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I've saved my progress as Inspirational.psd, and artifact so far looks pretty great. They're obviously having an inspirational moment over this light bulb, but the light bulb doesn't really match the scene. It's not the right color and I'd like to actually light the bulb up, make it bright on the inside. So, how do we go about doing that? Well, let's start off with colorizing the bulb. With the lightbulb layer selected, I'm going to click on the fx icon down here at the bottom of the Layers panel, and I'm going to choose Color Overlay. That's going to allow me, by default, to make the entire layer red, which, of course, is not what I'm looking for.
I'll click on the color swatch and then I could lift a color from the image itself just by clicking inside of the Image window. The values that I ended up coming up with, I worked out pretty nicely here, were 40 for the Hue value, 100 for the Saturation value, and 65 for the Brightness. Then I'll click OK. Now, that doesn't look right at all. So, let's go ahead and apply a different Blend mode. If I just wanted to color the bulb, the best mode would be the Color mode, and we'll see that in more detail later. But I'm going to go with the Contrast mode instead, I'm going to go with Overlay, because that's going to give me a little more punch as you can see here, but it also means that we're coloring the white of the background, and I think the client might notice if the front of this woman's face were cleaved with orange, for example.
He's got a little orange on his due as well. So what do we do about that? Well, go back to Blending Options, yet, and that says Blending Options: Custom, and notice this check box right there that says, Blend Interior Effects as Group. If you turn that effect on -- and by the way these check boxes are designed to solve problems. So, if you run into an issue with your Blend mode or with your layer mask, then you may end up being able to solve the problem just by hunting and pecking through these options. So, the first two check boxes are designed to solve blending problems.
Well, we don't have a clipping group going on; we've got this light bulb with a layer effect assigned to it. So, it's more likely to be this top check box that's going to help us out, because it says, Blend Interior Effects; this is an Interior Effect because Color Overlay is both a layer effect and it appears inside the layer. Blend Interior Effects as Group, if you turn that on, it goes ahead and colorizes the layer before assigning the Multiply Blend mode just as we see now. All right, I also want to additionally darken up that bulb, so I'm going to switch it from Multiply to Linear Burn, so it matches the couple, who are also set to Linear Burn by the way.
Then I could finesse the color of the bulb a little bit if I wanted to. I actually like it exactly the way it is. So, I'll go ahead and click the OK button in order to accept my effect and style modification. So, that easily with one visit to that massive dialog box, we've converted this, this is the before version of the light bulb that we saw at the outset of the exercise to this. Of course, I'm achieving this effect just by pressing Ctrl+Z or Command+Z on the Mac. All right, now the client comes to us and says, gosh, that looks so good. I knew it would, I knew that light bulb was going to look great inside of this artwork, but what about the lines? Instead of making them black like this, can they be white? Of course, your answer is absolutely, no problem, and here's how we do that.
I'll go ahead and press the M key to switch to the Elliptical Marquee tool, and I'll drag around this portion of the light bulb, like so. I'm using the Spacebar in order to get the alignment right. I want to make sure that I'm selecting between the light bulb and those little sparkles that were drawn with that sharpie. Then I'll press the M key again to switch to the Rectangular Marquee tool, and I'll Shift+Drag like so in order to select the remainder of the light bulb. Now, I don't care that this is not the most accurate selection outline on earth. It just looks like a keyhole into the light bulb.
All I care is that it differentiates the light bulb from the rays of light, from the sharpie lines. Now, because I want to select the sharpie lines, they're the thing that needs changing. I'll go to the Select menu and choose the Inverse command or press Ctrl+Shift+I, Command+Shift+I on a Mac. All right, now, we need to cleave the two apart. I have the area outside the light bulb selected. I want to grab these lines. So, instead of pressing Ctrl+J or Command+J on a Mac, I'm going to press Ctrl+Shift+J or Command+Shift+J on a Mac. What that does is instead of copying that selection to a new layer, it cuts it to a new layer.
So we've now cut the sharpie lines away from the light bulb. All right, so I'll call this new layer sharpie lines, like so, and then, I'm going to invert the lines. So, this goes back to what I was showing you few exercises ago now, to the idea that Multiply and Screen are opposite versions of each other subject to inversion. So, if you want to take an image that looks great when darkened against a background, and then you want to turn it into that same effect, but exactly the opposite, you need to first invert the image and then apply the Lightening mode.
So, I'll press Ctrl+I or Command+I on a Mac in order to invert that layer, and then I'll go up to the Blend mode menu, and I'll choose Screen, and we get this effect right there, and it's that simple. Now, what if the lines need to be yellowish? Why then I would double-click on Color Overlay, and by the way, if I switch over to Blending Options here, I've already got Blend Interior Effects as Group turned on. So whatever I do to the Color Overlay is going to be affected in turn by the Screen mode, and I'm going to change the Blend mode this time from Overlay to Multiply.
Now, that may surprise you, but we're trying to take what are now white lines, because they were black before we inverted them; they're now white. We want to colorize them, so we want to multiply the color on top. We want to darken the white with a different color. If we were to choose Color, it wouldn't do us any good, because you can't colorize white, it's still white. So you have to the multiply instead. So I'll choose the Multiply mode. That darkens up those lines like so, but they're still screened into the background, so we're heaping one blend mode onto another, and I'm going to change the color by clicking on the color swatch, and what I found is if I just reverse the Saturation and Brightness values, it got me what I want.
So I'm going to change the Saturation to 65 and the Brightness to 100, and I get this effect right there. Click OK; click OK again to accept the effect. All right, now let's draw a glow behind the light bulb, and I'm going to do that completely manually, by the way, by clicking on this couple bright layer once again. I'll press Ctrl+Shift+N because the new layer needs to appear in back of the lightbulb. I'll call this guy glow and click OK to create a new layer. Then I'm going to grab my Gradient tool, and I'm going to reverse my colors, my foreground and background colors, by the way, by pressing the X key.
I just so happen to have the second gradient selected, i.e., this guy here, Foreground to Transparent. That's what you want. You also want to create a Radial Gradient. So, go ahead and click that second option. All these other options are set to their defaults. Now I'm going to drag from the center of the light bulb outward to about here, like so, and then we get a little bit of a glow. Now, it may be a little bit too intense, it's awfully white, for example, which doesn't really match our composition. So, I'm going to switch to my Eyedropper tool by pressing the I key, and I'm going to click inside one of these lines in order to lift this pale shade of yellow.
We've already defined this gradient. It's just a little bit of a blur. Notice that it's a white blur. So, I'll recolor it by pressing Shift+Alt+Backspace or Shift+Option+Backspace on the Mac. That goes ahead and fills the layer with the foreground color, which is the pale yellow that I just lifted, and it respects the layer's transparency. So we don't fill the entire Image window. All right, finally, I'm going to change the Blend mode, and I'm going to change it, I don't think surprisingly at this point to the Screen mode, so that we're using this color to create a glow.
That, my friends, is the final effect. I'll go ahead and zoom out a little bit here. Hard as it might be to believe, we have managed to take this lousy image right here, which isn't even a scan, it's a digital photograph. The client just threw the sheet of paper down on a table, and captured it with a camera, that darn client. We managed to convert it into an absolutely organic piece of an artwork using a little more than darkening and lightening blend modes, here inside Photoshop.
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