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Making inversion type black and white

From: Photoshop Masking and Compositing: Advanced Blending

Video: Making inversion type black and white

I've saved my progress as Self- inverting type.psd found inside the 07_inversion folder. In this exercise I'm going to show you how to create inverting type that's either black or white, so that we have a high contrast effect with a little bit of gray action in between and it's ultimately a function of adding on some adjustment layers, but it also involves a special advance blending trick as well. So the first thing that we're going to do with the text layer active is press the Alt key or the Option key on the Mac, click on the black/white icon and go ahead and choose the Vibrance command and I'm going to call this layer desat and very importantly turn on Use Previous Layer to Create Clipping Mask and click OK.

Making inversion type black and white

I've saved my progress as Self- inverting type.psd found inside the 07_inversion folder. In this exercise I'm going to show you how to create inverting type that's either black or white, so that we have a high contrast effect with a little bit of gray action in between and it's ultimately a function of adding on some adjustment layers, but it also involves a special advance blending trick as well. So the first thing that we're going to do with the text layer active is press the Alt key or the Option key on the Mac, click on the black/white icon and go ahead and choose the Vibrance command and I'm going to call this layer desat and very importantly turn on Use Previous Layer to Create Clipping Mask and click OK.

Next I'm going reduce that saturation value to its absolute minimum which is -100. Now I'm losing the minus sign here on the PC, but I have reduces the saturation to its absolute minimum, you can see the slider triangle is all the way to left and yet inexplicably I'm not seeing any difference where the text is concerned, it's still blue. So how is that I remove all the saturation and I don't get gray, let me show you. I'm going to go ahead and collapse the Adjustments layer for a moment and I'm going to Alt click or Option click on that horizontal line between the adjustment layer and the text and you can see as soon as I unclip the layer the entire image turns gray.

So obviously the adjustment layer is working it's just not working properly. I'm going to press Ctrl+Z or Command+Z on a Mac to re-clip that layer, here is what we have to do, you got to go down to the text layer which is the layer that's doing the clipping and then double-click on an empty portion of that layer, to bring up the Layer Style dialog box and here is our problem. Notice this checkbox that says Blend Clipped Layers as Group. So what's happening here is the adjustment layer is de-saturating the layer and then Photoshop is turning around and applying the difference mode, do you see how that's a problem the layer was already de-saturated it was white, so it had those saturation associated with it in the first place, so we're still getting the same effect.

However as soon as you turn that checkbox off you reverse the order of the operations. Now Photoshop is applying the difference mode to that white text first and then it's turning around and de -saturating the results. So remember if these kinds of things don't go well for you, you've got these two checkboxes right here that you can turn on and off in order to achieve different effects. Alright now I'll click OK in order to accept that modification, I'm going to click on the desat layer now to select it and then I'll press the Alt key or the Option key on the Mac click the black/ white icon and choose the Levels Command, because we still need to make those gray areas of the text white, and I'll go ahead and call this layer B&W and I'll turn on that checkbox once again very important to our role end up affecting the entire composite image.

And now inside the Adjustments panel I'm going to drag that white slider triangle over to the left and you can see how we are making what were formerly gray portions of letters white. Now I've got a little too far with this Y point value, so I'm going to take it up to 110 that's all there is to it. Now I'll go ahead and hide the Adjustments panel, so we have a little more room to work. Switch back to the text layer and once again if I Ctrl+Drag or Command+Drag that text, it inverts every thing behind it successfully and we even get these nice transitions here between the black and the white areas of the letters.

If I go ahead and press Ctrl+Z or Command +Z on the Mac to Undo that movement, we have our text back where it belongs and I just want to zoom in here, so you can see what I'm talking about, we do have some transitional grays left over. So it's a high contrast effect with a little bit of softness automatically built into it. Now let's go ahead and switch to the full screen mode and zoom in on our final composition and there you have it a couple of different ways to take advantage of one of the best blend modes in Photoshop Difference.

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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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