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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 62 of 118

Multiply Mode


Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 62 of 118

Multiply Mode


Lesson Info

Multiply Mode

then in this menu, the next thing we have is an entire section of blending modes right here. Ah, and the top Most one is darkened. I'm gonna call that grouping the darkened modes because each and every one of them can only darken your picture. That's kind of why they're group together and to show you how they work. I'm going to create a new layer here, and I'm gonna put something simple in that layer. I'll grab the Grady Int tool and I'm going to make a Grady int across our image, just dragging from left to right. So that is on the layer above. And let's take a look at how some of those modes work. The mode that I find to be easiest understanding there is the one called Multiply Mode. Now I don't like its name, but it's easy to understand. Once somebody describes it, multiply mode acts like ink in. So imagine that you already had this picture right here, printed on a sheet of paper. And you sent that sheet of paper with this image already printed through a printer a second time. And on...

the second pass, you printed what's on this layer. Think about what that would do. Well, how do you print white When you go and use a printer and you print white, it just leaves the paper alone. So that means that area of the image where you see white should be unchanged when we end up using multiply mode. Then, if you want to make something just a little bit dark, you'd put just a little bit of ink on the sheet of paper. When you print, you want to make it a lot darker. You had a lot of ink, and thats all its going to do is just add that to the image that's underneath. But the area that's white should just disappear. So you see what's underneath because the way you print white is to leave the paper alone. So let's change this menu to the choice called Multiply. And that's what it looks like is if we're printing with ink and we printed the contents of this layer on top of what's underneath that's multiply. So what could we use multiply mode for? There's all sorts of things we can use multiply mode for Ah, let's say I came in here and well here. I have a tattoo. Let's give my wife, Karen, who was in the other picture, a tattoo. This is my arm, it says, walking on the wild side. And it's a ego holding a wacom pen. This if he had a graphics tablet. I got that when I was at teaching at a conference called Photo Shop World. It's actually a ballpoint pen tattoo, so it was only there for a short time. I'm gonna make a selection around this just to get rid of anything that it doesn't really contribute to the tap to. I'm using the lasso tool so I can make a free form shape and I just go like that. I'm gonna copy, and then I'm gonna go back to that image of my wife, Karen, and I'm gonna paste. In case you're unaware to change. Which document? Your viewing. There's keyboard shortcut. It's controlled tab on Mac or windows. So I think it's the same on both. And so controlled tab means go to the next document. In shift controlled tab means go to the previous and so that's how I suddenly switch to the other document. Not that critical, but all right, so now the next thing I want to do is if I were to use multiply mode right now, then it's gonna print what's on this layer as if it was ink on the image underneath. Well, how would you print the color of skin? Wouldn't you put down a bunch of magenta and yellow ink to do that so it would end up shifting the color of what's underneath? I can show you just change the mode to multiply, and you can see that color of skin being printed on top. We don't want that, so I'm gonna set it back to normal. What I really need is to get the area that's surrounding the tattoo to be white, because white is the one color that disappears in multiply mode in. So all I'm going to do is adjust this layer in the an attempt to make the surroundings white. To simplify things, I might first come in here and choose image adjustments de saturate de saturated pull all the color out so he won't have the color of skin in there that does. The exact same thing is going and applying a human saturation adjustment layer in lowering the saturation all the way down. It's just a short cut for it now. I'm going to adjust this image to attempt to get the background around it. White and I can use many different adjustments. I'll use levels because many people are comfortable with that one. It's easier to understand that some of the others in the upper right that slider forces areas to white. So I'll bring it in until I start getting white around the left side of the tattoo. When it comes to the right side. I think if I go far enough that this area over here becomes white, I'm gonna lose too much of the tattoo here. Let's find out. I'll just keep moving this over and tell the whole background turns white, which is about there, and I see I'm losing too much. So I'm only going to do this until the left side of the tattoo becomes white. Click OK, then, to get the rest of it, I'm gonna go down here to one of my tools. There's a tool we haven't used in the classes yet. That's right here. It looks like a Popsicle, and thats well if you click and hold on. It has more than one in its slot, but it's called the Dodge Tool, and what it does is it brightens things. So I'm gonna take the Dodge Tool with a soft edged brush, and I'm just gonna paint over here where my arm was a little bit darker in an attempt to get closer to white. And then I'll paint one more time, and I think I'm getting close to getting that toe white. So now if we were to print that with ink on an inkjet printer, think about how we go about doing it. Wouldn't leave the white areas alone, where it wouldn't touch the paper and then Onley where the tattoo is is where would put some ink down. So let's change this menu now to the choice called Multiply Mode. And then it's kind of a big tattoo, because if I move it around, you can see it in there. I want to just put that on her shoulder there, so I'm gonna choose edit free transform. That's how you scale and rotate things. When I choose free transform Aiken, grab these corners, pull it in towards the middle to scale it down and click somewhere within the image to move it around to rotate. I move my mouse outside of those handles, and if you look at my mouse, you'll see it looks like a curve with some arrows on the end. That's indicating your rotating. As long as you're outside, you can do that. And I'm just gonna rotated 180 degrees because Karen shoulders are upside down and maybe scale us down to get it so it would fit within the area. I would like zoom up with Command Plus Control Plus and Windows, and now you can see how she's starting to get a bit of a tattoo. Now there is a little cleanup I need to do, and all have to do is either grab the eraser tool war, grab the paint, brush and paint with white, and I can paint around any areas either eraser or painting with white with a normal brush tool to clean it out. I'm not going to spend too much time cleaning it up, though. I think I could have done better using the, um, the Dodge Tool just needed a paint, probably one more time, but you get the idea that it's multiply mode that it's allowing this to print onto Karen skin here. If I were to set it back to normal, you'll see it just has a white background. Well, not everybody has to do these kinds of things with a tattoo every day, but you might want to sign your pictures with your signature. So why not just sign your name on a white sheet of paper, take a photograph of it or scan it in, put it on a layer and sent it to multiply mode. The only other thing you'd have to do is adjust it. So make sure that the background surrounding your signature is truly white instead of a shade of gray because it's on Lee White that disappears in multiply mode. In fact, that is a common quality of all of the blending modes that are found in that same category. The same section of the blending mode menu, with all of those white disappears in any color that disappears in a particular blending mode is what's known as being neutral neutral, meaning they'll have a neutral effect on what's underneath. Nothing will happen. Eso with any of those white will simply disappear So then, any time you're going to use one of those modes, like multiply mode, you might as well try the other modes that are found in there. Here's darkened mode. There's color, burn mode, linear burn mode and darker color, so I might use linear burn. And if anything ends up having to large of an effect on your image, feel free to lower the opacity of layer. I just go to the top of my layers panel. Click on the word opacity and drag to the left toe. Lower it. So there we go. You could also use multiply mode. If you ever have a shadow in the picture and you want the shadow to print on to something else. Let's say you had a white background, just a white sheet of paper. You put a coffee mug on that sheet of paper and you took a photograph of it. Well, you could select the coffee mug in the photograph and put it on its own layer, so it's just the mug and not the sheet of paper it was sitting on. Then, if you have that sheet of paper it was sitting on, it would have the shadow for the mug sitting there well, said it to multiply mode, and suddenly it'll print on whatever's underneath. So I would have the mug on its own layer. And then the background that was originally shot on a separate layer said, It's a multiply mode and it'll print on top like this. Then we can use that for transplanting things between images as well. Let's see if I can take this tree in easily put it in another picture. I'm gonna make a selection here that just gets rid of my wife, Karen. Sorry, Karen just don't want you to be transplanted. And I'm using the lasso tool right now selected that I'll go to the edit menu and choose copy. Then let's switch to a different document. I can close this one, and I'm gonna put it on that wall that's there. So I'm going to do is choose paste. Here it is, and I might transform it so it's in a size that might look appropriate. Put it so end right where that board at the top hits somewhere in there. And if I choose edit free transform, I can scale it up or down. I want to make it so it ends right where the top of the of that table begins, and then I might move it over so it's somewhere right in there. Wanted to look like that shadow was falling onto that wall. Well, we have a couple choices we could try here if you think the background surrounding the shadow that's there is brighter than what's behind this picture right now, you could choose a mode called darkened mode in dark, and moded compares the layer you're currently working on. Two. Whatever is behind it in on Lee, the most areas that are darker than what's behind it can show up, so anything that is the same or brighter than what's behind it will simply disappear. And so I could try darkened mode. And then, if any parts of the surroundings air showing up, just adjust that layer. Maybe goto levels in levels. Pull in that upper right slider, which will force more and more areas toe white. It just is gonna brighten it, starting with the brightest portion and then click. OK, so we somewhat transplanted here. That's not quite the same as multiply mode. Darkened node is going to leave the shadow is dark, as it was previously in on Lee. The areas that are darker than what's underneath show up in multiply mode. It always combines the brightness. Or, I should say, the darkness of the layer we're currently working on with the darkness of what's underneath, because it's like printing with ink, and there just happens to already be some ink on the sheet of paper. There happens to be, however, much is underneath, so multiply mode would make this darker and in multiply mode, that background has to be completely white. Otherwise, any little hint of darkness in it will be translated here. So that's why dark and mode was more useful in this particular instance. Then, if I don't want it to print on top of this radio, I would add a layer mask. We have a session as part of the complete guide that talks about layer masks. It's awaited to temporarily hide the contents of layer, and I could come in here and paint with black and get it off of the radio, so you get the idea. There are many other uses for the other choices that are in that section with the main thing to keep in mind is that white disappears. So if you ever do anything and a lot of white shows up in the end result, you want to get rid of the white. But keep whatever is left over than those particular modes could be. Useful on instance of that might be to use a filter. Certain filters will produce an awful lot of white on. If you want to see an example of that, I suppose we can use the same image here. I'm going to duplicate the layer that contains this image. One way of duplicating us a type command J that means jumped to a new layer. Control Jame Windows, Uh, and then I'll run a filter. The filter I'm going to try here is filter style eyes find edges and with find edges. Look at how much white you get. It's like the majority of the images white well, in all of these first ah section of those dark and blending modes, white is neutral, meaning it disappears. So if I go over here to darken, you're gonna find the white stuff right away, disappears and then I contrives an ultra tive multiply mode I can try color burn mode, court the darker color. It's a personal choice as to which one you like. And if it's too much with any of those, you could just lower the opacity of the layer. And if you don't want it to apply to the entire image again at a layer, mask him paint with black, read, don't want it to apply. All right, then let's take a look at some of the other modes, the sections that air here. So again, I'm gonna create a simple layer, which would be a Grady INTs across this image. And you remember when we went in here and used multiply mode, I said that that acts like ink in with ink. Ah, this white area here I would leave the paper alone, so that's gonna leave the image alone. And then, as it gets darker and darker, it's just going to add more and more ink to the image

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.


  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly


Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.


  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.


Adobe Photoshop 2020 (V21)


  1. Introduction To Adobe Photoshop 2020
  2. Bridge vs. Lightroom
  3. Tour of Photoshop Interface
  4. Overview of Bridge Workspace
  5. Overview of Lightroom Workspace
  6. Lightroom Preferences - Saving Documents
  7. How To Use Camera Raw in Adobe Photoshop 2020
  8. Overview of Basic Adjustment Sliders
  9. Developing Raw Images
  10. Editing with the Effects and HLS Tabs
  11. How to Save Images
  12. Using the Transform Tool
  13. Making Selections in Adobe Photoshop 2020
  14. Selection Tools
  15. Combining Selection Tools
  16. Using Automated Selection Tools
  17. Quick Mask Mode
  18. Select Menu Essentials
  19. Using Layers in Adobe Photoshop 2020
  20. Align Active Layers
  21. Creating a New Layer
  22. Creating a Clipping Mask
  23. Using Effects on Layers
  24. Using Adjustment Layers
  25. Using the Shape Tool
  26. Create a Layer Mask Using the Selection Tool
  27. Masking Multiple Images Together
  28. Using Layer Masks to Remove People
  29. Using Layer Masks to Replace Sky
  30. Adding Texture to Images
  31. Layering to Create Realistic Depth
  32. Adjustment Layers in Adobe Photoshop 2020
  33. Optimizing Grayscale with Levels
  34. Adjusting Levels with a Histogram
  35. Understanding Curves
  36. Editing an Image Using Curves
  37. Editing with Shadows/Highlights Adjustment
  38. Dodge and Burn Using Quick Mask Mode
  39. Editing with Blending Modes
  40. Color Theory
  41. Curves for Color
  42. Hue and Saturation Adjustments
  43. Isolating Colors Using Hue/Saturation Adjustment
  44. Match Colors Using Numbers
  45. Adjusting Skin Tones
  46. Retouching Essentials In Adobe Camera Raw
  47. Retouching with the Spot Healing Brush
  48. Retouching with the Clone Stamp
  49. Retouching with the Healing Brush
  50. Retouching Using Multiple Retouching Tools
  51. Extending an Edge with Content Aware
  52. Clone Between Documents
  53. Crop Tool
  54. Frame Tool
  55. Eye Dropper and Color Sampler Tools
  56. Paint Brush Tools
  57. History Brush Tool
  58. Eraser and Gradient Tools
  59. Brush Flow and Opacity Settings
  60. Blur and Shape Tools
  61. Dissolve Mode
  62. Multiply Mode
  63. Screen Mode
  64. Hard Light Mode
  65. Hue, Saturation, and Color Modes
  66. Smart Filters
  67. High Pass Filter
  68. Blur Filter
  69. Filter Gallery
  70. Adaptive Wide Angle Filter
  71. Combing Filters and Features
  72. Select and Mask
  73. Manually Select and Mask
  74. Creating a Clean Background
  75. Changing the Background
  76. Smart Object Overview
  77. Nested Smart Objects
  78. Scale and Warp Smart Objects
  79. Replace Contents
  80. Raw Smart Objects
  81. Multiple Instances of a Smart Object
  82. Creating a Mockup Using Smart Objects
  83. Panoramas
  84. HDR
  85. Focus Stacking
  86. Time-lapse
  87. Light Painting Composite
  88. Remove Moire Patterns
  89. Remove Similar Objects At Once
  90. Remove Objects Across an Entire Image
  91. Replace a Repeating Pattern
  92. Clone from Multiple Areas Using the Clone Source Panel
  93. Remove an Object with a Complex Background
  94. Frequency Separation to Remove Staining and Blemishes
  95. Warping
  96. Liquify
  97. Puppet Warp
  98. Displacement Map
  99. Polar Coordinates
  100. Organize Your Layers
  101. Layer Styles: Bevel and Emboss
  102. Layer Style: Knockout Deep
  103. Blending Options: Blend if
  104. Blending Options: Colorize Black and White Image
  105. Layer Comps
  106. Black-Only Shadows
  107. Create a Content Aware Fill Action
  108. Create a Desaturate Edges Action
  109. Create an Antique Color Action
  110. Create a Contour Map Action
  111. Faux Sunset Action
  112. Photo Credit Action
  113. Create Sharable Actions
  114. Common Troubleshooting Issues Part 1
  115. Common Troubleshooting Issues Part 2
  116. Image Compatibility with Lightroom
  117. Scratch Disk Is Full
  118. Preview Thumbnail


a Creativelive Student

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!


The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it

Madelaine Enochs

Ben's class has been extremely helpful for understanding how everything works in photoshop. I am so grateful for his classes. Easy to understand and thorough. Thank-you Ben!