Adobe® Photoshop® Deep Dive: Blend Modes

Lesson 3 of 9

Blend Mode Applications

 

Adobe® Photoshop® Deep Dive: Blend Modes

Lesson 3 of 9

Blend Mode Applications

 

Lesson Info

Blend Mode Applications

Here's the layers I've got going on and again, if you purchase the course, you're going to get all of these layered files that were working with throughout the day, so let's, take a look at how to create this, so we'll turn off the layers that I already made for you. This background, incidentally, is just a grady in't adjustment later can you can create that by clicking the little half black, half white circle at the bottom of the layers panel and choosing grady int and this particular grady is just one of the presets, so method, difficulty going on there, it's now is going and create our shape. We're going to trot over to the tools panel. The custom shaped tool is at the very bottom of the shape tool set, so click and hold down your mouth spending to expand that tool, sit and see everything that's inside of it. Once you've activated the custom shaped tool than trot up to the options bar, and where you're going to do is look for a little shape preview. Now this toolbar looks or options...

bar right that looks a little bit different and cia six than it did in any other version of the program, but just look for some kind of shape preview. And then click the downward pointing triangle to its right. Then you're going to click the little gear sprocket and the resulting panel, and you're going to choose all that's gonna load all of the wonderful built in shapes in photo shop and incidentally, they are all vector based, so if you see one sort of what you like, if you're competent with a pen tool, then you can alter the path because you get the actual pass and you draw with these custom shaped hole so that's not a friend to you. So the one we're going to use this time is this butterfly down here, so we're going to click it once to activate it. Then we're going to click that triangle next to the preset picker against to close that extra panel back up. Now we're going to make sure that we have our custom shaped tool set to the mode that it's actually going to create a shape layer. Okay, so just make sure this little poppet menu is set to shame or in previous versions, make sure the first little drawing mode icon is active, and if you don't know what those drawing modes do, you just point your mouse at them? Let your mouse be still for a minute and photo shop will give you a little yellow tool tip it tells you what those measures d you just want to be in shape mode, and that will force photoshopped to draw the shape on a whole new layer. Now we're going to come over to our document if you want the shape to be us, retain his aspect ratio it's press and hold the shift key down and then click and drag while holding your mouse key, and we're going to drag diagonally downward and then we're going to release our mouse button. Cia six has new phil and stroke options so that's where this green is coming from, ok again, those recovered in depth in the c s six course, so now we're ready to load the shape as a selection in loading the shape its selection is going to keep our brush strokes from going outside of the selection. In other words, our brush strokes are only going to show up inside of the area that selected not any outside and that's a great way to do this kind of hand shading, so we're going to load the layer is a selection by commander control clicking it's layer thumbnail, and you do need to click on the layer of the male. Not near the layer name because different things will occur so once you've got on active selection that's creating a new layer onto which we're going to do are shading okay so now we're going to grab the regular brush tools the press be to activate it and it lives over here in the tools panel says the first one in the brush tool said this time I'm gonna paint with purple so let's single click our foreground color chips open the color picker and let's use this little spectrum bar here tio tell photoshopped that we want something in the purple range doesn't matter which purple so once you choose a range of colors and you can use this box to tell photo shop our darker how light you want that color to be I'm just gonna pick kind of a bright purple say ok last but not least let's try it up to the options bar and let's choose the blend mode for the brush tool let's choose dissolve and then with a big soft fluffy brush and by soft I mean a brush that has a soft edge so if you can just click the little preset picker to the left of the options bar with a brush still active you just want to have one of these brushes active ok doesn't matter which one because these air only varying in size in this panel but we can change size with the keyboard shortcut so let's click once to activate one of those soft brushes come over here to our image we're going to use our right bracket key to increase brush size and then just start to paint and we're getting that nice spray pattern now if you happen to mess up and at some of the spray pattern where you don't want it described the erase tool any race that part and then pay it back over it switched back to the brush to paint back over it but this is creating a selection is really what makes it easy first because you don't have to worry about painting outside the lines and when you're finished we can get rid of the selection my choosing select d select or repressing command d r control d on a pc now we've gotten rid of our marching aunts now let's drop the opacity of that layer to something that looks good to us and I mentioned earlier if you want to soften the effect a little bit more just run a filter on it when a softening blur filter on it so we'll choose blur they're filter blur gaussian blur and we can blur are paint strokes just a little bit to make that hand shaking a little bit softer so that's one use for the dissolve mood that is all I will never use again I didn't find it more useful for this kind of thing than then really leaving okay now let's take a look at another early any questions on this hand shading technique it's pretty self explanatory really pretty easy any questions from the great internet on that not really saying anything nothing you go good okay now the next thing we're going to do is we're going toe so that was dissolved right? So now we're going to trot down that whole list of layer blend modes ok the whole list the rest the day here we go our next one down is of course the darkened category remember uh the light colors you're going to drop drop out of this photo shops comparing the base in the blend and dropping out anything that's light and a fabulous use for that is dropping out a white background not a single giggle in the studio audience over this image seriously, come on, I think so what we've got here let's take a look at our layers panel to see what's happening we have one layer that has the rather sad photo of this business fellow on a white background getting down and on the other layer here we've got a new background so what we're going to do is use modes in the dark and category two drop out like so let's go ahead and delete the layer that I added for you with the disco ball it's a stock image there so pretend we just opened up this photo so now what we're going to do is add a new, more exciting background and the reason that the darkened moons works so great for dropping out why is because anything is darker than white, so it will just disappear so let's, go ahead and add our other image. You can do that in a couple different ways you can click and drag from many bridge if you're using that into an already open document like that, which is real handy, if you want to open many bridge, she can choose window extensions, many bridge or you can also choose file, place and then navigate to where those files live, and we are in day to blend modes, and we're in the cleverly named darkened zapping white folder and here's our disco ball. Ok, so either which way you want to add the illustration doesn't matter well could place going click ok in that dialogue closed by many bridge, I'll zoom out a little bit so we can see the whole thing by pressing command minus on a mac or control minus on a pc. I'm gonna increase the size of this illustration just slightly so it covers the whole candace when you use the file place command photoshopped the seams that you might need to resize that artwork that you just brought in, so it gives you the re sizing handles in the bounding box of just like you'd summoned free transformed, but we didn't have to do that, so let's, go ahead and use a couple of modifier keys on this background let's, hold down the shift key to make sure that we don't make our background poppy job stressed or stretched or squished and let's also press and hold the option key on a mac or altana pc and that's going to make this transform occur from the center out so that when you drag one of the corner handles, we're re sizing the illustration from the inside out. Ok? And you can release the modifier keys photo shop has a one track mind, so you need to tell it that you're finished re sizing the art before they let you do anything else else that it will squawk it you with it air dialog box so let's press return to tell photoshopped that we're finished or enter on a pc now let's start cruising through those blend moods ok, so let's click our blend, my mini it's come down to darken and see what that does ok, the white dropped out, but we've got some blending a little bit of blending going on, so we're getting a little bit of the color shift here and there and I'm seeing the yellow raise across hiss suit not the best situation, okay that'd be a little bit too much masking for us to do to hide that so let's keep trotting through those other blend mood so here's multiply again that's definitely not what we want member that's like a double code of ink color burn interesting affect not exactly what we're going for linear bird's gonna be even worse but if we tried down a darker color remember there's no new result there's no real blending that's happening with this color then our white background completely disappears now I will confess that it's working incredibly will on this image because of the colors that are in here okay this background is lighter than his suit okay so that's why we're getting a perfect uh blend really ok so now let's take a look and see if there's any problem areas there's one little problem area right here on his on his shirt we can see some of the background peeking through and there should be one more problem area on his wrist okay so all we have to do to fix that is add a layer mask tio are new background so let's click the circle within a square icon at the bottom of the layers panel while the mask is active and you know the mask is active because it has this extra bracket around the corner for example if I click the layer thumbnail see how that bracket is around the layer thumbnail now that means that the next thing I do is going to happen to the layer content, but I want the next thing I do to occur inside the mask so let's click once on the mask and you see that bracket reappear around it. Now we can come over here with any tool that will lay down black paint or create a selection and fill it with black. We're going to paint across just those two areas, so let's grab the brush tool by pressing b take a peek at the color ships at the bottom of your tools panel make sure that black is on top. If it's not if your color ships or anything other than black and white, then press this little the little color chip icon above the foreground colored ship to set them back to the default of black and white. Or just press the d ky okay, so d for default and then if you need to press the little curved arrow to flip, flop your color chips or just press the ex key to flip flop them so you want black on top now, then come over here with the brush tool set to normal mood see, because the options bar a change, you make their stays changed, we change it back, so just say no dallas come over here, go down and burst size by pressing and holding left racket key and let's just paint over that one area that was a problem and then paint over that area that was a problem and uh wooden so any time you need to replace a white background with something that's colorful give this technique a spin and you might be shocked at how little hand masking you have to do to make that happen ok again it depends on the colors in your image versus the color or the colors in your base versus the colors in your blend according to how well this particular technique is gonna work out feed now we're going to repeat that a couple of times using different images okay so here's another example of that ok so here's my actually I'll delete the layer mess that we start over so here's one image that we started out with okay this is just an illustration and here's another one actually change that back to normal and here's the other image that I brought in okay so here's our original situation we've got two images each on their own layer one of them has a white background the other one has a colorful background so it really doesn't matter which one of these we changed the blend moda because if you'll remember the discussion from earlier darkened and darker color doesn't matter the layer stacking order so it just doesn't matter so let's try through these glenn mones again so here is darken darken works really well on this one go down to multiply we're getting more color saturation again like a double code of ink teller burn not what we want at all nor is linear burn we get down to darker color and that will work as well so in this case both dark and end our her color would work and because of the coloring of these images you can't see any difference between the team okay so what I always do is I start out with dark and when I'm trying to get rid of a white background and if I see a new result color then I will immediately switched the darker color okay so says well you start her color last time with sisters darken now zoom in a little bit and see if we can find any problem areas I think there's just one little spot right here where her hat is where the background is darker than her hat so the background is winning the color war if you will so let's add a layer mask to the layer that we need to hide in this case that's going to be the sunburst so let's click the circle within a square at the bottom of the layers panel the mask is active because it's got that bracket we already have the brush to active we already have black is our foreground color ship we already know that our brush tool is set to normal mode in the office is the bar now let's mouse over to the image in use our keyboard shortcuts of the left bracket key to go down and brush size the right bracket key to go up and brush size and will just hide the background from that particular area to fix her little hat and if you hide too much like that don't panic all you have to do is press the ex key to flip flop your color chips so that now you're painting with white and if you remember our rhyme from earlier when you're working inside of a layer mass painting with black conceals painting with white reveals so if we can seal a little team managed by painting with black and let's paint with white paint back over that area again to reveal it black conceals white reveals and that's it now we've got our cute little girl on a whole nother background again depending upon the colors in your base and blend this may be may do the trick instantly or you may have some fine tuning to do so let's do it again on an image that I tell you what I'm creating these classes I can crack myself pretty good that was just too funny not to d'oh it's too funny not to dio right why not give the turkey again? I think it's fair I think so what have we got going on here exact same thing okay I'm actually going toe duplicate these layers because I don't want to mess up what I've done for you. Incidentally, one of my favorite new features and c s six is the ability to duplicate multiple layers at once. Okay, so I've clicked one layered, activated and then shift clicked, another layered activate both players, and now I can duplicate them in mass with the keyboard shortcut, which is command jay on a mac or control j on a pc and it is supposed to be working all right. The keyboards fork. It really does work. Trust me on them but it's not cooperating at the moment. There we go. So I'm a turn off my originals because this is a this is a silly one and delete my layer masks so that you see what I started out with. Change the blend, move back to normal. Okay, so here's our what we started out with. Get both the images into the same document, start trotting through your blend moods and see how on this one, my goal is going to be defined the blend mode in the dark and category where I have to do the least amount of touch network. This one's going to require more touch up than the other two examples, but it kind of drives me crazy when instructors use only images that work out perfectly and they never ever, ever, ever, ever show you anything that doesn't work out perfectly. So then when you get home, you think that you're insane because nothing works out for you so let's trot through our different blend moves to see which one is going to give us the least work in the least color shifting okay, darker color is going to be that in this case, but we are going to have a fair amount of masking to do but it's not going to take that long. So before you start masking you want to make sure that you get your layers positioned where you want them to stay, otherwise you'll have to tweak the mask if you start if you mask it and then move the turkey, then you're going to move your mask it's not that big of a deal because you couldn't move them ask after you've painted it it's better to position it right where you want it so let's go ahead and add a layer mass to our pumpkin layer because why are we adding a layer mass to that layer? Because that the colors that we need to hide hey, we need to hide the color coming through from that layer on the the barrel is again and a little bit on his feathers and his his did a turkey bailey and we need to hide is the leg from the pumpkins and make like he's sitting standing behind the pumpkins so it's clear to activate the punkin layer seriously, this is how I entertain myself really is so we added a layer master the pumpkin layer and now we need to think about it black conceals white reveals take a peek at your color ships I have black is my foreground tellers let's press eggs to flip flop it to painting with uh black go up and brush size using your bracket keys and we're just gonna paint so pretty quickly way could fix up this image with not too much, you know, hand painting and of course, if I were doing this for a real job, I would make sure that I was zooming way in. You need your space part and move around with in the image while you're zooming in and I'd be very careful to go around it edges and all that kind of good stuff, but yeah, I'll get the point and you get the technique so this will take a little bit more time, but before too long you could produce something absolutely hysterical, which I highly recommend so now let's say we we painted the rest of that and we were good we've got one little area down here we need to stick the turkey leg behind the pumpkins so in that case I need to click the turkey layer, add a layer mask and then while painting with black black conceals white reveals then you can had his little leg and I had a little bit too much from that but anyway you get the point so I'll turn off those layers and turn on the finnish layers into dog we've got a revengeful turkey funny stuff right there okay now let's take a look at using the darkened mood darkened exposure ok, so I want to switch gears we're talking about zapping quite backgrounds okay with the darkened category now let's talk about fixing exposure so here's a prime example of just how useful this khun b turn off the layer that I created for you here again I've tried to be as helpful as I can be with the layer naming so the bc tells you that this is a brightness and contrast adjustment layer and multiplies is telling you what modi said it too might be helpful I hope so one way to create this technique all this plate that layer one way to create this would be teo duplicate the background layer see it works that time command control jay told you really works so you could do duplicate the layer and then just use the blend mode menu to change the limited multiply no watch what's going to happen in this image to me that is a way better image ok? The ellen was overexposed in my opinion so that's it we're done I wouldn't do it this way they're ok they're sweating you can sound like there's layer police that are gonna come knocking at your door what I would do instead of duplicating the layer is use an empathy adjustment layer so let's click the half black half white circle the bottom of the layers panel and let's choose the first adjustment layer in the list that's not going to automatically make a change to our image that is brightness and contrast immediately close up any kind of dialogue box or panel that might open because we're we're not interested in making a brightness and contrast adjustment we're just using that adjustment layer to get at it's blood money jenny and that's it now if the whole image did not need that darkening or that second code of ink, then you can use the included layer mask to hide that darkening from parts of the photo that don't need it. Ok, so let's do that on another image here we go now this is actually one of my images and when I first this is the state capital of texas, this is austin well, who did you know didn't you know that the state capitol in austin thie architecture of it exactly matches the u s capitol in washington d c except for ours is bigger it really is the building itself is a hair bigger than the one in d c and that if so typically texas isn't okay also george forces not from texas just so you know he's from connecticut that is all biggest lie every man stop okay, so here we have an image that has an incredibly boring sky okay, so we need to darken that up now we could just do our adjustment layer trick uh brightness and contrast and then close at that panel and then let's change the blend mode two taliban because color burn is really fabulous for darkening skies ok, so again you could duplicate the layer and then change that layer tio color burn mode darken the sky but in this case the whole photo doesn't need it okay I only want the sky to be darkened and I don't want to take the time to paint all of this in order I want to take the time to create a selection of the building first you could have done that and then created the adjustment layer and finish out would have filled in the mask for us what I want in this situation it is a soft fading from the color in the original color in the image to the darkened sky so what we're going to do is use the included layer mass that came along with that adjustment layer, and we're going to use the grady and tool inside of him so let's press g to activate the grady and tool, and then what we're going to do is click the little grady and preview grady and preset picker that appears in the options bar when you have the grady in't tool active and I have the paint tool active, which is not the grady and tool again, does I say not his idea so great and tool actually looks like a great and looks like a fade from black to white, so then once you have that active let's, click the grating and preset picker and let's choose that third precent okay, that third preset will always be a black toe white radiant. We're seeing a black to white grady and are grading preset picker simply because my color chips happened to be black and white in the grady and tool pools on the colors that you currently have active. Ok, so that's what this color chip is it's a hey he's, my foreground and background colors well, you're foregoing a background colors may not be black and white, so let's, just click that third precinct in the list, make sure we have the linear grady int a style active it's the first button here and unless you've gone through this grating and tool before and started changing stuff it probably is already set on linear radiant now let's come over here to our image and let's hold down the shift key because that's going to constrain our grady and to be perfectly horizontal here and we're going to drag from the bottom up and you're going to see just keep dragging and we're gonna be able to make that sky make the darkening fade ok? So in this situation we probably start our click and drag from very nearly the bottom of the image press and hold down your mouse button holed in the shift key and then click and drag you can see a little line that's being drawn in the background here and that's just a little visual indicator on how wide that transition is going to be and for this if it we wanted to be pretty wide ok I'm going to stop my drag somewhere near the the dome there because I want it teo you really be darker in that area so depending upon the uh how you want this image to look this is a great way to add some pop to that sky so here's our before and here's our after so and I even like the way the building looks a little bit darker like that because it always a little bit washed out if you're accustomed to using camera raw you're shooting in ross you're editing your images in wrong I hope this is the exact same thing as ah ingredient uh the radiant tool in camera raw where you can make an exposure change that graduated filters that's what it's called this exact same thing but you're just doing here and photoshopped so that's another way to do that and again of course you could have simply duplicated the layer changed its blend moto color burn and then added a layer mask and then, you know started out with the degrading it tool you can even start your grady and dragged below the image you know so there's there before and there's are after and then I could come in here if I didn't like that darkening on the sky there's nothing in the world that keep me from clicking to activate that mask coming over here with the brush tool and then hiding some of that darkening from the parts of the building that I didn't want okay but that grady it mask it's what's giving our sky that gradual darkening so let's do that again on another image here's another crappy one that I shot this's a great lesson right here in this story this has a heck of a story with it so I was doing some teaching and canmore canada for a group that started those duct tape marketing books very popular, but I was teaching those poor business people how to create presentations that pop tell your story with imagery, not freaking bullet points, that kind of thing and one of the people you really enjoyed my class and had been a fan of my books and teaching prior to that wanted to take me on a hike and I don't hike right? I find that I spill my martini when I hike and I haven't figured out a way around that, so I tell this person that and they say, oh it's no big deal, no big deal no, this is this is like louise and I hide against my will all the way up to the first tee house ten mile I I thought I was gonna die I wanted to chopper to come get me, but that didn't happen anyway. This is the original, so we've got a sky and this is actually a glacier theme melting glacier there signing too dark in this room to the exact same technique again, you can start out by duplicating the original layer or you can use an adjustment layer so we'll go ahead use an adjustment layer brightness contrast because it's the first one on the list that doesn't automatically make change to your image change the blend mode tio color burn you could try multiply to multiply will give you a little bit more subtle effect okay, so now using the layer mask its active let's, go grab the grading and tool and make that color change looks soft by simulating a graduated filter like camera raul has and then with the iranian preset pickers set to the third preset here, which is a black to white radiant, just click and drag groups don't drive that far click and drag on your image to create a nice soft fate. So remember in the realm of the layer mask black conceals in white reveals what does grady little bit of both? Okay, black conceals one hundred percent white white reveals one hundred percent any shade of gray does a little bit of in between so that's why the radiance will work so well in a layer mask when you're darkening skies because it gives you a gradual change so that it looks a lot more realistic came here's one more here's, our original image kind of cute, I think it's way over exposed okay, so what we can do this time will duplicate the layer just for the sake of doing it differently. So commander control j now let's change the blend mode to multiply and we get darkening and now we can start seeing texture in their little toboggans and in their sweaters, but I don't want to change the color of their face so let's add a layer mask and then grabbed the regular brush tool set to paint with black and let's hide the darkening from the areas that don't need it. Now granted, this is going to make the skin and the toboggans to light, but we're going to use another trick here in just a second. Ok, so let's call that good. Now if I didn't want to completely hide the darkening from that layer I was painting with black, I could have tried to guess what color of gray would give me the look that I want. But why bother? Why bother let's double click the mask? What do we have here? A slider that really should be called opacity but isn't for an unknown reason it's called density. Think about this mass capacity now, let's, back off of the opacity on the mask. See how it's turning to gray are breast strokes over here in the layers panel that's the same thing is painting with the grave and in my opinion, is a heck of a lot easier because who knows what shade of gray you need to paint with to get it exactly a little bit of darkening, but not too much. I mean, who knows? That is it is it fifty percent graze at forty five percent grade you wantto? Go inside the color picker fifteen times and trying to figure that out techno just paint with black hide it one hundred percent double click the mask itself and use that density slider teo lower the opacity of just the mask it's very important that you're not lowering the opacity of this whole layer because then you would be lower in the capacity of the darkening everywhere that you really want it ok so that's another one for you and one more and then we'll take some questions on that technique. This is another semi crappy shot that I took it's in italy so there are no crafty shots in italy right? When I was writing the first edition of that book in november are finishing it in november of two thousand eight I just couldn't take it anymore and I fled to italy for about three weeks and I rented this ancient farmhouse and I finished the book in there with some really great line okay, so what's going on in our layers panel over here looks like we've got an empty adjustment layer and we've got all kinds of different mask and going on so we could do that again there's the original that's fine calling that crappy so let's come down here and do another brightness contrast I suggested earlier or duplicate the layer to everyone you feel more comfortable with let's change the blend mode quit multiply does color burns more intense we don't want that when you're burned even more intensive that don't want that so let's go back to multiply I don't want to darken the shadow areas so I can use the included mask to hide the darkening from those areas okay, because we don't want to plug up our shadows and then to make the retouch look a little bit more realistic let's lower the density or the opacity of that mask so let's double click the mask, grab the density slider and come down a little bit so their shadows air being darkened a tiny bit enough to make it match the overall tone of the rest of the image but not too much so in my opinion better thing that any questions on um those techniques we do have a few questions coming in specifically about merging multiple layers and having ah later order whether it matters or not. So let's go ahead and go with one from jim n'dri first, which is one in the winning the blood modes how can I remember which modes which mode layer location matters or doesn't matter in the sense of order because he said that some matter and some don't yeah most of the ones in the darkened category don't matter, so I wouldn't worry too much about, you know, memorizing that kind of stuff that memorization is really the only way that you're gonna be able to memorize that there's nothing in the not really but most of them in the dark in category doesn't really matter and then the second question from nella and then also julie really reiterated this one when you have an image with layers which uses bun modes, those plant notes change after merging the layers do you know why that happens and how to prevent them? Well, hey tiny emerge layers you know then you're creating like anew result, color, you know things do change when they're on the same layer, but what you could do in dealing with multi layer documents that's where this whole thing kind of comes to a head when you're dealing with multi layer documents, which layer do you do what teo and then if an image is comprised of many different layers, it becomes difficult tio use tools with that only work on a single layer. Okay, so what I like to do when I'm dealing with multi multiple layers is stamped them or merge them into a brand new layer that I can do things with. Ok? So for this situation let's say I was in a sharp in this image, ok, what layer to sharpen holy cow, you know, and this would be pretty easy to see but let's say I had a slew of layers, so what you can do is just shift click to activate all the layers that you want emerge into a new single layer and you're going to use a keyboard shortcut shift option command e on a mac shift ault control e on a pc and what that does is it gives you a single layer comprised of all the layers that you currently had active okay, so that gives you one layer to do things with so I think that was more along the lines of that person's a question a couple people had asked people just again say how you duplicate the mask duplicate them ask you how do you duplicate the mask? Okay, well we haven't duplicated to mask it, so I'm not sure what that question is, but you can duplicate layers my person command or control jay maybe that was what they're talking about and then you can duplicate in multiple layers maybe the background layer can't be locked to duplicate multiple layers at one times that's what it is okay, so what I did here was I duplicated the later ones command j now I've got two of them. If I wanted to duplicate two layers, you just need to make sure that one of them isn't a lot to background layer, so just double click it, make it editable, then activated and then you can duplicate most players at one time till ok, so now let's take a look at using linear burn okay, we're going to take a look at making some composites now I'm gonna zoom in a little bit and shave, huh? What's happening here in many bridge okay, so we're in our deep dive folder ok? And I'm cruising down here and I'm coming tio linear burn so here's my followers on the left hand side color linear burn going to use that to add texture and I clicked the folder and nothin shows up in the dad gone many bridge why is that? Because everything inside that folder is in another folder in for an unknown reason many bridge cannot show you folders so I have to do is double click the folder on the left side of the list if that happens to you now actually the folders that air inside that folder and if I say you look like one of those folders now I get my images just in case that happens to you at home and it freaks you out and sometimes freaks me out where's my images and I remember over there in folders ok? So this is what we're going to create that we're gonna do it all together okay, so this is a nice little texture collage here so let's take a peek in the layers panel and see what's going on we've got a couple of text layers obvious what what that is they're text and then if we look at the other layers we've got in our image I see I've got a nice illustration over here ok that's for the little sniff like edges, they're coming front and then we've got what appears to be yellow raise so that those rays and stars that we're seeing in the background okay, then it looks like we've got a levels adjustment layer so a little bit of contrast abused from the levels adjustment layer and then we've got our original image of the bottom of our layer stack so this is the kind of compositing that I like to do, and this is we're beginning to get into some of the projects that I fully believe us photographers you khun cell to your clients because they can't do this kind of stuff, you know, I might not add the text if I was going to shell it maybe maybe the client would like that as well, but certainly there is much to be said for building up textures and compositing images in this way for photography like that I mean, how much more interesting is this image then that I mean to me the other one's got a whole lot more depth, okay? And incidentally I'm toggle ing all the layers often on by option or alter clicking the layer thumbnail of one I want to remain visible so in doing so, I'm turning off all those other layers, do it again, and you turn all those other layers back on, so let's, build our ski bunny collage here, so let's, turn off her text, and in this example, I am going to delete these layers on do you could do that if you want to you at home, just don't save over this document after you've purchased the courses, I don't want you to lose these layered files, ok? So let's, go ahead and delete those, so now we're back to you. The color corrected original photo. Now, let's, start bringing in our other art again. If you've got many bridge open, you can click and drag tio deposit the art in that same document, or you can use the place command file place. Okay, so this image is too small, but I kind of don't care because it's an illustration and an illustration can be sized infinitely without pixley, so I'm gonna hold down the shift key and the option can a mac or altana pc that's going to constrain the proportions of this artwork so that it doesn't get all floppy job? And melissa, here in the audience, knows what walkie job means, because she used to live in texas, then we're gonna I just size it enough where we get all those wonderful snowflakes around till photo shop you're finished re sizing now let's bring in some more art this time was used the file place command and we're in the skier kalash there we gos bringing our yellow raise ok that looks good I might resize it is a tiny bit here we go so now remember when your blood modes are set to normal nothing no blending is happening so everything on this layer is completely covering at the content below so let's start changing blend moods case let's come appear to the blend mud menu and if I want my ca lodged to be darker than I started out with produce a darker result that I began with and I do then let's have something in the darkened category so let's look at color burn and now let's change the blend mode of the other new texture that I brought in this layer right here so quick to activate it and change it may be too linear burn and you'll experiment with those you know just color bar look better for this or does linear burn went better nine times out of ten I end up using linear brown ok, give me a little bit more edgy color intensity so now let's lower the opacity of these layers a little bit try ally sixty okay, so I'll come down to this other layer actually in cia six she can change capacity of multiple layers at one time if they're both active so let's activate both of them that I could come up here and adjust that capacity that's a new feature and cia six won't working see us five reining in the version so now I'm liking when I see except for we've sort of made our snow like it was peed on which is bad so let's add a layer mass to that yellow layer the later we want to hide and then with the brush to active set to paint with black weaken just hide those rays from the bottom portion of the image go up in bursts eyes my price pressing the right bracket key and within just a second we've hidden the the rays from the snows what doesn't look like it's been peed on and we could hide that texture from her her helmet is well if we wanted to do that so that's just a quick little example of how you can add visual interest in depth to a photo ok, so let's take a look at that again on another one so this is what we're going to create so to do this one the way I said that this the layer panels for the layer panel rather for this example file what I've done is I put my finished collage into a later group called final so if you've purchased the course and you're working with this file just turn off final in turn on the original photo it's like I learned the capacity of the original photo too so I'll go and bring that back up so let's say this is our starting point now let's start bringing in our tech usher and then we'll change the blend moves and then we'll drop capacity can if many bridges open it's a drag and drop situation shift option shift altana pc since I'm on ly using this image for texture um if it gets a little pixelated it's actually gonna work out better for me so I didn't care if I enlarged it a whole lot now let's bring in another texture this one I'm going to make a really really big because I'm going to make the race look like they're emanating from his eyes so I zoomed out by person command minus and mail lists shift option or shift all on a pc make those rays really big press return to middle bit great now I need tio um start changing blend modes case I'm gonna go ahead and shift clicked activate both of these new textures tried up to the layers panel or the blend mode when you rather and we're gonna choose linear burn it's now we're beginning to see through them will go up in zoom level a little bit more and let's drop the opacity of both those layers again, you can only do this and see a six let's drop fees to about fifty percent ok, now I'm going to click to activate the rays press veto, activate the move tool and let's move the rays so that they look like they're emanating from his eye and you can see that I didn't make my raise big enough summon a press command tea or controlled he oh maybe I did oh yeah it is being in effect that flight so I don't need to resize it again I just want to make sure their raise extend off the photo bounds now to make this really artistic, I'm going to use a trick that I am absolutely love that you might not have seen or try before we're going to force this full color photo two black and white for a really interesting grand effect which I do believe is also a valuable thing tio know how to do and your photography business ok, so we're going to do that with an adjustment layer so let's click the half black half white, circle the bottom of the layers panel and choose threshold in the resulting dialog box or adjustments panel or properties panel you can use this slider to control the ratio between shadows and highlights so what this adjustments really doing is it's taken the shadows and the image in its magic mapping them to pure black and it's, taking the highlights and the image and its mapping them to pure white. Hey, so I usually adjust that threshold slider so that I don't lose detail in my face, but I don't want it to be too shadowing. You still tell that this is a guy playing a guitar, right? Pretty easy. Ok, so now we can drop the capacity of the threshold adjustment and bring back a little bit of the original color in the image. Now we've really got something artistic and unique going on. Then we can add our music, note someone a click and drag or use the file place command I'm gonna go down and file size or file zoom level a little bit so that I can make these music notes really big while pressing shift option, and then before I dismiss the boundary box of free transform, I just want to make sure that I've got my music news as bigas I want him, and I think that is going to work out for me right there, so your collages not have toe look identical to mine and it won't and that's perfectly fine press returned to live, but it's not know you're finished re sizing, now I'm just going to add a layer mass with the news don't go over his head and I'm actually gonna move my notes to the top of the layer stack no, I'm not didn't like that so now add a layer mask and then with the brush tool set to pay with black and you can hide some of the notes that you don't want to be seen okay, last thing I did to that collages tack on some text um so just press t to grab the text tool click and I typed rhythm if I can remember how to spell where they can see what I'm doing here let's change our text color to something that's in the image here we go here we go grab some kind of interesting fun okay, I'm gonna go for just some random script e thing go up in size a little bit and there we've got our guitar and if you want the text tio uh have some of the texture than you could pop it down below one of your other texture layers so this gives you a little bit more of an idea the things that you can create with blend moods by just bringing in random textures it's let's do that one more time to create this one this exact same technique ok, so here's all the layers that I made to create this technique case you can kind of dissect that later so what we're going to deal on this one I'll go ahead and hide all that there's our original photo let's go ahead and do our threshold change ok so let's create an adjustment layer the threshold adjustment layer like the half black half white circle chiefs threshold and these techniques are all stepped out on the boat too casino all the audience members are going to get a copy of the book so if you want to take notes feel free but you don't have to because they're all in there casino yeah well can I get a women ok so for this particular image and again I'm trying to show you images where these tightenings don't work perfectly on we're going to figure out how to troubleshoot that stuff the threshold adjustment for this one isn't working out well because we got a lot of shadows in this image so what I'm gonna do is drag the slider to the lift far enough where I get detail where I get that I want to bring out that eye right there okay there's no point making a collage like this if you can't tell what the collage includes that is that a person I don't know so we're going to stop the slider about here and then I need to get rid of all that white okay what's an easy way to do that maybe the dodge tool yeah maybe the dodge tool so let's duplicate that layer thanks I don't want to screw up my original photo and I'm going to come over here and grab the oh so destructive dodge tool from the tools panel come over here to the areas that I don't want to be they're at all so what is the dodge tool do lightens right? Well since we've have that threshold it's since we have that threshold adjustment layer going on I can use the dodge and burn tools to fine tuned the results of that threshold adjustment layer so real quickly even if that threshold adjustment doesn't do exactly what you want on the image don't worry about it just duplicate the image you know so that it's underneath if the switch to the paint all doesn't matter though so that it's underneath the threshold adjustment layer and just use the dodge tool to lighten in the areas that you need tio because I didn't want all that solid black to be in my collage and if you need to dark and in certain areas use the burn tool ok, so let's say that um her little nose you couldn't even see it after the threshold adjustment will you need to dark in that area little bit so you could just grab the burn tool? Okay, so if you're trying this threshold adjustment layer technique to get this kind of a graphic illustration look and you're losing features or you've got too much dark areas just duplicate that photo layer and then use the dodge tool to lighten in the burn tool to darken ok that's all we did hear now let's add in our other textures we're gonna use the same textures sell its ad are grunge resize it if we need to the grunge layers now looking black and white because of layer stacking order but as soon as I pop it above that threshold adjustment than we see our texture and then let's grab the rays and make them really honking big again and now let's click to activate both those layers, drop the opacity pretty far back on these and then change their blood mo to linear burn that cool now let's bring in our illustration for the flowers again you can use file place this illustration I'd like to spin it around so when you use file place or when you dragged from many bridge into an open document, you get those free transform handles and if you position your cursor just outside of one of the corners your cursor turns into a curved era which you can use to rotate now I'm holding the shift key down because I want to get a perfect ninety degree rotation cause I just want the flowers to be in the top left corner now before I dismiss the free transformed bounty box when a press shift option or shift ault on the pc and make it bigger and then I'm in a position the flowers where I want them so I can see if I need to do any more re sizing or not let's say that's fine press return change the blend bowed I don't want any white areas I want intense darker colors so we're going to go for lin a burn so that's absolutely all there is to the other thing you might do is tio add a color overlay like I did on this one what I did was I added a black and white adjustment layer and I turned on the tent checkbox or another way to do it would be to use a hugh saturation adjustment layer and turn on the color eyes box and then you can use this hugh slider to adjust the color of the whole dad gun collage and that pretty thing I think is a pretty thing so since she's a girl we're going to stick with pinky tones because we can close that up maybe lower the a passage is a little bit if you'd like now I'm gonna grab the rays grab the move tool so that the rays are emanating from her eye and last but not least if he wanted this area and not to be dark you could add another adjustment layer uh that actually clips to the threshold adjustment layer we'll see a few saturation I'll do it for us we can experiment with different ways to to do that I forget what I did in my original what did I do to change that? I did it over here and it worked anyway so that's just another idea of what you can create with blend modes and multiple textures hey mister, if you have an artistic bone in your body this stuff is a whole lot of fun really really is and on that note we will see if there's any questions let me see if I've got one more example to show you for that technique I think we have a lot of creative bones and our audience right way could have some questions yankel hit all right, cool well let's see, ko says you have a book out about this topic right where's the best place to get it and one of the this camp could releases but you can go teo riley dot com and enter the code off the a t h d at the checkout and you'll get fifty percent off the e book and forty percent off the the other version the print version so that's good deal amazon also has it for, to be honest, nearly the same pricing is twenty seven bucks on amazon otherwise is fifty that's a lot I mean, I get royalty so it's great if you buy the fifty bucks don't have t I'd rather have you buy it they're not so what we're talking about getting things some people are asking jim henry was wondering whether or where you get your textures from these particular textures came from my stock photo, but you could get it from anywhere for tolia as well and a gram glad thank you so much for asking that question because what I usually type in any stock side to find textures like this at type and grunge background or you can type in paper texture because this this one right here the grunge that's just like old paper so old paper grunge background and for the rays type in something along the lines of raise or starburst that kind of thing for these flower illustration I just typed in flowers and I limited my search on the stock side two on lee return illustrations because I wanted I wanted a I didn't want a flower that was photo realistic I wanted something that looked like it was drawn for this particular technique saying with the music notes I mean, if you think about it, I'll tell you the way these stocks sites work is that anybody can contribute to them if your artwork is good enough, right? But it's the contributor that is key wording and describing their imagery it's their job to try to get into your mind and figure out what you might type in to find that kind of artwork ok, so if I had drawn these rays and submitted them as stock are than I, danger would have tried to figure out every possible word that somebody might type into finding a piece of find a piece are of that kind so raise starburst maybe even sun rays things like that so just think about it uh what that artwork might be described as you know and that will help you find that kind of stuff on a stock side but grunge background textured background is another great phrase and you khun search on phrases tio will limit your results a little bit so that's another good one to use for this kind of thing great awesome suggestions thank you. That shot is asking what is the difference between place and opening an image? Oh, excellent, excellent question thank you. The difference is that the artwork will come in as a smart object, meaning that if if the artwork you're bringing in his a vector illustration than by bringing in and as a smart object photoshopped remembers any super powers inherent to that particular file format in with illustrations you can resize them infinitely with no quality loss because there's no pixels involved it's paths and points that are making it the artwork so that's why I brought in these two thieves to illustrations as a smart object you can also bring in regular old j pigs as a smart object that just gives you the ability to experiment with size without pixelated your image. Now you couldn't make it twice is big as it was originally without getting a little bit of picks elation. But what happens with a smart object is that instead of when you think about re sizing, you're kind of mission pixels around, right? You're making a bigger you're making them smaller? Well, any time you do that, you're pixels get a little michy you know you've messed with them, in other words, but if you're re sizing a smart object but doesn't put a shop, gets a new instance of that smart object every time you resize it. So it's like going back to the original to resize so that's why I like to use smart objects with the's collages like that? Because I never really know what size I'm gonna end up making the artwork and I want the ability to make it big. Big it's mom, make a small make it big, make it small if I want tio without worrying about screwing at the quality of the image. So to learn more about smart objects, I hope you will purchase the deep dive lendl and enjoy these more object day fantastic um maybe one more question here for winds photo in the image of the girl in the snow, the snow bunny image could you because you have the sun burst in the sky, and you didn't want it to go into the snow. If you had wanted it to stay in the snow, could you have changed a sunburst color to black and white? Tio keep the texture and the design, but not have the color effective. Yeah, billy. So, yeah.

Class Description

Master Adobe® Photoshop® Blend Modes! Lesa Snider is taking a Deep Dive into the various Blend Modes, and will show you everything you need to know about this versatile tool. Overlay, Darken, Color Burn... Lesa will show you the difference between each mode and which mode is most useful for your creative needs.


Software Used: Adobe Photoshop CS6

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