Adobe® Photoshop® Deep Dive: Blend Modes

Lesson 2 of 9

Blend Mode Details

 

Adobe® Photoshop® Deep Dive: Blend Modes

Lesson 2 of 9

Blend Mode Details

 

Lesson Info

Blend Mode Details

Here is our footage shot document of our smiley face and our shot of water okay, so as we said earlier by default straight from the factory the's layers when you add them or place other images on top of the original image that you've opened are set to the default blending mode of normal, which means no blending is going on, so if you've got a layer on top wherever it overlaps the layer underneath, you're gonna be completely covering at one hundred percent that other image. So let's, start taking a spin through these things I just want to tell you can cycle through these blend moves at the top of the layers panel with the keyboard shortcut and the keyboard shortcut is what is it? What is it? It's shift plus so you can just cruise through the blend mode, so I'm holding down the shift key and pressing the plus keep is tapping it, and if you want to go the other direction, so I'm going down through the blame in many by tapping plus, uh, tapping minus we'll go back up the blend mode menu, s...

o I like this a set of images because they interact with each other in all kinds of different ways, so we're going to talk about exactly what those interactions are once I get back up to the top, okay, the first mode that we're going to talk about is dissolved and for this particular image it doesn't do anything but what does all really does? And I've got another image for you that will look at in a second is it turned solid pixels kind of into a spray pattern of dots so we're actually gonna use dissolve when we're painting with the breast tool to do some beautiful hand shading on an object that we draw and photo shop so we'll do that next, but for this particular set of images dissolved, does it make any change? Ok, the next blend mowed down and I'll use my keyboard shortcut of shift plus there we go. The next blend mowed down in the list is in the dark and category ok, so if I open my blend mode panel, you can see that we are in the darkened category. The modes in this color will produce a darker image then you started out with and like we said earlier, you can think of it as if photo shops having a war on color and the darkest colors between the two layers get to hang around anything that is lighter, then the combination of those colors on two layers just drops right out, so why will oftentimes disappear great way to that of white background? Most of these blend modes in the categories here they have neutral colors and by what I mean by that is a color that causes no change whatsoever when you use one of those blend moves in the dark and category that neutral color is quite so white will disappear completely if you use any of these modes ok, wherever it exists in the dark and mood photo shop looks at each channel so red green blue pay or seem like a if you're working in production pre press environment photoshopped analyzes each channel separately and what it does is it compares the base color so the color you started out with with the blend color the color that you're adding your color that's on that second layer layer order does not matter okay, so what's happening here is you can see that everywhere that there was a white water reflection see how it's disappeared can we can see our smiley face the on ly colors that air left over where these two layers overlap where the content actually overlaps are the dark colors the dark parts of the water now you'll see that we're producing green ok, so there is blending going on so we're getting a new result color okay, so colors darker then the blend color case we're talking about our base and our blend here colors darker than the blend don't change colors lighter than the blend are replaced with the result color? Okay, this particular mode is helpful in fixing light areas in an image so if you've got some over exposed areas you might be able to fix them using the darkened mood and it's also useful in creating composites or collages and all of these blemishes have keyboard shortcuts that you can just go what most of them you can go right to the specific blend mode in this keyboard shark it is shift option k or shift all k on a pc so let's take a look at the next blend mowed down in the dark and category and you're going to notice that what we get is a little bit more saturated ok are darker rather so this is the multiply mode and the multiply mode looks in each channel again and it multiplies so increases right the base by the bland okay so it's multiplying those color values and each channel by each other so that's why this particular mode with these images produces a darker result than the mood we just used a moment ago okay saul back at points you see the difference so there's darken okay, no multiplying okay this is this is just a comparison really between the base and the blend in the darkest color stay and anything a lighter drops right out there is a little blending with multiply it's a multiplication situation so that's why we get a darker result you can think about multiply as a double code of ink okay, so if you were to print an image on your inject printer at home, ok, and you put that same piece of paper back into the printer and you print that image again, it's like you've got two coats of ink that's kind of what you're getting in multiply mode. Okay, it's like a double code of ink, the result is always the result color cain's, always darker than the base color than when you started out with this is a fabulous mode for fixing images that are overexposed, and we're gonna do a lot of that and it's also great for creating an over print effect. Okay, where an you the graphic on the top layer looks like it's been printed on the layer below the great for making fake tattoos, so we did with a lot of fake tattooing in the photo shop cs five intense, of course, so I don't want to repeat aa whole lot of that today, but if you need to add a fake tattoo it's a great mood tio play with this is also the default mode for drop shadows. Okay, so that's how drop shadows air created the keyboard shortcut for this particular mode is shift option in care shift ault em on a pc I don't tend to use the specific keyboard shortcuts to go right to blend mode, palin because I'll go to the category and then all cruise around in there and see which one I like best for the effect I'm trying to produce, but another reason is because if you have any of the painting tools activated, if you have another tool active other than the move tool than your to start changing the blend mode of whatever tools active instead of going to the blend mode menu so that my trip you up this little of it so just be aware of that of what tool you've got active. So if you want tio cruise through or good to us, go straight to a blin mode with its keyboard shortcut trying make sure you've got the move till actives and you won't be messing with the options bar blend mood so what's press shift plus and crews down one more blend mode also in the dark and category, so this one produces an even more interesting effect, doesn't it? So the color bone with the color burn mode photo shop is peeking inside of each channel and it's darkening the base color okay to reflect the blend color by increasing contrast between them came layer order does matter on this particular blend minutes you're going to get a different result if your layers air stat a little built a little differently, the effect as you can see here is darker than multiply mode okay, it's pretty pretty interesting on this set of images reducing the phil here's your fill setting right here at the top right of the layers panel reducing the phil tends to make this effect a little more subtle, then reducing the opacity so that's another thing with some of these blend modes thie, opacity control and the field control would behave a little differently in certain modes than then it will. Another road some of opacity and fill you can't tell any difference, but some of them dropping the film would make the effect a little bit more subtle, and some dropping the opacity will make the effect a little bit more subtle, and we're gonna be doing quite a bit of that today. Color burn is great for fixing boring skies or colorizing grayscale images that produces a pretty dark and intense affect. This one's keyboard shortcut is shift option b on a mac or shift all to be on a pc so let's track down to the next blend mode in the darkened category, which is linear burn. I'm a press shift plus, so we get an even different effect with this. This particular blend mode is really a combination of the multiply and color burn moves photo shop is looking at the color in each channel in this particular mode and it's darkening the base to reflect the blank color by decreasing brightness so that's why you get this really super dark effect layer burn doesn't matter on this particular mode at all I could put the smiley face on top of the water and the layer stacking order and you get exactly the same effect ok? This particular mode produces the darkest result in the darkened category ok, so if you're compositing and you're making a real cool collage and you really want an intense huh dark effect than try linear burn we're going to be using linear burn extensively when we get into making are really neat textured grand collages later in the day this produces like I said the darkest result though with more contrast than any of the other modes in this particular category with this one, reducing opacity on linear burn makes the effect more subtle than reducing phil so if you're playing around with linear berg and you want to back off of it just a little bit then go for opacity instead of phil on this one whereas with color burn you'd want to use phil instead of opacity and in the layered files that you're going to get with this class if you purchase it. I've tried real hard to make sure that on each layer I've got notes for you like what you do to recreate that effect so we'll take a look at that later so I'll I'll put in little notes like that you know phil such and such or use opacity instead right here in the in the layer naming linear burn also as you can see here tends to turn dark pixels solid black okay so let's look at where that the blue the dark blue part is interacting with the yellow so you can see here that it's turning those dark blue pixels completely black now let's take a look at the let's talk about it keyboard shortcut okay it is shift option a on a man for linear burn shift ault a on a pc now let's press shift plus and crews down one more blend mood what's going on here this is darker color this is a fabulous moti's when you want to get rid of white it produces no result color as you can see here any areas that are lighter than the base in the blend are just disappearing so in other words we're not getting any green so that lets you know that there's no blending going on between the blues and the yellows right cause remember our circles earlier when we blend blue and yellow we get green okay that's not happening over here so that lets you know that there's no blending going on going on with this one this particular mode photoshopped compares the total sum value of all the channel information okay it compares them as one value and it simply keeps the darkest values and drops out everything else? Okay, so that's why we're not getting a new result color layer order doesn't matter on this one if the water was underneath a smiley face, it would work exactly the same way except for I think I actually of a white background on the smiley face that you can't you can't actually change the layer order of this one, but it wouldn't make any difference there's no keyboard shortcut for this one because it came out info shop cs three and that was about the time when a w ran at a key work for kids same thing for the lighter color mode which bring a look at the last one in the light and category came so I hope this image coming gives you an idea almost just popped back up through our blood moves so again there's dark and we're getting a new result color multiplies like a double could've inc color burn ok so it's increasing contrast between the base and the bland and here is linear burn okay, so it's a combination of multiply and color burn has a tendency to turn dark pixels solid black and here's a darker color where photo shop is just comparing the sum total values of the channels and it keeps on lee the dark, darkest values so why will drop right out? No new result color is created now let's talk about the lightning blend modes so anything in the lytton category will brighten our lighten or if you're a photographer you can think of it as dodging okay so these air like your dodge modes the categories or the limits in the darkened category you can think of those as your burn modes okay if you're more familiar with that terminology so as you might suspect latin modes are opposite of the dark and moves black is the neutral color in this category so it's a great way tio lighten and overall image that's too dark or add texture to a dark background to make it war visually interesting and add more depth to it so black disappears in this category so our first one is called lighten and if you want to think about it with the whole war on colors between layers of the color battle theun photoshopped peeks inside of each channel and it compares them all and it keeps the lightest colors from the base and the bland okay so it keeps the lightest colors from that later you started out with and the lightest color values from the layer that you're adding and any pixels that are darker than the blend are replaced with a new result color so if we're looking at this image right here you can see that we are getting a new result the color okay no pinky tones in their pixels lighter then the blend don't change at all okay? So any pixels that arm lighter from my smiley face here than the pixels in the water aren't changing at all but most everything in the water is is a little bit lighter then the smiley face this is great mode for blending dark backgrounds or something lighter like I said earlier and its keyboard shortcut is shift option g shift all tgi on a pc so let's press shift plus and scoot down one more blend mood this's the screen blend mood one of my favorite things to do a screen is lytton eyes brighton eyes brightened teeth you know that's very very handy mode so with a screen blend mood photo shop is peeking inside of each channel and it's multiplying the opposite or the inverse of the bend or blend in the base colors okay that's why everything is getting lighter layer order doesn't matter on this one and another way to think of the screen blend mode is like your flooring bleach onto an image or color that you've painted on a layer in some way okay do you think of it is bleach it's great for fixing images that are too dark like when your camera's flash doesn't fire okay and like I said earlier for brightening teeth and eyes or anything else that you want to lighten and the keeper shortcut for this particular blend mode is shift option s on a mac or shift ault s on the p c s for screen next one down is called color dodge you can see that it produces a more high contrast result band screen in this particular mode for the shot looks at each channel and it brightens the base color to reflect the blend by decreasing contrast between the two of them okay, layer order matters on this one so you'll get a different result depending upon which layer is on top. This particular mode tends to turn light pixel solid white and you can see that happening here in our example anywhere we've got the light reflective colors in the water when we blend them with the base color, they're being clipped okay? So they're being forced to solid white whereas um linear burn was really forcing things to solid black so is clipping to black ok in the dark and categories this is the opposite of that, so unlike the other modes in the lightning category this particular mode color dodge it keeps the black pixels okay, so that's anything to know so dark parts of your image won't change, but you do get a super high boost of saturation and you can see that going on here. So with our smiley face I in our smiley place face little smile down here we've still got black in there so black is not dropping out in this particular mode but it does and all the other lightened category modes you can use this one on a light colored texture to add depth and brightness okay to a dark background perhaps you can also use it on a layer filled with fifty percent gray and when I say fifty percent gray I mean like the color value of one twenty eight okay if you think you're one twenty seven point five if you think about it you've got two hundred fifty six colors and photoshopped ranging between zero being solid black and two hundred fifty five being solid white right together they made two and fifty six then the color in the very middle is fifty percent ray so that's what I mean by fifty percent grace kind like a nice charcoal gray there a little bit lighter than that if you use this mode on a layer philip fifty percent great you can use it to add instant highlights to hair and we're going to be doing some of that so if you shoot a model and you're like dead given I wanted to model with highlights wells no biggie it is adam also great for us ladies out there you want to see how our highlights you're gonna look before we trot down to the beauty shop? So we'll look at that team next blend modano keyboard shortcut is shift option d or shift all d on a p c d for dodge the next one down is linear dodge okay this particular mode but a shot peeks inside each channel and it brightens the base color okay, it's light brightens our yellow here to reflect the blend color which is our water layer right here later order doesn't matter on this one case would look the same if we flip flop these layers this one is actually a combination of the screen blend mode and the color dodge mode ok, so it's gonna lighten your it's goingto produce a lighter result than any other mode in the lightning category? So here's what linear dodge looks like in this particular move photo shop is picking up the color values inside of each channel and it's brightening the base color so that's our yellow here from our smiley face it's brightening the base to reflect the blend color here layer order doesn't matter, so this would look exactly the same if you were to flip flop these layers had I deleted that white background, this one is actually a combination of screen in color dodge modes so that's why it produces the lightest result color of any of the blame loads in the latin category came it has a tendency to turn all the light colors solid white so we've got quite a bit of pixels that are being clipped forced to pure wife in this but we will find some ways to use it it's keyboard shortcut is shift option w and I've got no way to help you memorize that one you're on your own or shift all debbie on a pc the next layer down and the latin category is lighter color and it is these act opposite of darker color okay, so here photo shop is comparing the sum total of all the color values in all the channels ok so it's adding them all up and it keeps the higher values which is the lightest pixels so if you think about all the colors and photo shot you know zero to two fifty six to fifty five zero being solid black to fifty five being solid white so when photo shop is adding up all the values of the color channels of both these layers is keeping only the highest one so that's why I on ly are lightest areas of the blend layer are kept hanging around okay, so because our smiley face is darker in these areas than the blue in that water there's disappearing ok? So it's keeping only the lightest values layer order doesn't matter on this one and there is no blending going on so we're not producing a new result color were just simply dropping out all the dark pixels between the two all right? So let's cruise down to the next blend mode now we're in the overlay category case if we remember our graphic from earlier, these are our contrast categories ok, so there's a little bit of lightning and a little bit of darken and going on and you can see that happen here in our smiley face water combination so what's happening here is the's moments have a neutral color fifty percent gray so if you've got fifty percent gray in your image it doesn't affect the result color at all it'll just disappear so great way to drop out gray right we're gonna be using uh soft light which is the two most down from this one on a layer filled with fifty percent gray to produce a faux dodge and burn effects we're going to be using that teo lighten some wrinkles brightens his eyes get rid of her or lessen the effect of a double chin okay and the reason that we're going to be using that limit on fifty percent gray is because if we paint with white on fifty percent gray will be lightning if we paint with black on layer filled with fifty percent grace that to one of these moves will be darkening so that's how we can kind of creating nondestructive version of the dodge and burn tools okay, so it'll be anything so any graze in your image will drop out with these modes so let's try down one by pressing shift plus are actually didn't give you the keyboard shortcut yet okay okay so here we are in over lehman so if your base okay are smiling face is darker then fifty percent gray photo shop is multiplying its color valued by the base color k layer order matters on this one um so full shop is if the base color is lighter than fifty percent gray. Okay, so we're still talking about our base here if it's lighter than thirty percent gray photoshopped multiplies its color value with e opposite or the inverse of the base ok kind of like screen mode, the base isn't replaced, but it's mick, just with the blend tio reflect the lightness or the darkness of the base so that's why we're getting all this nice pretty contrast going on in here with this mode, you can use this one to increase contrast if you've got a really flat photo just duplicated and changes blend moto overlay you can also use it to cull arise a grey scale, though it'll, uh, produced kind of a lighter paint color effects than what the color that you're actually painting with. I find this mood especially useful when I'm sharpening with the high pass filter okay, because the high pass filter will turn your image to solid gray and it will add contrast to the edges okay, so edges in an image or any area where high contrast is happening so dark pixel next to a light pixel, so if you change your layer that you've run the high pass filter on, which fills it with gray if you change it, tio over lame of the gray drops right out, and you're just left with e accentuated or emphasized edges so that's anything, and we'll do that later on today, so the keeper shark hat for this one is shift option. Oh, over early or shift all o on a pc next one down in the list is soft light you can see here that the result is much more subtle than what we got with overlay that we get a similar effect, you can think of soft light, kind of exactly like its name, like you're shining a soft light on your subject, you know, like one of these light boxes we've got around here in the studio, you get less contrasts and you do with overlay mode and that's really evident in this example, it makes areas lighter than fifty percent gray, as if they were dodged in areas of the base in the blend that are darker than fifty percent gray and makes them a little bit darker, as if they were burned slightly okay later, order does manner with this one, so you'll get a different result if you flip flop your layers around. You can paint with black in this mode to darken an underlying image or you could paint with white in this mode a lightning underline and this is what I was talking about with the faux dodge and burn technique that we're going to do in a little bit it's also quite useful for adding texture and also oddly enough to make a an object looks like it it's reflecting in the metal surface so it will be playing with cem reflection techniques also was, which is great and graphic design it's also great for painting highlights and fine are so if you're using photoshopped to actually create paintings in boy can you makes a beautiful stuff, you build stuff that's one of the things that I want to focus on, hopefully in december is refining some of my painting techniques so I can come back sometime they share and share painting from scratch with you guys and photo shop so let's say I had painted this smiley face over here saw flight would be a fabulous mode to use on a new mp layer. Set your brush tool to a lighter color, maybe a pale yellow with its set to soft light I could paint on these highlights right here, so really great great mode for that it doesn't ever result in pure black or pure white, so you're not going to get clipping with that so it is quite useful in retouching portrait's, which is why we're going to use it for our foe dodge and burn technique. Its keyboard shortcut is shift option if I guess f in soft, so it is tracked down. One more blame it tio hard light and it looks like a harsh light was shown on your subject, right? So it is the equivalent of shiny parse line on your image. What's happening here is photo shop is really combining multiply mode from the darkened category and the screen mode from the light and category that's. Why are darker bits or getting darker? And are lighter bits a grating, lighter case? Remember, we're talking contrast in these moments of it there's a little bit of lightning in a little bit of darkening going on layer order does matter on this one. If you're blend, color is lighter than fifty percent gray. The image is going to get lighter like screen mode was used. If it's. If the blend is darker than fifty percent gray, the image gets darker like you used multiply mode. Okay, so you can paint with black or white in this mode, and you're simply going to get black and white, so that won't produce any change. If you really want to increase the level of detail in an image, use this mode in conjunction with the m boss filter that's, a technique that we're not goingto use today because I've got some other stuff for hard life. But if you use this mode with the embossed filter, you can actually make slightly blurry image looks like it's a little bit more in focus. That technique is all stepped out in that fabulous book right there. Photoshopped cia six missing manual the'keeper's shortcut for this mood is shift option h h for hard light or shift all h on a pc so what's press shift plus and go down another mood now were on vivid light, and this one, of course, produces ah more saturated effects you can see here on our example image so in this one photo shop is applying the color burn mood okay, from our dark and category to increase the contrast of any colors that are darker than fifty percent gray and then it's applying color dodge, which is the more we looked at a moment ago tio, any colors that are lighter than fifty percent grade. Okay, layer order matters on this one vivid light is useful to make an image really pop off the page or to add texture and a collage. With this one, the phil and opacity settings were going to behave differently. Capes that is be aware of that. The keyboard shortcut for this is shift option vi, the for vivid or shift all v press shift plus to go to the next blend mood in the lighten or the overlay category, rather, which is linear line. This one is a combination of linear burn and linear dodge linear burn being from the dark and category burmese dark and when your dodge being from the latin category dodge meaning lightning layer order matters on this particular moment, you can use this mode to decrease the brightness of any colors that are darker than fifty percent gray in linear dodge to increase the brightness of colors that are lighter than fifty percent gray. So photo shop is looking at those color values in the channels and it's applying linear burn, two colors darker, the fifty percent grey and it's applying linear dodge two colors lighter than fifty percent grade. Okay, it's, great for adding textured images. Shift option j is the keyboard shortcut. Good luck on memorizing that one hit her shift all j on a pc next one down is pin like okay, so penlight is combining the lightened mode in the darkened mode k layer order matters on this one as well. So what's happening here is if the blend color is lighter than fifty percent gray photo shop is replacing areas of the base color darker than fifty percent grey with the blend color okay, so we're getting some color replacement here as well as a new result color okay with this mode, if the blend color is darker than fifty percent gray than penlight replaces, lighter areas of the base with the blank color and darker areas don't change. Okay, so that's why we're not seeing any change in the eye of the mouth area of our smiley face here this one is mainly useful, useful for special effects. Ok, so you're not going to use this one a whole lot its keeper shortcut, his shift options ea or shift all dizzy next one down is hard micks heart mixes of fund one what's happening here is for the shop is reducing the colors in your image two six plus black and white ok, you can think of this as a post arising mode ok, so we're getting a poster effect here. What you end up with, as you can see on my screen is large blocks of super duper bright colors like red, green, blue layer order does not matter at all on this one and what's happening in the background is photoshopped is analyzing the sum of all the channels ok so it's not looking at the channel's individually it's just smash them together in adding up all of their some values and it's it's just adding them to the base color okay, so that's why you're getting this super intense highly saturated color okay because the sum total are being added for example, if the value of the red green and blue channel is two hundred fifty five then photo shop is adding two hundred fifty five to the base value of colors hey if the value is less than two hundred fifty five foot shot doesn't add anything to the base you can reduce the effect of this mode to a visually pleasing level by dropping the phil setting to about twenty five percent I like to do that on pet photography really, really well that photography does duplicate the layer, change the blend mood too hard mix and drop the field to twenty five percent you won't believe the effects beautiful we got several examples of that shade keep your shortcut of this one is shift option ill their shift all l on a pc now we're going to pop out of the contrast moods and we're going to come into the comparative modes so I've been a press shift plus halloween anyone so these comparative modes are very, very interesting, okay, uh, which they're called psychedelic minutes because that's what they looked like to me, but they are quite useful black is a natural color in the first two moves, ok, so this particular mode that we're in right now is called difference, and what photo shop is doing is it's comparing the brightness of the base and the blank colors and it's subtracting the blend color from the base or based color from the blend, depending upon which one's brighter layer order doesn't matter with this one, if you use white is your blank color photo shop is going to invert or flip flop the base, making the image like a film negative. Okay, we've got that going on here if he used black as your blank keller photoshopped doesn't change anything. This is great for brining the edges and an image were take a look at how to do that or for aligning two layers of the same image. Okay, so if you've got two layers let's say you shot the same photo two different exposure kind of like merging, you know high dynamic, emerging several exposures into a high dynamic range image. If you wanted to line them up manually, you know, make sure they're perfectly aligned, then you could change the blend mode of one of those two difference and you could just keep using the move tool and your arrow keys to nudge those layers right in a place so that you make sure that they're perfectly lined up together. Okay it's keyboard shortcut his shift option e your shift ault a on a pc it's kind of a neat one fill in a pass ity behave behave differently in the difference blend moon get it ha ha! Right now it was a little bit lane I get that but we're gonna use thie difference mood, huh? Believe it or not with the grady and tool to make some really, really I think cool you may say freaky and weird backgrounds which are useful for all kinds of things. Okay, the next blend mowed down is exclusion and it's similar to difference which you looked at previously, but it has less contrast. Okay, so blending with white inverts the base color so you could see that happening here blending with black doesn't do squat to be quite honest uh, layer order doesn't matter at all on this one. This one produces a fairly freaky effects so you won't use it a whole lot that said, you can also use this blend though to align two layers to make sure that they're perfectly lined up with each other and its keyboard shortcut is shift option x x for exclusion or shift all x on a pc and don't worry we'll get into the practical tightening schmidt I think it's I do believe it is worthwhile to trot through all of these with these images and see what the heck because you kind of begin to see what they're doing you're not right really going to absorb it all with this example but this in conjunction with all the stuff we're going to do the rest the day I think is going to give you a good uh framework from which they began understanding these blend modes so the next one down is subtract now we're talking out through this particular bloom oh believe or not was new and c s five so everyone said well do we does give us need blend moods what's happening here is the shop is subtracting the blend color from the base color okay which significantly darkens your images you can see here layer order matters this one is useful and making some really cool backgrounds from scratch we're actually going to use the subtract mode in conjunction with the grady and tool set to different mode to make some of those coal background I was talking about earlier you can think of this one as thie exact same thing as inverting the colors in your image ok, so if we look at our blend color here, what color are we predominantly dealing with on this layer it's blue right what's the opposite of blue on the color will orange that's all this mode is doing its inverting your colors okay it is the exact same thing if he were to just use a keyboard shortcut tio invert the color on the layer or if you used one of the adjustment modes called invert okay so it's flip flopping your colors if this water was more red in tone and we inverted it or subtracted it with the blend mode we would get green so if you've had killer theory and you think about color will the colors that are opposite that's what you're doing if you invert black it becomes why convert white it becomes a black and we can see that here to all of these black areas were white so we have just flip flop them okay? So that's what's going on there that is really useful in graphic design especially so let's say you've downloaded cem interesting background are or maybe a silhouette kind of image you know from a stock side or what heavy and the areas that are blue you really need to be orange in the areas that are black, you really need to be why ok, you can use this mode to flip flop them if you've ever brought a logo into photo shop that's black and you need to set it on something that's why you have to change color of that black logo just use the subtract blend mode or like I said, used the invert adjustment layer it's just flip flopping the colors to their opposite. Okay, so think about that. If you've got something in it black that needs to be why or if you've got something that's white that needs to be black, try this before you try anything else. Next planeload down is called divide. Okay, great for adding textures you can see here, this one is also knew and c s five so we got to enable and moves and see us. Fine. This one is dividing the blend color by the base color in each channel, okay? And that is going to significantly brighten your image as you can see here, and we're even brightening the solid black parts of our smiling face. This is a very handy mode for turning a photo into a pencil sketch, and we're going to be doing some of that here today, a really well done pencil sketch, I might say, not one that is completely cheeseball that you're never, ever going to use. This is a beautiful effect that we're going to create together today. This particular mode is used a lot in astro photography and scientist use it a lot who are, um, dealing with microscopic images. You know, biology and all kinds of that stuff so those were the folks that mostly use it but we're going to put it to quite a good use today believe it or not, next moves down we're in the category that we called the compositing category earlier casing think of that as combining several layers to produce a result image with this particular mode it's name is hugh and you can think of hugh is another word for pure color ok so it is really great for changing color that already exists and image if there is no color and image than this mode won't do squat okay so you cannot use this mode to cull arises great a grey scale but what you can do is use it as you can see here to change the color so if I wanted teo I could paint with blue on a brand new layer and set that layer to the hugh mode and then we would have a blue smiley face instead of the yellow smiley face okay, so it's pretty pretty easy to see what's happening here but behind the scenes what photo shop is really doing is that it is keeping the brightness and the saturation value of the base okay, so the brightness value and the saturation of our smiley face is not changing this blue is the same saturation value your same intensity value as the yellow right here okay, so it's keeping the brightness in the base brightness and saturation of the base are smiley face and it's adding the hue color of the bland came later order matters on this one you'll get a different result if these layers were to be flip flopped and as you can see here it's really great for changing color that exists and it's not going to produce a shift in saturation keyboard shortcut for this one to shift option you you for hugh shift all u p c next one down in that section is saturation so what photo shop is doing here is it's keeping the brightness value or lightness value luminosity of the base as well as the color of the base because they're smiling face colors and changing so is keeping the brightness in the hues of the base and it's adding the saturation of the blend okay, so the saturation between those two isn't that different so that's why you're not seeing a bigger change in that particular image? This one is handy for increasing a in images color intensity though to be honest, I wouldn't do it that way. I would increase color intensity by using a vibrant adjustment layer instead, pirates adjustment layers came along cs four I believe so if you're running an earlier version of fund shot by all means deep the layer duplicate the layer and changes blend motive, saturation instead of using the vibrant suggest mint layer but if you've got the vibrance adjustment layer it makes more sense to use that to be on you can also use saturation to drain color from part of an image by painting that area with black because black has no saturation value that's why we're getting de saturation on the yellow because some parts of that water are really dark okay so that's why it's d saturating uh that area its keeper shortcut a shift option tea for such situation shift alte next one down is called color okay this one keeps the brightness of the base in and the hue and saturation of the blend ok so since it's adding the hue and saturation from the blend this is a fabulous mode to use for adding color to an image that doesn't have any or if you drop out all the color and make it black and white you can go in on another layer and start hand painting and completely different colors to make a beautiful effects that's how we've created this image it's on the wall right here okay so I dropped out the color that I went in and I hand painted that leaf a completely different color than it wass did some other effects too but that's the basis of that technique is color dropping the color out and then hand painting color on a whole nother layer layer order matters on this one and its keyboard shortcut his shift option c shift all c for color on a pc and we're almost done with this last mode in that composite category is luminosity okay luminosity keeps the base colors human saturation okay so the color is staying from whatever is in your base here so it's keeping the base colors human saturation and then it's adding the blend colors, brightness, lightness or luminosity values however you want to think about that this one is incredibly useful if you're sharpening layer maybe with a sharp mask and maybe you've done that sharpening on a duplicate layer and you don't want the sharpening to introduce any kind of color shift in your image changing its blend mode tio luminosity that duplicate layers blend mode that you've sharpened toe luminosity is nearly the exact same technique as some of the highfalutin photoshopped jockeys uh use when they say well it's better to pop into l a be mowed to sharpen your image because you can in leiby mode the color information it's separate from the luminosity information or the lightness information so if you pop in the l a b mode you actually get a lightness channel you know and that is where all your brightness information is so the theory being that if you sharpened that channel then you're not messing with your color so this is the exact same thing as doing that I think I think of a lot easier this one is also useful if you're using curves or levels adjustment layers tio dio correct the color and lighting in your image and you don't want to produce any kind of color shifts and you could change that adjustment layer to luminosity it's just another great use for that keyboard shortcut is shift option why I guess the y on the end of luminosity doesn't rhyme so it's not nearly as fun shift all why I'm a pc now the other blend mode that you're going to encounter okay is called past three minutes now past three mo doesn't show up in this menu at all ok, but she may encounter it when you start using layer groups okay, so layer groups are really light layer folders ok, so for example here you can see in my example image that I've got a folder named copy ok that's where my text layers live if I expand that group by clicking the little flippy triangle, I'll just expand my layers paying a little bit by dragging to the left you can see the layers that are inside that group, right? So it's just a way to organize your layers panel that's it that's all it is, but you'll see that passed through mood when you create a layer group okay, so what I'm gonna do is I'm going to stick our water layer inside a layer group so to do that, I'm gonna activate the layer that I want to stick and talk inside the group. Then we're going to click the layer, fly out menu, and we're going to say, new group from layer, but shops gonna ask me what I want to name it? I'll just go and say, ok, ok, so now we've got a new folder inside. We have our water layer well, if you look at the blend mode that appeared as soon as I made that layer group it's set to pass through. Okay, so what's happening with passed through is that photo shop is making sure that any blend modes that you have applied to any layers better inside of that group, trickles down to any layers that are underneath that group. Okay, so right now, you can see that even though I have stuff that water layer and saddle layer group, the blending that is happening from that layer is still trickling down and affecting the base. Okay, so we're still getting our lightning from using our luminosity mode here. If I change, the groups blend mood, not the water blend mode, the groups blend mode, the folders blend mode to anything other than passed through, then the blending does not trickle down, okay, so you can think of the past through anything that's in that group is being passed through any blending is passing through to any layers that are underneath that group but not inside the layer group okay, so that's why even though my water layer is still set to luminosity, we're not getting any blending now because we've changed the blend mode of the group itself and we've kept that trickle down or passed through a situation from happening so we're not really gonna be using past two today but I just wanted you to be aware of it because if you start using layer groups to organize your layers panel and I highly highly highly recommend that then you're going to start seeing that other blend mode and you're going to say she didn't mention that what the heck does that do so now you know, so if you're building at the collage or whatever and you've done some fancy shmancy blending and you don't want that to trickle down, stick it in a group and change its blend mode to normal okay all right, so now we are finished with that segment and we're going to hop into you actually using these things ok? Do we have any way have a few questions questions from the internet dvd thirty says lisa said you used some of lighting moz to do things like lightning eyes so how do you do that if you're working with just one photo of a person in other words, what do you blend with since he wouldn't have a graphic of water just the one photo what we're going to do is we're going to use empathy adjustment layers tio create that effect so any time you create an adjustment layer and I'll just make one here adjustment layers can be created in two different ways from the bottom of the layers panel by clicking the half black half white circle hey so that's our list of adjustment layers that we've got and photo shop you can also create them by trotting up to the layer menu and choosing new adjustment layer and this is the exact same list that you get from the half black half white icon at the bottom of the layers pale and what happens when you create an adjustment layer? Is it basically your way of saying hey photoshopped this adjustment or this change and I'm gonna make my image please if you'd be so kind put it on its own layer so that doesn't mess up your photo your original image and you get all kinds of wonderful things to go along with that any time you create an adjustment layer if you're running photoshopped see us to our earlier then this the settings for that adjustment layer going to open it dot in a dialogue box if you're running see us three I think or four in later than those same settings appear in a panel okay, in c s five and previous, it was called the adjustments panel and cia six today be changed it to the property's panel, so any way you can change the settings, but you don't have to you because a lot of these adjustment layers don't make a change to your images leave until you start tweaking its particular settings. So what I like to do to keep from duplicating so many image layers, which just makes your photo shop document bigger and bigger and bigger and bigger as faras file size. I like to use an adjustment later, but I won't actually make a change to that adjustment settings okay, so here I made a brightness and contrast adjustment layer, but I'm not going to mess with the sliders and was going to close that properties panel, but what I do get is the ability to change that adjustment layers blend, mood ok, so if I come down here and do something in the dark and category, we get a darker image, but I didn't duplicate the layer, so I'm not really dealing with pixels I'm dealing with, I'm just using an empty adjustment layer to get at its blend mode and that's how we're going to create a lot of those lightning effects, a long explanation, but another great thing about adjustment layers that they come with layer mask automatically, you don't have to add it, ok, so layer mask is really like your digital masking tape it's a way to hide layer content so if we think about what we'll be doing with some of these lining and darkening layers in photography and portrait in altering exposures, either darkening your lightning, it's it's logical to think that the whole image won't need it, right? So for lightning teeth and eyes, then we can use the included layer mass to hide our change or our adjustment from the parts of the image that don't need it. So that's. Another reason to use adjustment layers that's, right? And actually, if people are interested in more about adjustment layers, we have a photo shop deep bag that lisa has done that you can check out for more information that's included in the bundle, but sounds like we will be doing more of that later today. Yes, only kind of it not nearly what we covered in that deep dive, a little bit of it. So another question online from tough photo, and I'm not sure if this, if you just kind of explain this or not, how do you make the layer effect apply to just one layer and not the whole image? Have you make the layer effect apply, tio the goal ending effect masking get out of layer mask to it so for example, if I always take this layer out of the group by dragging it up to the top of my layers panel no delete the group there you so if for example I only wanted uh blending to occur where the smiley faces on this particular one I'll change into something a little bit more fun that was fun. We can add a layer mask okay, so you just click the circle within a square at the bottom of the layers panel and then with any tool you want, you need to add black where you want to hide that layer content. So if we want to hide in this part of that blend that I could use any tool I could create a selection of that area and then fill it with black or I could just have a go at one of the painting tools maybe the regular brushed pool set your fourth round color chip to the color that you want the tool to use in this case black and then you could come over here and hide the effects of that mode and I have my brush capacity set lower so anywhere you paint with black and a layer mask you're hiding later content okay, so that's how you would hide blending from certain areas of the image there's a rhyme that creative's have been rise to help us remember what the head color to paint with when we were dealing with layer masks and it's black conceals quite reveals you can also think of it is if you're using the digital masking tape analogy your masking tape is what bright blue or kind of beige colored in the real world right ro masking tape you guys have used masking tape right in photo shopped masking tape is black help! So so tough photo is who just had asked that question is saying that he actually here she actually meant something a little bit different and so I tried to explain it again say I have three image layers how do I get one adjustment for each image layer I have open instead of all three images? Oh he's talking about she he that lovely person is talking about photo adjustment layers so it's a she victoria okay, high victorian okay, so what she's talking about is if we create an adjustment layer and oldest oh, try to find one here that's going to make a significant change there we go. So I created a black and white adjustment layer so what's happening is adjustment layers by their very nature also kind of use a pass through mod trickle down okay, so an adjustment layer is affecting every layer underneath it well, you can clip it to a single layer and that's what she's talking about so that our water is black and why but are smiling faces still in color and you can do that in exactly two different ways actually three listening to you can use a keyboard shortcut which is option on a mac are all on a pc and what you want to do is hold down that modifier key and then point your cursor at the dividing line directly underneath the adjustment layer that you want to clip to the layer below and then when your cursor turns into in cia six a square with an arrow or in any other version of the dagon program two intersecting circles kid you not I think you know we just changes stuff because they can you know I see if anybody notices this so now what we've got here is this adjustment layer scooted over to the right see how that from neil moved from here to here and it has a tiny little arrow pointing down saying, hey, I am clipped two layer underneath me and as a result we're only affecting the layer underneath and not the layer of the very bottom of the stack. So that's what she's talking about? So now I'm gonna be using many bridge throughout this session today and it just gives me easy access to the folder of images that we've got again if you buy the course, you're going to get all these images so what I've got here is a couple of images this is the one I want to use and I'll collapse my many bridge by clicking it's little tab so what I've got here is a shape that I've drawn don't worry we're not going to draw it freehand it's a built in shape in photo shop and if I expand my layer grape here see how nicely incidentally the layer groups look see how nice they like they're all compact organized not distracting and when you want to see everything in the layer group you just click it's slippy triangle so what we've got here if we look at it we've got uh shading going on on a separate layer and I've got it named for you see soft brush set tilak set to dissolve mode and then down here is where I drew the heart so the shading that you see on that heart I added by hand using a brush set to paint with black set to the dissolve mint ok it's really a beautiful effect so what we're going to do is create that real quick so go ahead and turn off the layer that I created for you and when you are using these exercise files at home turnout don't save over this file okay so keep it around so you can kind of dissect and go back recreate this stuff you need to you so we're going to go ahead and delete that layer to and we'll have uh go at creating a shape so I'm going to grab for the shops shaped tools they lived towards the bottom of the tools panel and I'm going to trot down to the custom shaped tool then in the options bar what we're going to do is load a bunch of photo shops built in shapes ok, so we're going to click this old down reporting triangle next to the shape preview and then we're going to come over here to the little gear sprocket icon and say all shapes and when photoshopped asks if you wantto zap the existing shapes you say I want to upend them so tack them on to the bottom of the shapes that are already loaded it's a click upend and when you do that look at all these fun shapes that you've got in photo shop there's a slew of them but you're never going to see them unless you turn them on by choosing that all from noble gear sprocket icon okay, I didn't really have to do that to grab the heart, but I wanted you to see that there's a bunch of shapes and photo shop so we're going to click to activate the shape we want to draw with we'll use our heart and then we're going to come over to the document and to make a perfectly square heart we're going to hold down the shift key as we drag shift drag diagonally downward. Ok, so now, in cia six, you can use the news phil and stroke options to fill the heart with whatever color you want and at an outline to the heart, if you'd like, does it make any difference for the technique we're doing now? So I'm not going to show you how to do that. Incidentally, I did a fabulous course called c s six new features, and that is a a heck of a three day dive into everything new in cia six, so we fully cover this new feeling strike option on shea players, but back to our technique it hand now I've got my shape, so when I'm going to do now is create a selection of that shape because I don't have I can't paint worth a squat with a mouse tool, okay, with an actual mouth, and I don't want to get my shading anywhere outside the heart, so if I start with a selection case y command or control on a pc click the layer thumbnail of the content that you want to load is a selection. Now we're going to make a new layer ad brushed tool, activate the brush tool, and then we're going to make sure that our foreground color chip is blacks, we want to paint black shading and then what we want, tio is set the brush mode itself to dissolve. Okay, so this time we're going to use the blend mode menu in the options bar, and we're going to come down here and choose dissolve, and I'm going to go way up and brush size by pressing the right bracket. Key to increase burst size left bracket key goes down, inverse eyes, and now, as I paint, see how the pain is not going outside the selection. So this is all there is to hand shading. So putting the brush and dissolve mode is what's, creating that spray or that spackle. Ok, so now, to reduce the strength of the shading, I could simply drop capacity. And if I wanted to spray to be a little bit softer, run a blur filter on that layer.

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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