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The Contrast, Inversion, and HSL modes

From: Illustrator CS5 One-on-One: Advanced

Video: The Contrast, Inversion, and HSL modes

In this exercise, we are going to review the commands in the second half of the Blend mode menu. I'm still working away inside Mishipizheu CS5.ai found inside the 22_transparency folder. All I've done is to meatball the beast layer here inside the layers panel. Hide my edges by pressing Ctrl+H or Command+H and then switch between the various blend modes. Right now we are looking at Color Dodge. We are now going to switch up to the first of the contrast modes, Overlay, and Overlay is Soft Light and Hard Light. I'll do variations on a common theme; basically the idea is you are multiplying the darkest details and screening the lightest details by which I mean you're applying the Multiply mode in order to convert the darkest details inside the selected object to shadows, and then you're applying the Screen mode to the lightest details inside the selected object to convert them to highlights or glows.

The Contrast, Inversion, and HSL modes

In this exercise, we are going to review the commands in the second half of the Blend mode menu. I'm still working away inside Mishipizheu CS5.ai found inside the 22_transparency folder. All I've done is to meatball the beast layer here inside the layers panel. Hide my edges by pressing Ctrl+H or Command+H and then switch between the various blend modes. Right now we are looking at Color Dodge. We are now going to switch up to the first of the contrast modes, Overlay, and Overlay is Soft Light and Hard Light. I'll do variations on a common theme; basically the idea is you are multiplying the darkest details and screening the lightest details by which I mean you're applying the Multiply mode in order to convert the darkest details inside the selected object to shadows, and then you're applying the Screen mode to the lightest details inside the selected object to convert them to highlights or glows.

So this is the effect of Overlay right there and theoretically, you should get a kind of heightened contrast effect. In this case, we are removing a lot of contrast from the beast, but we are up in the contrast of the gradient mesh in the background. Now, it's somewhat analogous to mapping one object onto another. In this case, we are mapping the beast onto the background, and that's why the background gets the emphasis. If we wanted to flip the equation and map the background onto the beast, so the beast ends up getting emphasized then you would switch from Overlay to Hard Light and they are very similar blend modes incidentally.

In a way, they are kind of opposites, because again Hard Light will emphasize the active layer; Overlay is going to access the background. Anyway, this is the effect of choosing Hard Light, and it ends up producing what appears to be a very jagged result. This is just an artifact of the screen preview. I'll show you what the effect looks like in greater detail, rasterized in Photoshop in just a moment, but first, I want you to see that if Overlay is too much as opposed to too little, then you can switch to Soft Light and you will end up getting a very subtle effect indeed.

Now, I am going to switch to Photoshop to show you what each of these effects looks like when rasterize. I have gone open a document called Contrast modes.psd; it's found inside the 22_ transparency folder once again. If you look in the layers panel, you'll see three layers; overlay, soft light, and hard light, and those are our three modes. I'm zoomed into 100% inside Photoshop, meaning that one screen pixels devoted to every image pixels so we are seeing the exact results of those effects. This is what Overlay looks like. With the sort of heightened color values and many of the colors are being drawn from the background into the beast, and then we have these alternately bright and then darker strokes, wrapping around the various contours.

If I wanted to reduce the effect, then I could switch to Soft Light, and this is different, by the way. This is a unique effect as opposed to just reduced opacity version of Overlay. We don't need that after all. You can already reduce the opacity of the Overlay effect, just by changing the Opacity value. So this is something entirely different, albeit related. And then finally, if you wanted to heighten the contrast and emphasize the selected object, then you would switch to Hard Light and you can see that the strokes are by no means jagged. They're very nice and smooth, and even and so on; so all the contrast modes produce nice, uniform effects.

Now, I will switch back to Illustrator and with the beast layer still selected as it is, I am going to switch down to the Difference mode which uses the active object to invert the colors in the objects below. In this case, we are using the beasts, the colors inside the beast, in order to invert the colors in the Gradient mesh in the background. The brightest colors are going to invert the most, the darkest colors are going to invert the least, and this happens again on an ink by ink basis. So, that's why the C, M, and Y inks are pretty much inverting and we are getting these strange colors inside the strokes, whereas black is not getting modified at all.

And then inside the beast, we are inverting like crazy especially inside the black plate which is why the creature is turning so dark. The other inversion mode that's available to you is Exclusion. So the idea is when two identical colors overlap each other, then where the Difference mode is concerned they turn black; where the Exclusion mode is concerned they turn gray. So you end up getting this kind of greyer effect out of exclusion. Also you are not going to go supersaturated with your ink values. So you're going to avoid overwhelming the total ink limit.

All right, now I am going to switch from Exclusion to these guys right there and I am going to start at the bottom actually with Luminosity, because it is easiest to understand that way. Luminosity is going to keep the luminance information that is the darks and the bright, the shadows and the highlights from the active object and mix it with the color from the underlying object. So, we completely lose the color of the beast this time, all the browns that were inside this creature, and we replace them with the colorful streams from the Gradient mesh background. If you wanted to do exactly the opposite, keep the colors from the beast and keep the luminance information from the background you would switch to color, which is going to give us a pretty drab effect in our case, because it's the beast that contains all the brightest information and all the detail.

But again it's a way of achieving an opposite effect, and then you have got two above here, that are lot less useful. What they do is Hue and Saturation, they break up color into two pieces. So, Hue as we reviewed in the past, the Hue is the core color of a color, and then Saturation is how vivid or drab that color might be. So, if I switch to Hue, we are going to mix the Hue that is the core colors of the beast layer with the Saturation and the Luminosity of the Gradient mesh in the background.

If I switch to Saturation then I will keep the saturation of the beast layer and it makes me laugh, because he has very little saturation. It makes everything pretty drab inside of the beast there because we are mixing the Saturation of the beast with the Hue and Luminance information of the Gradient mesh background. Those are the various blend modes that are available to you inside of Illustrator to get a sense of how they work and how you might apply them. Stay tuned for the next exercise.

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This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28207 viewers

Deke McClelland
Author

 
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  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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