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Fill Opacity takes priority

From: Photoshop CS4 One-on-One: Advanced

Video: Fill Opacity takes priority

The purpose of this exercise is to illustrate how three of the contrast modes, the three over the top ones, Vivid Light, Linear Light, and Hard Mix, all respond differently to Fill than they do to Opacity, and we'll see how that works. But just to give you a sense of how I discovered this information because it's not documented anywhere. It is not out there in the ether at all, but one thing is that Hard Mix can be mollified with the Fill value. So that little bit of wisdom, somehow made its way out there. I latched on to that one and I figured if Hard Mix responds differently to Fill, then others must as well, and I came up with the Fill Opacity Eight as I call them.

Fill Opacity takes priority

The purpose of this exercise is to illustrate how three of the contrast modes, the three over the top ones, Vivid Light, Linear Light, and Hard Mix, all respond differently to Fill than they do to Opacity, and we'll see how that works. But just to give you a sense of how I discovered this information because it's not documented anywhere. It is not out there in the ether at all, but one thing is that Hard Mix can be mollified with the Fill value. So that little bit of wisdom, somehow made its way out there. I latched on to that one and I figured if Hard Mix responds differently to Fill, then others must as well, and I came up with the Fill Opacity Eight as I call them.

But I have been basically scratching my head over why Fill and Opacity are producing different effects because if you look at the math that's been published so far, it doesn't really account for it. And I think I might have figured it out here. I think I might have arrived at something that would explain it. I will turn-off this Texture layer for a moment. By the way, I'm working in this Bright gradient.psd image but I have messed it up a little. So yours, if you are just opening it, it won't look like this. But I'm going to turn-off Texture for a moment. I am going to click on Statue. And of course we were discussing how if you change the Fill Opacity value, like I'll press Shift+F1 to change that Fill Opacity value to 10%. If I change that Fill value to 10, then I'm reducing the Opacity of the interior of the layer but I'm not changing the Opacity of the layer effect.

So what if it's a matter of priority? What if Fill Opacity is applied first, and then the layer effect is calculated afterwards, whereas with Opacity, the layer effect is calculated first and then Opacity is laid on top? If that's the truth, if it's a priority issue, I'll go ahead and press Shift+F4 to return this layer to its previous appearance. That might explain why these blend modes appear the way they do. All right, so let me illustrate. I'm going to go ahead and switch to the Texture layer, turn it back on. It looks terrible. Notice if I take the Opacity value down to 10% just by pressing the 4 key. I'm getting a mix of that horribleness that we just saw a moment ago, where every pixel is either in our case, white, black, yellow, or red, and that's it and the underlying image right here. There is nothing nuance about it.

In fact, I'll go ahead and return the Opacity value to 100%. Let's say I take advantage of that merge all visible layer, streak to a new layer, where you press Ctrl+Shift+Alt+E or Command+ Shift+Option+E on the Mac to create that composite layer right there, and we'll just call it, composite like so. Then I'll turn-off the Texture layer for a moment. Now if I reduce the Opacity of this layer to 40%, we get the exact same effect we saw a moment ago. So we are just blending that composite version of all the layers mixed together with the underlying layers. That's kind of strange, but that's what Opacity is doing and it would figure because it's a matter of priority.

In other words, it does the mix first, and then it applies Opacity, whereas Fill changes the Opacity first and then does the blend mode mix. And if that's the case, that explains a lot. So let's go ahead and get rid of that layer. I will just press the Backspace key here on the PC or the Delete key on the Mac. Turn Texture back on, so what's the difference? Again, if I press the 4 key, this is an Opacity of 40%. Let me return it to an Opacity of 100% by pressing 0. This is a Fill Opacity of 40% applied with Hard Mix.

It looks a world different. So this might explain the reason why, because Fill Opacity is applied first and then the Hard Mix blend mode is applied on top of that, and we get this very different effect. So the Fill Opacity Eight are those that it matters, whether the Opacity value is applied last or first and that just happens to be with the over the top effects, that what I'm thinking. I have tried it out and it's true in that all of the other ones like Multiply, when you just go ahead and create a composite image like I did a moment ago, and then set it to a different Opacity value, you are going to get the same effect either way.

So anyway, now again, this is a little bit of propeller head information, it's not the kind of thing that you absolutely need to know, I don't suppose. But to me, it explains a lot and it also goes a long way toward telling me, hey, I can get some decent results out of something like Hard Mix, if I only take the time to set it to a lower Fill value as I have done here. This goes also for something like either Vivid Light, here is Vivid Light set to a Fill value of 40%. I'll go ahead and press the Escape key to make sure that mode is not active anymore. Compare that by the way. I'll go ahead and restore Fill to 100% by pressing Shift +0 and then press 4 for an Opacity of 40%. You can see that once again here we are just blending the composite image with the underlying layers, very different effect once again.

Then just to see and compare, I'll bring up the History palette. This is the result of the Fill Opacity of 40%, and this is the result of a standard opacity or Master Opacity as it's saying here of 40%. So a world of difference. I am going to switch back to the Fill Opacity of 40% and I'm going to press Shift+Plus to advance to Linear Light. And this is the blend mode that I want you to apply to this layer when all is said and done. In fact, I'm going to take the Fill Opacity down to 20% here by pressing Shift+2, and just to give you a sense of the difference, it's so ponderous to do this, but I think it's enlightening.

I am going to go ahead and press Shift+ 0 for a Fill value of 100% and then 2 for an Opacity value, a Master Opacity of 20%. And here is the difference, good, when you do with Fill Opacity; boring, when you do with standard Opacity. So let's stick with Fill Opacity. And those are the settings I'm asking you to apply as we work our way toward the final effect that is on the Texture layer. We want Linear Light, Opacity of 100%, Fill Opacity of 20%, and if you are still interested which I imagine you are, this stuff just fires me up, we are going to move on to Difference and Exclusion in the very next exercise.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23865 viewers

Deke McClelland
Author

 
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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