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Making dark line art bright

From: Photoshop Masking and Compositing: Advanced Blending

Video: Making dark line art bright

In this exercise I'll show you how to take those black and white scanned line art elements that I showed you how to integrate in the previous chapter and we'll turn them into bright design elements using the Screen mode. Over here in the Layers panel I'll click on the signature layer which is my signature down here in the lower right corner and then I'll Shift+Click on the logo layer, so they're both selected. Now I will right-click inside the image window and choose Duplicate Layers. I'll change the document to Dramatic portrait.psd and then click OK. All right! Now let's switch over to that file.

Making dark line art bright

In this exercise I'll show you how to take those black and white scanned line art elements that I showed you how to integrate in the previous chapter and we'll turn them into bright design elements using the Screen mode. Over here in the Layers panel I'll click on the signature layer which is my signature down here in the lower right corner and then I'll Shift+Click on the logo layer, so they're both selected. Now I will right-click inside the image window and choose Duplicate Layers. I'll change the document to Dramatic portrait.psd and then click OK. All right! Now let's switch over to that file.

Notice that the scanned line art integrates seamlessly into our dark composition, but wouldn't it be better if the logo and the signature were bright instead of dark. So I'm going to start things off by clicking on the signature layer to make it active and then I'll go up to the Image window, choose Adjustments and choose the Invert command or I could just press Ctrl+I or Command+I on the Mac, that will go ahead and invert this layer. Let's zoom-in on it so we can see what we're doing here. And now I'm going to reverse the Blend Mode from Multiply to it's opposite, which is the Screen mode and we end up with this effect here.

Now the Color Overlay effect is for the moment messing things up, so I'm just going to turn it off. We'll come back to it in just a moment, but you can see just like that we're able to turn black on white scanned line art into line art that appears white seamlessly integrated into a dark composition. Let's go ahead and zoom-out once again and I'm going to switch to the logo layer. Now obviously I want to invert it as well, but if I go up to the Image menu and choose Adjustments then Invert is not available to me. And the reason is because I converted this logo to a smart object, which was a good thing however that means it needs a special approach.

So we're going to invert it using an Adjustment layer. So press and hold the Alt key or the Option key on the Mac, click the black-white icon at the bottom of the Layers panel and choose Invert and I'm just going to go ahead and call this layer invert, that part doesn't really matter. This part does, you need to turn on the checkbox Use Previous Layer to create Clipping Mask. So we're affecting the logo layer only. Now I'll click OK. We don't need to see the Adjustments panel. In fact, it irritates me like crazy that it appears and takes up so much room when there are no options for invert.

I'll just go ahead and double-click to the right of the word Masks to collapse the panel, go ahead and expand the Layers panel now. Next, click on the logo later to make it active and switch it for Multiply once again to its opposite Screen and we end up with this bright logo. So far so good. Let's say now we want to colorize the logo. In fact I want the logo to be roughly the color of the models eye-shadow. I think that look awesome. So I'm going to go ahead and grab the Color Overlay effect that I had applied to signature and I'm going to drag it and drop it onto the logo layer, which will move it as opposed to copying it, which because I didn't have the Alt or Option key down it goes ahead and moves that layer effect instead of copying it, but it also messes things up.

So I'm going to double-click on Color Overlay, bring up the big Layer Style dialog box, then click on the color swatch in order to bring up the color picker. Click inside the bright portion of the eye-shadow in order to lift a representative color and I'm going to modify my HSB value slightly. I'm going to change that Hue value 35, I'll also change the Saturation to 35% and they'll take the Brightness value up to 80% and click OK. Now that produces exactly the opposite of the effect I'm looking for. We're colorizing the background behind the scanned line art but we're not colorizing the letters and that's because we need to shift the blend mode from Screen, which was previously brightening the letters to Multiply, which will now darken them, and that will send the color inside those now white layers, which is exactly what we're looking for but we still need to drop out the background.

And we'll do that the same way we did back in the previous chapter by clicking on Blending Options and then turning on that top checkbox Blend Interior Effects as Group and that goes ahead and multiplies the color into the scanned logo art before applying the Screen blend mode to the overall layer. And as a result we drop out that excess color. All right! Now I'll click OK in order to accept the change. Just the couple of more things I want to do. I want to make this logo bigger and thanks to the fact that it's a smart object I can.

So I'll go up to the Edit layer and choose the Free Transform command or press Ctrl+T, Command+T on to Mac and then I'm going to Shift drag this corner handle like so. I'm looking to scale this logo by 48%, so I'll go ahead and click on the chain between the W and H values and I'll change the Width values to 48% and as you can see both values change in kind and then I'll press the Enter key a couple of times or the Return key a couple of times on the Mac to accept that change. Just so you can get a sense of how flexible these source of blended compositions are.

I'm going to turn on this magnified layer, which is in increased resolution detail from that original photograph and I might go ahead and Ctrl+Drag or Command+Drag the logo over just a little bit as well. In any case, that friends is how you turn black on white line art into a bright line art elements that integrate seamlessly into your compositions here inside Photoshop.

Show transcript

This video is part of

Image for Photoshop Masking and Compositing: Advanced Blending
 
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  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

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