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Blending inside blend modes

From: Photoshop CS5 One-on-One: Mastery

Video: Blending inside blend modes

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.

Blending inside blend modes

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.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43604 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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