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Lighten vs. Lighter Color


Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Lighten vs. Lighter Color

Lighten vs. Lighter Color provides you with in-depth training on Design. Taught by Deke McClelland as part of the Photoshop Masking and Compositing: Advanced Blending
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  1. 1m 43s
    1. Welcome
      1m 43s
  2. 33m 16s
    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
      8m 0s
  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 25s
    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 15s
    7. Masking with a darken mode
      3m 59s
    8. Refining a mask with Multiply
      5m 37s
  6. 33m 37s
    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 3s
    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

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Watch the Online Video Course Photoshop Masking and Compositing: Advanced Blending
Video Duration: 2m 29s4h 3m Intermediate Nov 28, 2011

Viewers: in countries Watching now:

View Course Description

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
Deke McClelland

Lighten vs. Lighter Color

In this exercise we're going to take a look at the two simplest Lighten modes, which are Lighten and Lighter Color. Currently I have the night layer turned on here inside the Layers panel, I'm also going to turn on the hoody layer and click on it. Now notice that this image is set against the black background, but the background doesn't extend all the way to the left-hand side. If I go ahead and grab my Magic Wand Tool just so I can task what's going on inside this layer. And then I set my Tolerance value to 0, Anti-alias is turned off, and Contiguous is turned on, then I'll click inside the background to the left of this fellow's hood and you can see that I'm selecting the entire background which tells me it is one continuous color.

If I press the I key to switch to the eyedropper and then click inside that area, the color panel is telling me that this is absolute black, which means that if I apply a Lighten mode to this layer, any of the five lighten modes in fact, then this background is going to entirely disappear. So I'll go ahead and press Ctrl+D, Command+D on the Mac to deselect the image. And now I'm going to change the Blend Mode from Normal to Lighten, and you can see that in fact that background entirely disappears and the significance is that we don't have any edge along the left-hand side of this layer.

All right, now as you may recall from my discussion of darken versus darker color, the difference is that darken for example is applied on a channel-by-channel basis, but darker color is applied to the composite image. The same is true of lighten versus lighter color. So in a case of lighten we're seeing Photoshop keep the pixel in the active layer if it's lighter than the pixel behind it on a channel-by-channel basis, which means that we end up achieving a little bit of a transition here inside the composite full-color preview.

But again if you were to go to the Channels panel and check things out then you would see that we have some stark transitions in the Red channel, equally stark transitions in the Green channel, and stark transitions in the Blue channel. The reason they end up reconciling fairly smoothly in a composite is because those transitions are different in each and every one of the channels. Compare that to, if I were to switch back to the Layers panel and change the Mode from Lighten to Lighter Color. In this case we end up with some very sharp transitions, either a pixel is on or it's off, because the blend mode is applied in exactly the same way to each and every channel.

So that's how Lighten and Lighter Color work. In the next exercise, I'll show you how to use the Lighten mode to achieve a filtering effect.

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