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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.
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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