Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Darken vs. Darken Color

From: Photoshop Masking and Compositing: Advanced Blending

Video: Darken vs. Darken Color

In this exercise, we'll take a look at the most basic of the Darken modes which are Darken and Darker Color. Now between you and me you are not going to be using these blend modes very often, however I do want you to understand how they work and I will be showing you a couple of filtering effects that work quite nicely with the Darken mode in the next exercise. I am looking at a file called Darken demo.psd found inside the 04_darken folder and notice below the model layer, we have a trio of background layers that we'll be taking a look at over the course of next few exercises.

Darken vs. Darken Color

In this exercise, we'll take a look at the most basic of the Darken modes which are Darken and Darker Color. Now between you and me you are not going to be using these blend modes very often, however I do want you to understand how they work and I will be showing you a couple of filtering effects that work quite nicely with the Darken mode in the next exercise. I am looking at a file called Darken demo.psd found inside the 04_darken folder and notice below the model layer, we have a trio of background layers that we'll be taking a look at over the course of next few exercises.

We'll start things off by merging the model with this water layer in the background. All of these images by the way hail from the Fotolia Image Library about which you can learn more and get a discount at fotolia.com/deke. I am going to go ahead and turn that model layer back on, click on the Blend Mode pop-up menu and then choose Darken. Now this blend mode is extremely simple. Here's what it does. I am going to go ahead and zoom in here, so we can see things more closely. Darken evaluates every pixel on the active layer and compares it to the pixel directly behind it.

If the pixel on the active layer is darker, then you see that pixel. If the pixel behind it is darker, then you see the background pixel instead. So it's an on-off proposition, either you're seeing the active layer pixel or you're seeing the background pixel. Now if you take a look at this image that doesn't really reconcile. After all there are some portions of her face that are definitely opaque here in the shadow region along the right side of her cheek and down her neck as well, and some of the shadow details inside of her lips, and her eyelashes, and so forth.

And these other areas over here on the left hand side of the face that are giving way to the water in the background, but then we have some transitional areas where her skin ends up looking translucent to the point that emerges with the blue of the background in order to create these green shades. So what in the world is going on there? Well, that comparison I was telling you about, that on-off comparison, either you see the active pixel or you see the pixel behind it, is happening on a channel by channel basis. So if I switch to the Channels panel and click on the Red channel, you can see now that it is an on/off proposition, it maybe hard to tell in some of these semi-transitional areas here, but either we're seeing the red pixels from her face or we're seeing the red pixels from the water and that's it.

There is no merging of the pixels, there is no translucency going on. However, because the water is blue, it's not very bright inside of the Red channel, so the water is usually winning out. If I switch to the Green channel, we're seeing a lot more of her face this time around, because the water has a lot of green in it, meaning, that the water is very bright in the Green channel, and she's darkening up inside the Green channel, and then when we switch to the Blue channel, she wins every pixel I believe, because after all blue water is going to show up very bright in the Blue channel and as a result, she's relatively darken to Blue channel.

So the upshot is that these various channels intermix with each other and we end up with these transitional greens in between. Now if don't want that, if you want a strictly on/off proposition across the board, then you switch back to the Layers panel, click on that Blend Mode pop-up menu and select the last of the Darken modes. Now in my opinion, it ought to directly follow Darken, because Darker Color is a very similar mode, and it's not related to the three in between. However, you go ahead and choose Darker Color, and now what's happening is Photoshop is deciding whether a pixel is darker in the active layer or whether it's darker in the background on a composite basis.

So in other words, we are ready to switch back to the Channels panel, we are seeing those same pixels show up as opaque in the Red channel, the Green channel and the Blue channel. So, all three channels are showing the same opacity information. In other words, either, we're seeing a pixel from the active layer or a pixel from the background, and that's it. All right! I am going to go ahead and switch back out, zoom out as well in order to take in the image. So you can see that Darker Color might prove useful on occasion if you are trying to create the effect that one image is emerging from another image, as we see here, however, you do get very harsh jagged transitions as a result of this mode.

So Darker Color seeks out the darkest pixel on a composite basis, and Darken does so on a channel by channel basis. In the next exercise, I'll show you how to combine Darken along with Smart Filters to achieve a couple of special effects.

Show transcript

This video is part of

Image for Photoshop Masking and Compositing: Advanced Blending
 
Expand all | Collapse all
  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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Join now Already a member? Log in

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop Masking and Compositing: Advanced Blending.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.