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Photoshop Masking and Compositing: Advanced Blending

Creating type that inverts any background


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Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Creating type that inverts any background

In this exercise I will show you how to use the Difference Mode to create live editable text that inverts anything behind it, and this works for Line Art as well, anything that's white against the black background or just plain white and it's really a great trick. I'm working inside a file called Double model comp.psd, it's found inside the 07_inversion folder. And it's so called by the way, because I have two versions of this model, currently we are seeing the model 1 layer, but if I turn on the model 2 layer, you can see we've got another shot of the same model far in the foreground and she's covering up the background image, because she has this white background.
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  1. 1m 43s
    1. Welcome
      1m 43s
  2. 33m 15s
    1. When in doubt, blend
      2m 20s
    2. Where to find blending options
      4m 10s
    3. 27 blend modes, 6 groups
      4m 23s
    4. Opacity vs. Fill Opacity
      4m 41s
    5. The "Fill Opacity Eight"
      4m 59s
    6. Blending adjustment layers
      4m 43s
    7. Blend mode shortcuts
      7m 59s
  3. 27m 3s
    1. The power of standardized arithmetic
      6m 58s
    2. Photoshop's blending formulas
      5m 27s
    3. Darken formulas vs. lighten formulas
      4m 15s
    4. Contrast mode formulas
      7m 28s
    5. Inversion, cancelation, and HSL
      2m 55s
  4. 17m 50s
    1. Normal mode vs. Dissolve mode
      2m 11s
    2. Making a dynamic Dissolve effect
      2m 21s
    3. Creating a Dissolve text effect
      4m 48s
    4. The Behind and Clear modes
      3m 2s
    5. Filling a stroke with Behind and Clear
      5m 28s
  5. 43m 24s
    1. Darken vs. Darken Color
      4m 25s
    2. Creating filter effects with Darken
      5m 0s
    3. The Multiply and Burn modes
      6m 27s
    4. Cleaning up scanned line art
      7m 30s
    5. Comping line art against a photo
      5m 12s
    6. Colorizing comped line art
      5m 14s
    7. Masking with a darken mode
      3m 59s
    8. Refining a mask with Multiply
      5m 37s
  6. 33m 36s
    1. Lighten vs. Lighter Color
      2m 29s
    2. Creating filter effects with Lighten
      2m 47s
    3. The Screen and Dodge modes
      4m 35s
    4. Blending white type, darkening shadows
      3m 2s
    5. Creating a classic double-exposure effect
      3m 49s
    6. Making dark line art bright
      5m 11s
    7. Masking with a lighten mode
      5m 4s
    8. Refine, filter, and blend
      6m 39s
  7. 35m 18s
    1. Overlay, Soft Light, and Hard Light
      5m 2s
    2. Vivid, Linear, and Pin Light
      4m 2s
    3. The amazing Hard Mix mode
      3m 51s
    4. Two variations on a single mode
      5m 37s
    5. Adding clarity with a contrast mode
      4m 9s
    6. Creating a glowing, soft-focus effect
      3m 38s
    7. Blending an image with a paper texture
      4m 11s
    8. Turning flesh into stone
      4m 48s
  8. 18m 10s
    1. Difference, Exclusion, Subtract, and Divide
      7m 7s
    2. Comparing seemingly identical images
      3m 25s
    3. Creating type that inverts any background
      3m 30s
    4. Making inversion type black and white
      4m 8s
  9. 16m 57s
    1. Luminosity, Color, Hue, and Saturation
      3m 29s
    2. Colorizing artwork with layers
      7m 24s
    3. Correcting skin tones with Hue
      6m 4s
  10. 14m 57s
    1. Using the This Layer slider option
      6m 44s
    2. Using the Underlying Layer slider option
      3m 16s
    3. Achieving greater control with Blend If
      4m 57s
  11. 48s
    1. Next steps
      48s

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Photoshop Masking and Compositing: Advanced Blending
4h 3m Intermediate Nov 28, 2011

Viewers: in countries Watching now:

Advanced Blending is the second installment in Deke McClelland's series on making photorealistic compositions in Photoshop. The course explores blending options and shows how to use them to create sophisticated effects and seamless compositions, often without masking. Beginning with the basics of blending layered images, the course sheds light on the formulas behind the Photoshop blend modes and shows how to comp scanned line art, create double-exposure effects, correct skin tones, and work with the luminance sliders.

Topics include:
  • Assembling dynamic Dissolve effects
  • Filling and stroking with Behind and Clear
  • Cleaning up and compositing scanned line art
  • Understanding the darken, lighten, and contrast modes
  • Refining a mask with Multiply and Screen
  • Creating a glowing, soft-focus effect
  • Blending images with textures
  • Comparing two seemingly identical images
  • Creating type that inverts everything behind it
  • Colorizing artwork with layers
  • Achieving greater control with the Blend If option
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Creating type that inverts any background

In this exercise I will show you how to use the Difference Mode to create live editable text that inverts anything behind it, and this works for Line Art as well, anything that's white against the black background or just plain white and it's really a great trick. I'm working inside a file called Double model comp.psd, it's found inside the 07_inversion folder. And it's so called by the way, because I have two versions of this model, currently we are seeing the model 1 layer, but if I turn on the model 2 layer, you can see we've got another shot of the same model far in the foreground and she's covering up the background image, because she has this white background.

That's rude in everything, but it's not a problem at all, and we can test that that background is white, by selecting a Magic Wand tool making sure that the Tolerance values is set to 0, Anti- alias is off, Contiguous is turned on, problem is that I have the wrong layer selected. So I will go ahead and click on model 2, and now I'll click in the background and you can see that we've got this huge area of white. And if I want to test that it's white, then I press the I key switch to the eyedropper and just go ahead and click some place inside that background, test the color up here in the Color panel, sure enough we've got white, because the Saturation value is set to 0 and the Brightness value is set to 100%.

So let's make that white disappear, not by masking of course, press Ctrl+D or Command+D on Mac to deselect the image. All we need to do is press Shift+Alt+M or Shift+Option+M on the Mac to switch to the Multiply mode, and that white background disappears. So that's step one. Step two is to integrate the text. So I am going to go ahead and turn that text layer on. and then click on it to make it active. Now I've rasterized this text, because I was using a few fonts that are on my system. probably aren't on yours. But this trick would work just as well for live editable text.

Now I am going to press the D key in order to reinstate the default colors of black-and-white, and I will press the M key to switch back to the Rectangle Marquee tool and then I am going to fill this text with white by pressing Ctrl+Shift+Backspace, that would be Command+Shift+Delete on the Mac. The ideas is that Ctrl+Backspace or Command+Delete goes ahead and fills the layer with the background color, because we have the Shift key down as well, irrespective of the transparency, so the letters remain intact.

The great thing you may recall about the Difference mode is that anything that's white on the active layer, inverts entirely. So it automatically inverts anything behind it, which means that we can change the mode from Normal to difference to achieve this effect right here. And now if I press the Ctrl key or the Command key on the Mac to get the Move tool on the fly and drag this text elsewhere inside the image, it is going to continuously invert everything behind it.

And as I say, this works with live editable text, so you can turn around and edit the text anytime you like. It also works with Line Art as long as a Line Art is white, against the black background. All right, I am going to press Ctrl+Z or Command+Z on the Mac, to undo that movement. We do have what I consider to be an aesthetic problem however, even though I like the fact that we have this black text against the white background, I don't want the text that overlaps the models to turn blue, because its inverting those warm skin tones. Instead, I'd like those areas of the text to turn white, and I'll show you how to make that happen in the next exercise.

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