I've saved my changes as Grayscale bulb.tif, found inside the 28_blending folder. I use TIF because I figured by now enough damage has been done with JPEG compression, we don't need to apply anymore. Incidentally, in order to create this horrible, brutal version of this light bulb, I've saved the JPEG image with a Quality setting of 2. So, it was way, way down there. This is not your standard routine everyday average JPEG image, not that you would save anyway. Now we're going to take this image and we're going to introduce it into this composition, and it's going to look absolutely like a million bucks.
It's going to blend seamlessly, as you're about to see. Now, I'm looking at that version of Opposite effects.psd that was saved along with the Darken layer Comp. So you can go ahead and click in front of Darken if you want to in order to get the same effect I have. Also, click on the couple bright layer right there to make it active, so that when we introduce the light bulb into the image, it doesn't get sandwiched in the middle of this clipping group. All right, I'm going to switch back to Grayscale bulb.tif. I'm going to zoom out and I still have my Lasso tool selected.
So, I'm going to draw a Polygonal Lasso around the light bulb, like so. This will just help when we go to transform the light bulb in the place. So, I'm going to Alt+Click or Option+Click around in this sort of rotated rectangular fashion here, around the edges of the light bulb. Ultimately, I'll select what you see. Then once I've created the four corners, I can release the Alt key or the Option key on the Mac in order to complete the selection. If the light bulb isn't exactly centered inside the selection, you can drag the selection outline around like so, or you can nudge it into place as well using the arrow keys.
Anyway, once you have it more or less selected, press the Ctrl key or the Command key on the Mac and drag that guy to the Title tab for Opposite effects.psd, then drag your cursor back into the Image window and drop. We don't need to perform a Shift+Drop or anything like that. Doesn't it look right at home? Doesn't it look like absolutely every bit as good as the rest of the artwork? Of course, it doesn't, but it will end up looking pretty darn good by the time we're done. Now, I so often see folks approach a project like this by thinking that they need to select the white region and delete it, for example, or they need to mask it away.
Well, imagine, we were to use something like the Magic Wand tool. I just want to demonstrate what a tragic approach this would be. I'll get the Magic Wand tool and I'll reinstate my default settings, which would be a Tolerance of 32, and Anti-alias turned on. I could have also just right-clicked on this down-pointing arrowhead and chose Reset tool, like so. Then I'll click in the white region, and I'm thinking, yeah, that did a pretty good job, of course. That did a terrible job, because it just bled into the light bulb like crazy I tell you. Here, let's do the sensible thing and say, I know my background is absolutely white.
So, I'm going to set the Tolerance to zero. I'll leave Anti-alias turned on though, because I want to have moderately smooth edges. So, I'll try this again. I'll press Ctrl+D, Command+D on the Mac to deselect the image. Then I'll click in the background again. That looks good, looks like I got it. I'll press the Backspace key or the Delete key on the Mac to delete the white area, press Ctrl+D or Command+D on the Mac in order to deselect the image, and then zoom in and check out those edges. That's somewhat the fault of the Magic Wand tool, but it's mostly the fault of the JPEG compression artifacts.
It's the artifacts that are causing this degree of roughness. All right, so obviously, that's not what we want, nor is it the least bit necessary. We do not need to delete the white. So, I'm going to press Ctrl+Alt+Z a few times, Command+Option+Z to reinstate that white, and I'm going to switch away from the Magic Wand tool by pressing the M key just so I'm not tempted even to use it. Instead, we're going to apply a blend mode. Now, you may recall in my discussion of Screen and Multiply, I was saying when you apply Screen, you get a continuous lightening effect, and only one color is treated as transparent, and that is black.
By contrast, when you're applying the opposite Multiply mode, you're getting a continuous darkening effect, and only one color is treated as transparent, and that is white. So just by virtue of the fact that we apply the Multiply mode here, we are dropping out the whites automatically, and this is going to work for scanned artwork, this is going to work for line art, this is going to work for your logos that you're bringing in, it's going to work for all kinds of things. Now, I'm going to go ahead and rename this layer lightbulb, that's something I have to do manually, but otherwise it's pretty automatic.
Now I figure we should go ahead and rotate and scale the light bulb into place. So I'm going to scroll up a little bit just so that I'm certain where the top of the image is. With the lightbulb layer active, I'll go to the Edit menu and choose the Free Transform command, or I could press Ctrl+T, Command+T on the Mac. We still have a pretty gargantuan transformation boundary even though we more or less crop this image. But I'm going to go ahead and drag outside of the transform boundary in order to rotate the light bulb. I'll Shift+Alt+Drag or Shift+Option+Drag one of the corner handles here in order to scale the light bulb with respect to its center, and then drag it up, like so.
If I thought the light bulb was listing a little to the right, which it seems to be, then I could press the Ctrl key or the Command key on the Mac and lift one of those corners like so, so that I apply a little bit of a perspective distortion, and then I'll drag this guy down into place. He's still little big because the sharpie lines are protruding into the model's heads right there. So, I will Shift+Alt+Drag or Shift+Option+Drag a little more to reduce the size of the bulb, maybe straightening just ever so slightly, and use the arrow keys to nudge it into place. When I'm done, I'll press the Enter key or the Return key on a Mac to accept the transformation.
All right, so that's the basics of how we get the scanned artwork into place, but it still doesn't exactly match. It looks too monotone, and it doesn't look fully integrated into the artwork, even though, if we zoom in, thanks to that transformation and thanks to the Blend mode, our compression artifacts are much lessened, but we can do better than this and we can do better while keeping it parametric and simple. And I'll show you what I mean in the next exercise.
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