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Photoshop Masking and Compositing: Advanced Blending
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Making a dynamic Dissolve effect


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Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Making a dynamic Dissolve effect

So here I am looking at the Dissolved circle from the previous exercise. Now the problem with it even though it's surrounded by this interesting dithered noise pattern is that I can't back off the effect, because after all I applied Gaussian Blur as a static modification. So I can increase the Blur value if I want to, just by pressing Ctrl+Alt+F or Command+Option+F on the Mac to revisit the Gaussian Blur dialog box, and I could take the Radius value up to let's say 100 pixels to really blast things out and then click OK.
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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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Photoshop Masking and Compositing: Advanced Blending
4h 3m Intermediate Nov 28, 2011

Viewers: in countries Watching now:

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
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Making a dynamic Dissolve effect

So here I am looking at the Dissolved circle from the previous exercise. Now the problem with it even though it's surrounded by this interesting dithered noise pattern is that I can't back off the effect, because after all I applied Gaussian Blur as a static modification. So I can increase the Blur value if I want to, just by pressing Ctrl+Alt+F or Command+Option+F on the Mac to revisit the Gaussian Blur dialog box, and I could take the Radius value up to let's say 100 pixels to really blast things out and then click OK.

But now I've applied another static helping of Gaussian Blur. Some other day when I'm working inside this file I can't back off the effect. What if you want to dissolve a layer dynamically? Well then you need to resort to a Layer Mask, and here's how. I'm going to turn off this Circle layer and I'm going to turn on the Mask layer which is a layer of solid white inside of a Layer Mask, so I'll go ahead and click on that Layer Mask thumbnail in order to select it and I'll once again switch from the Normal Mode to the Dissolve Mode and that will give us that slight amount of diffusion around the edge there.

Then I'll bring up my Masks Panel by going to the Window Menu and choosing Masks and I'll increase the Feather value. So I'll take the value up to a 100 pixels for example in order to blow that effect away, and then later if I change my mind all I have to do is return to the Masks Panel and set the Feather value to something else, such as my original Radius value of 25 pixels, in order to achieve this effect here. Between you and me I consider this an extremely good way to work. I do want you to know however that while it works for pixel-based layer masks this technique for whatever reason does not work with vector masks.

So I'll go ahead and turn off that mask layer, and I'm going to collapse my Color Panel just to give myself a little more room, and then I'll turn on the vector layer, click on its mask thumbnail in order to select it, change the Mode from Normal to Dissolve. Notice that we don't see any changes around the edges of that circle. Even if I increase the Feather value to something extreme such as let's say 100 pixels we still end up with some very smooth transitions. So that's just my way of letting you know that if you want to work with Dissolve then you need to be working with the pixel-based layer or in this case a pixel-based Layer Mask.

In the next exercise I'll show you how to use the Dissolve Mode to create an interesting text effect.

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