal. This proposal was implemented within a week.
Table 1. Characteristics of the original and new section cutting technology.
Now this solution seems obvious. But then, no one in the company saw this problem and did not try to solve it. No one set the task of reducing the cost of the harvester by reducing the waste of materials. It was a normal typical part manufacturing process with the usual level of waste.
As a result of our work, more than 60 proposals were made to simplify the design and manufacturing technology of the harvester and reduce its weight. The proposals were divided into two groups.
The first group — proposals for the implementation of which do not require major changes in the design of the harvester and its manufacturing technology. The implementation of these proposals has reduced the weight of the harvester by 20%.
The second group of proposals led to more radical changes in the design of the header, to the need to use lighter and stronger materials. But the implementation of these proposals made it possible to reduce the weight of the harvester by 30% (Fig. 8).
Fig. 8. Possible weight reduction of the harvester from the first and second groups of proposals.
Figure 9 shows a modified Shelbourne Reynolds header for the Niva combine. Its weight and dimensions are significantly lower than the serial ones, while the dimensions and relative position of the main working bodies remain the same. In Figure 9, behind the modified header, the bodies of serial headers are clearly visible, which have larger vertical and horizontal dimensions than the modified one. Table 2 compares the original and new 5.4 meter Shelboure headers.
Fig. 9. Modified Shelbourne Reynolds header for the Niva combine.
Table 2. Specifications for Original and Modified 5.4m Headers.
Conclusion
The work to reduce the weight, dimensions and cost of the stripping header once again showed the high efficiency of the joint use of such TRIZ and FSA tools as the procedure for “folding” the product structure and Sobolev’s element-by-element economic analysis.
Literature
- Gerasimov V.M., Kalish V.S., Karpunin M.G., Kuzmin A.M., Litvin S.S. The main provisions of the methodology for conducting functional and cost analysis: Guidelines. M.: Inform-FSA, 1991.
- Sobolev Yu.M. Constructor and economics. Perm book publishing house, 1987.
- Sobolev Yu.M. Element analysis method, http://www.metodolog.ru/00291/00291.html
-
“Russian Style of Invention in Europe”, interview with Alexander Skuratovich, Business Excellence magazine No.
3, 2008, http://www.trizland.ru/trizba.php?id=309, http://www.stq.ru/riasite/index.phtml?page=48&id=8&issue_id=466&article_id=2659
- Skuratovich A.
Editing Layer Masks in Photoshop
User Guide
Cancel
Search
Last update
May 25, 2023 02:19:05 AM GMT
- Photoshop
- Introduction to Photoshop
- Dream about it. Do it.
- What’s New in Photoshop
- Editing the first photo
- Create documents
- Photoshop | Frequently Asked Questions
- Photoshop System Requirements
- Introduction to Photoshop
- Photoshop and other Adobe products and services
- Working with Illustrator artwork in Photoshop
- Working with Photoshop files in InDesign
- Substance 3D Materials for Photoshop
- Working with the built-in Capture extension in Photoshop
- Photoshop on iPad (not available in Mainland China)
- Photoshop on iPad | General questions
- Introduction to the working environment
- System requirements | Photoshop on iPad
- Creating, opening and exporting documents
- Adding photos
- Working with layers
- Drawing and painting with brushes
- Select areas and add masks
- Retouch compositions
- Working with adjustment layers
- Adjusting the key of a composition using the Curves layer
- Applying transform operations
- Cropping and rotating compositions
- Rotate, pan, zoom and restore canvas
- Working with text layers
- Working with Photoshop and Lightroom
- Getting missing fonts in Photoshop on iPad
- Japanese text in Photoshop on iPad
- Application settings management
- Touch shortcuts and gestures
- Key combinations
- Image resizing
- Live stream your creative process in Photoshop on iPad
- Correcting imperfections with the Healing Brush
- Creating brushes in Capture and using them in Photoshop
- Working with Camera Raw files
- Creating and using smart objects
- Adjusting the exposure of images with the Dodge and Burn tools
- Photoshop Web App (not available in mainland China)
- FAQ | Photoshop web app
- System requirements | Photoshop Web App
- Working environment overview
- Keyboard shortcuts | Photoshop Web App
- Supported file formats | Photoshop Web App
- Opening and working with cloud documents
- Edit cloud documents
- Collaboration with colleagues and customers
- Generative AI (not available in mainland China)
- Experience the future of Photoshop with the Generative Fill tool
- Content Genuine (not available in mainland China)
- Photoshop content credentials
- Identity and origin of NFT tokens
- Connect accounts for creative attribution
- Cloud Documents (not available in Mainland China)
- Photoshop Cloud Documents | Frequently Asked Questions
- Photoshop Cloud Documents | Workflow questions
- Working with and managing cloud documents in Photoshop
- Cloud storage update for Photoshop
- Unable to create or save cloud document
- Troubleshooting Photoshop 9 cloud documents0192
- Collecting cloud document sync logs
- Sharing and editing cloud documents
- File sharing and commenting in the application
- Work environment
- Work environment basics
- Installations
- Learn faster with the What’s New panel in Photoshop
- Create documents
- File storage
- Default key combinations
- Customizing keyboard shortcuts
- Tool gallery
- Performance settings
- Using tools
- Setting sets
- Net and guides
- Touch gestures
- Working in Photoshop using the Touch Bar
- Touch gesture capabilities and customizable workspaces
- Overview versions of
- Metadata and comments
- Touch gestures and customizable workspaces
- Putting Photoshop images into other applications
- Rulers
- Show or hide non-printing auxiliaries
- Specifying columns for the image
- Cancellation and transaction history
- Panels and menus
- Positioning elements with referencing
- Positioning with the ruler tool
technology
- Web, screen, and application content development
- Photoshop for design
- Artboards
- View on device
- Copy CSS from layers
- Dividing web pages into fragments
- HTML options for snippets
- Changing the arrangement of fragments
- Working with web graphics
- Create web photo galleries
- Understanding images and working with color
- Resizing images
- Working with raster and vector images
- Image size and resolution
- Importing images from cameras and scanners
- Creating, opening and importing images
- Image viewer
- «Invalid JPEG marker» error | Opening images
- View multiple images
- Customizing color palettes and color swatches
- HDR images
- Image color matching
- Converting between color modes
- Color modes
- Erase sub-images
- Blend Modes
- Choice of colors
- Making changes to indexed color tables
- Image information
- Distortion filters not available
- Color details
- Color and monochrome corrections with channels
- Selecting colors in the Color and Swatches panels
- Sample
- Color mode (or picture mode)
- Shade
- Adding a color mode change to an operation
- Add swatches from HTML CSS and SVG files
- Bit depth and settings
- Layers
- Understanding Layers
- Reversible editing
- Create and manage layers and groups
- Selecting, grouping and linking layers
- Putting images into frames
- Opacity and layering
- Layer masks
- Application of smart filters
- Layer compositions
- Move, arrange and lock layers
- Masking layers with vector masks
- Managing layers and groups
- Layer Effects and Styles
- Editing layer masks
- Extract resources
- Display layers with clipping masks
- Generation of graphic resources from layers
- Working with Smart Objects
- Blend Modes
- Combining several fragments into one image
- Combining images with Auto Layers
- Alignment and distribution of layers
- Copy CSS from layers
- Load selections based on layer boundaries or layer masks
- See-through to show the contents of other layers
- Selections
- Getting Started with Selections
- Selecting areas in compositions
- Select and Mask workspace
- Selection with Marquee Tools
- Selecting with the Lasso tools
- Pixel highlight setting
- Moving, copying and deleting selected pixels
- Creating a temporary quick mask
- Selecting a color range in an image
- Convert between paths and selection boundaries
- Channel Basics
- Save selections and alpha channel masks
- Selecting focus areas in an image
- Duplication, splitting and merging of channels
- Channel calculation
- Image correction
- Replacing object colors
- Perspective warp
- Reducing blur due to camera movement
- Healing Brush Tool Examples
- Export color lookup tables
- Image sharpening and blurring
- Understanding color grading
- Applying the Brightness/Contrast setting
- Shadow and Highlight Detail Correction
- «Levels» correction
- Hue and saturation correction
- Juiciness correction
- Adjusting the color saturation in image areas
- Quick tone correction
- Applying special color effects to images
- Image enhancement with color balance correction
- HDR images
- View histograms and pixel values
- Image color matching
- Cropping and straightening photographs
- Converting a color image to black and white
- Adjustment and fill layers
- Curves adjustment
- Blend Modes
- Press 9 Target Imaging0192
- Color and tone correction with the Levels and Curves eyedroppers
- HDR Exposure and Toning Compensation
- Lighten or darken areas of an image
- Selective color correction
- Adobe Camera Raw
- Camera Raw
- What’s New in Camera Raw
- Introduction to Camera Raw
- Creation of panoramas
- Supported lenses
- Vignetting, graininess, and haze removal in Camera Raw
- Default key combinations
- Automatic perspective correction in Camera Raw
- Radial Filter Tool in Camera Raw
- Manage Camera Raw settings
- Processing, saving and opening images in Camera Raw
- Improving images with Camera Raw’s improved Spot Remover
- Rotating, cropping and modifying images
- Color correction in Camera Raw
- Processing versions in Camera Raw
- Making local adjustments in Camera Raw
system requirements
- Fixing and restoring images
- Removing objects from photos using Content-Aware Fill
- Content-aware patching and relocation
- Retouching and fixing photos
- Image Distortion and Noise Correction
- Basic troubleshooting steps to solve most problems
- Image enhancement and transformation
- Sky replacement in images
- Transform objects
- Crop, rotate and canvas adjustment
- Crop and straighten photographs
- Creating and editing panoramic images
- Deforming images, shapes and contours
- Perspective
- Content-aware scale
- Transform images, shapes and paths
- Drawing and painting
- Drawing symmetrical ornaments
- Options for drawing a rectangle and changing the stroke
- Drawing details
- Drawing and editing shapes
- Paint tools
- Creating and modifying brushes
- Blend Modes
- Adding color to outlines
- Edit contours
- Painting with mix brush
- Brush Presets
- Gradients
- Gradient interpolation
- Fill and stroke selections, layers, and paths
- Drawing with the pen tool group
- Making patterns
- Creating a pattern with the Pattern Builder filter
- Circuit control
- Managing pattern libraries and presets
- Drawing with graphics tablet
- Creating textured brushes
- Adding dynamic elements to brushes
- Gradient
- Draw stylized strokes with the Artistic Archive Brush
- Drawing with pattern
- Synchronizing presets across multiple devices
- Transfer of sets, operations and settings
- Text
- Adding and editing text
- Universal text editor
- Working with OpenType SVG 9 Fonts0192
- Character formatting
- Paragraph formatting
- Creating text effects
- Text editing
- Leading and letter spacing
- Font for Arabic and Hebrew
- Fonts
- Troubleshooting Fonts
- Asian text
- Creating text
- Filters and effects
- Using the Liquify filter
- Using the effects of the Blur Gallery group
- Basic information about filters
- Filter effects guide
- Adding lighting effects
- Using the Adaptive Wide Angle filter
- Oil Paint Filter
- Using the Plastic filter
- Layer Effects and Styles
- Application of specific filters
- Image area feathering
- Save and export
- Saving files in Photoshop
- Export files to Photoshop
- Supported file formats
- Saving files in other graphic formats
- Moving projects between Photoshop and Illustrator
- Saving and exporting video and animation
- Saving PDF files
- Digimarc copyright protection
- Color Management
- Understanding Color Management
- Accurate color assurance
- Color settings
- Duplexes
- Working with color profiles
- Color management of documents for viewing on the web
- Color management for document printing
- Color management of imported images
- Proofing
- Web, screen, and application content development
- Photoshop for design
- Artboards
- View on device
- Copy CSS from layers
- Dividing web pages into fragments
- HTML options for snippets
- Changing the arrangement of fragments
- Working with web graphics
- Create web photo galleries
- Video and animation
- Video editing in Photoshop
- Editing video and animation layers
- Introduction to video and animation
- Video and Animation Preview
- Drawing frames in video layers
- Import video files and image sequences
- Creating frame animations
- Creative Cloud 3D Animation (Preview)
- Creating timeline animations
- Creating images for videos
- Printing
- Printing 3D objects
- Printing with Photoshop
- Printing and color management
- Checklists and PDF presentations
- Print photos in the new image layout
- Spot color printing
- Printing images on a printing press
- Photoshop Color Enhancement
- Printing troubleshooting | Photoshop
- Automation
- Create activities
- Creation of data-driven images
- Scenarios
- File batch processing
- Operation playback and management
- Adding conditional operations
- About actions and the Actions panel
- Recording tools in operations
- Adding a color mode change to an operation
- Photoshop UI Development Kit for plug-ins and scripts
- Photoshop 3D
- 3D in Photoshop | Common questions about deprecated 3D features
User Guide
Learn how to quickly edit layer masks in 5 easy steps
Masking allows you to embody any ideas in Photoshop. It is possible to add a mask to a layer and use it to hide areas of it and show the contents of underlying layers.
To easily edit and enhance existing layer masks, follow these steps.
-
In the Layers panel, select the layer containing the mask to be edited.
-
Click the mask thumbnail in the Layers panel.
-
Select one of the editing or drawing tools. When the mask is activated, the foreground and background colors are set to their default gray values.
-
Do one of the following.
- To subtract from the mask and display the contents of the layer, fill the mask with white.
- To make the layer partially visible, fill the mask with gray. Darker tones provide more transparency to the areas being painted, while lighter tones reduce transparency.
- To fold the mask and hide a layer or group, fill the mask with black.