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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.
In this exercise we'll take a look at the component modes which are HSL modes that is to say Hue, Saturation and Luminosity as well as Color. We'll start by looking at Luminosity and color, because they're the easiest to understand and their applications are the most obvious as well and then we'll take a look at Hue and Saturation. I'm working inside a file called the Assyrian and sea.psd, found inside the 08_component folder. I've got the Assyrian layers selected, notice that that's these statues that we're seeing inside the Image window.
If you turn it off for a moment you'll see the sea in the background. So let's say we want to merge these two images together we want to keep the color of the sea and we want all the details associated with the Assyrian. All you need to do in that case is switch from the very first mode Normal to the very last mode Luminosity and that's going to go ahead and merge the detail from the Assyrian layer with the colors from the layer or layers in the background. And the reason is because we're keeping his luminance levels, so we're totally abandoning the color values associated with this Assyrian carving and we're replacing it with all the color information in the background.
Now let's say you want to do the opposite, you want to take the sea layer and you want to merge its color with the detail from the Assyrian, which will give us the same effect of course, but if the sea layer were in front then you would choose the commuted version of luminosity. Remember I was telling you couple of chapters ago that Overlay and Hard Light commuted versions of each other well the same goes for color and luminosity. If I wanted to replace the colors of the Assyrian with the sea layer in front, then I would go ahead and choose the Color mode.
Those are your too big HSL mode, they are the once that you're going to use in a regular basis. If you want to divide color into its component parts then you could try choosing Hue or Saturation. So if I chose Hue and applied it to the sea layer than I would apply all the Hue values that is the various blues and greens from the sea layer with the saturation levels and the luminance levels of the Assyrian here on the background. Which means that we immediately as you can see here lose saturation, because they're carving wasn't very saturating the first place.
So if I press Ctrl+Z or Command+Z on the Mac to Undo that change and returned to the color mode, you can see that we have higher saturation values now. If I press Ctrl+Z or Command+Z again we see lower saturation's associate with Hue. It turns out Hue is actually really great mode; I'll show you a wonderful use for in the later exercise. The other one that you can try out is saturation. Now I already showed you an application of saturation at the end of the previous chapter, but just to review things here. If you choose Saturation you'll keep the saturation values from the sea layer and mix them in with his Hue and luminance levels of the Assyrians, so the Assyrian is now restored to its former orange.
However it's a higher saturation orange. Notice this if I turn off the sea layer for a moment before he was pretty dull little bit brownish looking, as soon as I turn the sea layer back on, because the sea layer is more highly saturated we end up lifting the saturation values from the Assyrian in the background. In the next exercise we'll use one of these modes specifically color in order to transform this ancient Assyrian carving into those wildly colorful composition.
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