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Combining the effects of multiple blend modes

From: Illustrator CS6 One-on-One: Advanced

Video: Combining the effects of multiple blend modes

In this movie, we will apply several different Blend modes working together in order to convert this base art into this kind of digital cave painting, and I just want you to see what happens when you combine the effects of all 5 different styles of Blending modes. So we'll have a Lightening mode, a Darkening mode, a Contrast mode, an Inversion mode and an HSL mode. So I'll go ahead and switch over to the base art here. And I am going to turn off all the layers but the Paint layer by dragging at that eyeball column, and then I'll twirl open the Paint layer, so you can see that it contains two items.

Combining the effects of multiple blend modes

In this movie, we will apply several different Blend modes working together in order to convert this base art into this kind of digital cave painting, and I just want you to see what happens when you combine the effects of all 5 different styles of Blending modes. So we'll have a Lightening mode, a Darkening mode, a Contrast mode, an Inversion mode and an HSL mode. So I'll go ahead and switch over to the base art here. And I am going to turn off all the layers but the Paint layer by dragging at that eyeball column, and then I'll twirl open the Paint layer, so you can see that it contains two items.

If I turn off the image out in front for a moment, you can see that we've got a boring brown rectangle in the background and then on top of it is an imported image. I am going to go ahead and meatball that image. So this is a pixel-based image from Photoshop. It is very low-res--just 180 x 190 pixels per inch--and the reason we have two different values is that I stretched the image using the Scale tool. Now, what I want to do is blend this image with that brown rectangle in the background and I want to keep all the Luminance information, because I want to infuse my document with texture.

I want to keep all the Luminance information from this painting, and merge it with that color brown. And so I'll do exactly that by going over here to the Transparency panel, clicking on the Blend mode pop up menu and choosing Luminosity, and I end up getting this effect here, which is going to be perfect for the texture, as I say. Now I'll go and turn on this Gradient layer and I'll meatball it as well so that the entire layer is active. And by the way, in case you are wondering what in the world this thing is, this is a Gradient mesh and I'll be devoting an entire chapter on Gradient mesh--because it's incredibly powerful, one of the most complicated features in all of Illustrator-- in my final mastery course.

But in the meantime I want to take these colors and I want to merge them with the texture in the background. I could apply the Color mode; the problem is that gives us a pretty weak and overly-bright effect as you can see. So I went with Hard Light instead which ends up giving me this high-impact effect here and notice that even though I'm retaining all the color information from that Gradient mesh, I can see through to the textures of the imported image. All right, the next step here is to turn on the Details layer and I'm going to go ahead and twirl close the Paint layer, so I have little more room to work, and I'll select the sun and I am going to change it to the most over-the- top lightning mode, which is Color Dodge right there.

And then I'll go ahead and select these waves, which are all grouped together, just as the sun was grouped, by the way. And I'll change the Blend mode for these to once again Hard Light, because that happens to work out really nicely and then I'll reduce the Opacity value to 50% and in my case, because of loaded dekeKeys. I can do that by pressing Shift+5. All right, now I want to use these guys right here, this collection of guys in the canoe. I will go ahead and click on their outline and you need to make sure to click on an edge, kind of hard to find these things, because they're all rounded polygons- that goes with the sun and the waves as well.

And I'll press Ctrl+H or Cmd+H on the Mac in order to hide the edges. I want to go ahead and burn them into the background, and so I started by just choosing Color Burn in order to achieve this effect here, but for some reason my strokes drop out. So, I went ahead and pressed Ctrl+Z or Cmd+Z on the Mac and I switched over to the Appearance panel. You can apply Blend modes to independent attributes if you so desire. So for example, I went ahead and clicked on the fill for this Compound path right here, and I changed the fill to Color Burn and ended up with this effect.

Now I didn't want that full-on black stroke, so I went ahead and clicked on the black stroke and did something you wouldn't think would work. I changed it to Color Burn and I ended up getting this effect here. My theory for why we're getting this effect-- why it is a little darker than it was before-- is because we're getting an interaction between this stroke and it's fill, because there'd be a half-point overlap there. Anyway, I'll go ahead and zoom in and you can see that this is the effect that I'm getting. And in fact I am right; we do have a half-point overlap, so great! All right, now I am going to press Ctrl+0 or Cmd+0 on a Mac to center my zoom.

Switch back to the Layers panel and I'll turn back on that top layer in the stack and I'll meatball it as well, and I went ahead and changed it to a representative of the only style of Blend mode, we were missing so far, the Inversion modes, and the one I came up with was Difference. Now, then I ended up creating kind of a colorful stroke effect and I really wanted the strokes to just completely vanish, and here is how you make that happen. I will press Ctrl+H or Cmd+H on the Mac to bring back my selection edges. And I'll press Ctrl+Shift+A or Cmd+Shift+A on the Mac to deselect the artwork and then I'll click on one of these items that has a stroke assigned to it.

Now all these strokes are of the same color, so I'm going to select them all, by clicking in this down pointing arrowhead and making sure that Stroke Color is selected, which it is in my case, and then I'll click on the Select Similar Objects icon to select everything that is stroked with that color. And then I am going to Shift+Click on the second Color Swatch in the Control panel there to bring up my CMYK values. If you don't see CMYK, then you need to choose CMYK from the flyout menu, and what you need to do is change every single one of these values to 100%, just so you can see it work here.

I am going to press Ctrl+H or Command+H on the Mac to hide my selection edges and then I Shift+Click on that swatch again and I'll change the C value to 100% and notice that goes ahead and drops out the strokes on the Cyan plate. Now I'll change Magenta value to 100% and that drops up the strokes on the Magenta plate. I'll change Y value to 100%, that drops them out on the Yellow plate and then finally, I'll set the K value to 100%, which drops out the strokes on the final plate, Black.

And so, what you have to do, any time you want objects to completely disappear--you want the color to totally disappear--when it's set to either of the Inversion Modes, Difference or Exclusion, or any of the Lightening Modes, Lighten, Screen or Color Dodge, then we need to set all 4 CMYK values to 100%. All right, now my strokes are still selected. I want to make them thicker. So I am just going to dial in a Line Weight value of 1.5 points like so, in order to produce the final effect.

And that's one way at least to create an interaction between all 5 styles of Blend Modes: Lightening, Darkening, Contrast, Inversion and HSL.

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This video is part of

Image for Illustrator CS6 One-on-One: Advanced
Illustrator CS6 One-on-One: Advanced

118 video lessons · 14606 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 43m 9s
    1. Welcome to One-on-One
      2m 9s
    2. Introducing my custom keyboard shortcuts
      6m 52s
    3. Installing my dekeKeys shortcuts on Windows
      4m 46s
    4. Installing my dekeKeys shortcuts on the Mac
      4m 18s
    5. Remapping your Macintosh OS shortcuts
      3m 10s
    6. Adjusting a few key Preferences settings
      8m 13s
    7. Understanding the color-managed workflow
      6m 51s
    8. Establishing the optimal Color Settings
      6m 50s
  2. 1h 11m
    1. Illustrator's oldest dynamic functions
      1m 28s
    2. Creating a multicolor blend
      7m 12s
    3. Establishing a clipping mask
      5m 40s
    4. Reinstating the colors of a clipping path
      8m 1s
    5. Editing individual blended paths
      4m 44s
    6. Adjusting the number of steps in a blend
      7m 15s
    7. Fixing problems with the Blend tool
      4m 2s
    8. Blending different levels of opacity
      4m 45s
    9. Editing the spine of a blend
      5m 3s
    10. Adding a custom spine to any blend
      5m 5s
    11. Advanced blending and masking techniques
      6m 18s
    12. Blending between entire groups
      3m 2s
    13. Adjusting the speed of a blend
      3m 21s
    14. Rotating objects in 3D space
      5m 36s
  3. 1h 0m
    1. Illustrator's logo-making features
      1m 8s
    2. Customizing a single character of type
      5m 25s
    3. Combining a letterform with a path outline
      7m 48s
    4. Creating logo type along an open path
      5m 3s
    5. Creating logo type around a closed circle
      3m 57s
    6. Vertical alignment, orientation, and spacing
      4m 55s
    7. Warping logo type around a circle
      6m 56s
    8. Creating a classic neon type effect
      5m 39s
    9. Adding random neon brightness fluctuations
      5m 19s
    10. Creating neon "block outs" between letters
      7m 44s
    11. Adding neon blur and bokeh in Photoshop
      6m 16s
  4. 46m 19s
    1. Generating colors using harmony rules
      1m 31s
    2. Introducing the Color Guide panel
      5m 16s
    3. The 23 color harmony rules, diagrammed
      8m 16s
    4. Mixing and matching color harmonies
      5m 59s
    5. Color groups and custom harmony rules
      6m 18s
    6. Working in the Edit Colors dialog box
      7m 4s
    7. Expanding on an existing harmony rule
      6m 51s
    8. Constraining colors to a predefined library
      5m 4s
  5. 32m 44s
    1. Changing lots of colors all at once
      1m 2s
    2. Introducing the Recolor Artwork command
      4m 58s
    3. Recoloring with the help of swatch groups
      4m 35s
    4. Changing the color-assignment order
      6m 44s
    5. Reducing the number of colors in your art
      5m 7s
    6. Applying tints and shades of a single swatch
      5m 37s
    7. Recoloring artwork that contains gradients
      4m 41s
  6. 1h 15m
    1. Painting with path outlines
      1m 24s
    2. Introducing the Brushes panel
      4m 25s
    3. Applying and editing a calligraphic brush
      7m 34s
    4. Applying and scaling an art brush
      6m 12s
    5. Applying and editing a scatter brush
      5m 31s
    6. Formatting and scaling brushed text
      5m 45s
    7. Designing a custom art brush
      7m 35s
    8. Creating (or replacing) an art brush
      6m 42s
    9. Refining a brush to fit ends and corners
      4m 11s
    10. Expanding, filling, and stroking a brush
      7m 4s
    11. Type on a path vs. text as an art brush
      7m 3s
    12. Distorting text with the Width tool
      8m 49s
    13. Infusing your artwork with a tile pattern
      3m 13s
  7. 58m 24s
    1. The many forms of transparency
      1m 38s
    2. Creating translucency with the Opacity value
      4m 21s
    3. Darken, Multiply, and Color Burn
      6m 15s
    4. Lighten, Screen, and Color Dodge
      5m 8s
    5. Overlay, Soft Light, Hard Light, Difference, and Exclusion
      4m 59s
    6. Hue, Saturation, Color, and Luminosity
      5m 12s
    7. Combining the effects of multiple blend modes
      6m 42s
    8. Isolating blending and Knockout Group
      7m 37s
    9. Combining blend modes with dynamic effects
      7m 25s
    10. Exporting transparency from Illustrator
      9m 7s
  8. 1h 39m
    1. The Layers panel for dynamic attributes
      1m 4s
    2. Applying attributes in the Appearance panel
      6m 15s
    3. Creating depth using translucent strokes
      5m 37s
    4. Adding, layering, and offsetting strokes
      6m 12s
    5. Duplicating entire groups of attributes
      7m 55s
    6. Turning stacked strokes into editable paths
      5m 43s
    7. Simplifying a multi-stroke effect
      6m 31s
    8. Applying the Convert to Shape effect
      7m 47s
    9. Adding aligned patterns and shadows
      8m 16s
    10. Drawing with arrowheads and angled strokes
      8m 49s
    11. Employing overlapping gradient strokes
      8m 25s
    12. Drawing circular stroke elements
      10m 13s
    13. Outlining an entire multi-stroke effect
      8m 39s
    14. Creating seamless wood grain in Photoshop
      8m 11s
  9. 1h 12m
    1. The best features in Illustrator
      1m 38s
    2. Repeating a series of transformations
      6m 18s
    3. Adjusting and updating a dynamic effect
      6m 37s
    4. Applying a stroke to an entire layer
      6m 24s
    5. Improving the performance of drop shadows
      5m 40s
    6. Applying a single effect multiple times
      6m 10s
    7. Creating an intricate Spirograph pattern
      7m 10s
    8. Adding scalloped edges with Pucker & Bloat
      4m 40s
    9. Applying a dynamic Pathfinder to a layer
      3m 56s
    10. Creating beveled ornaments
      6m 50s
    11. Creating a sculptural type effect
      5m 59s
    12. Subtracting editable text from a path
      7m 6s
    13. Editing text inside a dynamic effect
      4m 25s
  10. 27m 40s
    1. Never remember anything again, ever
      1m 41s
    2. The pixel-based Effect Gallery
      3m 53s
    3. Copying effects from one layer to another
      4m 44s
    4. Introducing the Graphic Styles panel
      4m 11s
    5. Correcting previews in the Effect Gallery
      4m 36s
    6. Adjusting the resolution of your effects
      4m 0s
    7. Combining and saving graphic styles
      4m 35s
  11. 1h 13m
    1. Two powerful graphics programs combine forces
      1m 5s
    2. Creating a perfectly centered star shape
      6m 52s
    3. Precisely scaling concentric circles
      7m 47s
    4. Adding reflective highlights with the Flare tool
      6m 23s
    5. Two ways to rasterize vector art for Photoshop
      7m 37s
    6. Importing vector art as a Smart Object
      6m 47s
    7. Creating a lens flare effect in Photoshop
      7m 56s
    8. Photographic texture and brushed highlights
      6m 26s
    9. Modifying a vector Smart Object in Illustrator
      6m 33s
    10. Converting Illustrator paths to shape layers
      6m 27s
    11. Assign layer effects to native shape layers
      5m 55s
    12. Completing a work of photorealistic art
      3m 46s
  12. 1m 5s
    1. Until next time
      1m 5s

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