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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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