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Photoshop CS6 One-on-One: Advanced
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Blending inside blend modes


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Blending inside blend modes

In this movie, I'll show you how to pull off what I call blending inside blend modes. So here is the idea. You are looking at this composition, and you are thinking this black and white bulb really doesn't match the natural warmth of the scene, so you have got to do something about that. And then the client comes to you and says, you know, it doesn't even make any sense that these rays of light coming off the bulb are black. Even though that's the artwork I gave you, I want you to change them to bright yellow, and while you're at it, make the bulb glow too. Turns out, it's really easy to pull this off once you know how.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Blending inside blend modes

In this movie, I'll show you how to pull off what I call blending inside blend modes. So here is the idea. You are looking at this composition, and you are thinking this black and white bulb really doesn't match the natural warmth of the scene, so you have got to do something about that. And then the client comes to you and says, you know, it doesn't even make any sense that these rays of light coming off the bulb are black. Even though that's the artwork I gave you, I want you to change them to bright yellow, and while you're at it, make the bulb glow too. Turns out, it's really easy to pull this off once you know how.

There's a little selecting and masking involved, but it's mostly a matter of combining the color overlay layer effect, along with some advanced blending. So let's start by colorizing the bulb. I will drop down to the fx icon at the bottom of the panel, and choose Color Overlay. As usual, we don't want red, so I will click on the color swatch, and I came up with a Hue value of 40, a Saturation of 100% is fine, and then a Brightness of 65%, then click OK. Now, typically when you want to colorize a layer, you change the blend mode or the color overlay effect from Normal to Color.

But that ends up giving us a pretty garish effect; not really what I'm looking for. I want to match some of the natural browns inside the scene. So I am going to apply the first of the contrast modes, which we will be discussing in the future movie; specifically Overlay, and we end up with this effect. Now, you can see the bulb is nice and brown, but we do have a few problems here. This color overlay set to the Overlay mode is affecting the background art as well, so the model's faces are turning orange. That's a problem.

Well, here is how you solve it. You go back to Blending Options here in the left-hand list, and you will see mid way down a series of checkboxes, and while these checkboxes have some pretty cryptic names, just bear in mind that they're all designed to solve problems. In our case, we are applying the color overlay effect after we are multiplying the light bulb into the composition. What we want to do is reverse that order, and if you turn on Blend Interior Effects as Group, then you first apply color overlay with the Overlay mode to the lightbulb layer, and then you multiply that effect into the artwork, and we end up getting this seamless transition.

All right, now I will click OK in order to accept that affect. Now we need to make those black rays bright. So I will start things off by switching to the Elliptical Marquee tool, and then I will drag around the light bulb, and I have got the Shift key down, so I am tracing a perfect circle, and I am using the spacebar in order to align that circle around the main portion of the bulb there at the top, and then I will press Shift+M to switch back to the Rectangular Marquee tool, and I will Shift+Drag like that in order to enclose the bottom portion of the light bulb. And this is not a very accurate selection; it looks like a key hole, but it does a great job of separating the rays of light from the bulb itself.

Now drop down to the bottom of Layers panel, and click on the Add Layer Mask icon in order to mask away those rays. Now we need to separate the rays on an independent layer, so we need to regain access to our last selection outline, which you can do by going up to the Select menu, and choosing Reselect, or pressing Control+Shift+D, or Command+Shift+D on the Mac. We need to select the rays, not the blubs, so revisit the Select menu, and choose Inverse, or press Control+Shift+I, Command+Shift+I on the Mac, then click on the thumbnail for the layer itself here inside the Layers panel, and press Control+Alt+J, or Command+Option+J on the Mac, and we will go ahead and call this new layer rays, and then click OK, and you now have the rays separated to an independent layer.

Now, for what it's worth, the rays are a pixel-based layer; they're not a Smart Object, but that's okay. We don't need them to be. All right, we want to make them bright, so press Control+I, or Command+I on the Mac, in order to invert that layer, and then switch from Multiply to Multiply's opposite, which is Screen, and you will end up screening those rays of light. Problem is, they're white; we want them to be bright yellow. So notice that we still have the color overlay effect. We also have this little double box item here, which is telling us that there are some advanced blending options at work.

Go ahead and double-click on it, and that'll bring up the Blending Options panel inside the Layer Style dialog box, and what it means is this checkbox has been turned on. So Blend Interior Effects as Group is still turned on. That's what we want, so it's excellent news. I will go ahead and switch to Color Overlay, and we want to burn this color into the white, which means the blend mode we want, and this may seem strange, but it's Multiply, because that way we will colorize those white lines with whatever color we select. Now, I want this color to be a little brighter, so I will click on the color swatch, and I found that I just needed to switch out the Saturation and Brightness values, so I will change Saturation to 65%, and Brightness to 100%, and then click OK, and we get these bright rays of light.

Now, you need to remember those values, by the way. I will click on the swatch again; 40, 65, 100, because we are going to use them to create the glow as well. All right, now go ahead and click the OK button in order to apply that change, and now let's create a new layer below the light bulb. So I will click on the wrestlers layer, press Control+Shift+N, or Command+Shift+N on Mac, in order to create a new layer. I will name it glow, and click OK. And now I will switch to the Gradient tool by clicking on it, or you can press the G key, and I want a radial gradient, so I will go ahead and click on the second item in, and I also want to switch to Foreground to Transparent.

Now my foreground color is wrong. I don't want black, so I will go ahead and dial in that same color that we applied for the last color overlay. So the Hue value should be 40 degrees, we want a Saturation value of 65%, and a Brightness of 100%, and then I will drag from the center here outward to about this location in order to create a bright glow. Now, currently the glow is opaque, so you have to press the M key to switch back to the Rectangular Marquee tool, so you have a Selection tool active, and then you can press Shift+Alt+S, or Shift+Option+S on the Mac, to switch to the screen mode. And I want to make just one more modification.

I am going to click on the lightbulb layer, which is the next layer up, to make it active, and I want to increase the intensity of that light bulb effect, so I get a little more saturation out of it. I will press Shift+Plus in order to advance to the Color Burn mode. Obviously that's not what I want, so I will press Shift+Plus again in order to advance to the Linear Burn mode, and that looks much better. So just for the sake of comparison, I will press Shift+Alt+M, or Shift+Option+M. That's the Multiply version of the light bulb, and if I press Control+Z, or Command+Z on the Mac, this is the more intense Linear Burn version.

And that folks, strange as it may seem, is how you combine a layer effect with some advanced blending in order to effectively blend inside blend modes here inside Photoshop.

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