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This course is the third in a four-part series devoted to mastering the premiere graphics creation application, Adobe Illustrator, version CS6. Industry pro Deke McClelland takes a project-based learning approach to the key features in Illustrator, including Recolor Artwork, transparency, masks, blend modes, strokes and fills, and dynamic effects. The course also covers techniques for creating custom gradients, designing logos, generating photorealistic neon text, and wrapping type around objects. Plus, Deke shows how to call up the most essential features by organizing your workspace and employing time-saving keyboard shortcuts, how to manage the color settings, and how to adjust a few settings to make the program work even better.
All right I've gone ahead and changed out the text a little bit, all in the name of creating a better design, but it's still White set to the Difference mode so it's always going to invert everything behind it. In this movie, I am going to show you how to work with the last four Blend modes: Hue, Saturation, Color, and Luminosity, which are generally best understood from the bottom up. Here is what's going on: these modes break up the color spectrum into Hue, Saturation, and Luminosity. And just by way of a recap, Hue is the base color traced around the perimeter of the big Color Wheel, whether it's an RGB Color Wheel or in this case something closer to the Lab Color Wheel, like the one we discussed a couple of chapters ago when we were looking at color.
Saturation is the intensity of the color, from drab gray all the way up to vivid red or vivid yellow or vivid what-have-you. And then Luminosity is brightness as measured from black to white, and of course all the range of grays and intermediate colors in between. Color, by the way, is a combination of Hue and Saturation working together and is therefore the exact opposite of Luminosity. Let me show you what I am talking about here. In the interest of coming up with a decent looking document when we are done, I am going to click on the Dark Beast layer here inside of the Layers panel.
And then I click on the flyout menu icon and choose Duplicate>Dark Beast, and for the present I'll go ahead and turn that Duplicate layer off, and then I will meatball the Dark Beast layer. And that way I can apply the Blend mode to the entire layer at a time, and I will press Ctrl+H or Cmd+H on the Mac in order to hide the selection edges. All right, so now I am going to change the Blend mode from its current state, which is Multiply,to the final mode, Luminosity. And what happens is we keep the Luminance levels of the selected object and we mix them in with the Hue and Saturation, that is the color of the objects in the background.
Now if you've watched the previous movie you may be thinking you're seeing something familiar. After all, this effect ends up oftentimes looking a lot like Hard Light. So I'll go ahead and compare the two here. This is Hard Light and notice as soon as I choose the mode that we end up with a lot more color being infused into the object. There is a lot more saturation going on and those bright strokes are turning very colorful, and we don't end up with the degree of darkness either that we saw a moment ago. As soon as I switch from Hard Light back to Luminosity, we end up with the lower Saturation, higher Contrast effect.
Now let's say you want the opposite effect of this: that is to say, you want to keep the colors associated with the selected object, and you want to merge them with the Luminance levels--a.k.a. the brightness values--of the objects in the background. Then you would switch from Luminosity to its opposite, Color, and you would end up getting this effect here. So we have all the colors that are associated with the creature but all the Luminance levels that are associated with the background. Now oftentimes you will find this to be useful; in this case, maybe not so much.
However the thing to bear in mind is it's all based on who's in front. So if I have this background in front of the creature and I change the background to Color, I would end up getting the same effect we saw just a moment ago when the creature is set to Luminosity, because after all, the two are the opposite of each other. Now Hue and Saturation are a lot less commonly used. Basically what's happening here is you are taking color and you are dividing it into its components-- that is to say the core color-- Hue and the intensity Saturation.
So if I choose Hue, I go ahead and mix those core colors associated with the selected creature along with the Saturation and Luminance levels of the background. So I end up getting a very highly saturated effect. We can barely see what's going on, however. Whereas if I choose Saturation I'm going to mix the Saturation values, which are very low, associated with the creature along with the Hue, which is why we are seeing those greens there, and the Luminance levels of the background.
Actually this is the effect, believe it or not, that I am going to stick with. Even though I have never before in my life found a use for Saturation inside of Illustrator, I'm going to accept this effect, and then I am going to go ahead and turn on the Dark Beast Copy layer right here and I'll meatball it and I'll change its Blend mode to Screen and I'll do that same thing I did when I was showing off Multiply, a few movies ago. I'll go ahead and grab my Rotate tool, which of course I can get by pressing the R key, and I'll just go ahead and rotate this guy slightly like so, in order to come up with this sort of Ghosty Drop Shadow Effect.
Now I'll press Ctrl+Shift+A or Cmd+Shift+A on the Mac in order to deselect the artwork, and you can see throughout my manipulations, the Difference blend mode that's assigned to this text keeps on working. So the text keeps on interacting with everything in back of it which is why it now appears dark because after all, everything behind it is light. And that, friends, is how you work with the final four blend modes, that is to say Hue, Saturation, Color, and Luminosity.
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