Start learning with our library of video tutorials taught by experts. Get started

Photoshop Masking and Compositing: Advanced Blending

Two variations on a single mode


From:

Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Two variations on a single mode

In this exercise we'll see how Overlay and Hard Light are actually variations on the very same blend mode, it's just a matter of which layer is in front, and I'll show you something you can do with that information as well. We've got this portrait shot on top, and then below that this sort of cave wall in the background. All right, I'm going to go ahead and turn the portrait back on, I should know that both of these images come from a Fotolia Image Library, about what you can learn more at fotolia.com/deke. Now I'm going to go ahead and change the blend mode associated with that portrait layer to Overlay, and that'll create an effect much as if we had somehow projected the image of this woman onto this surface.
Expand all | Collapse all
  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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
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

Two variations on a single mode

In this exercise we'll see how Overlay and Hard Light are actually variations on the very same blend mode, it's just a matter of which layer is in front, and I'll show you something you can do with that information as well. We've got this portrait shot on top, and then below that this sort of cave wall in the background. All right, I'm going to go ahead and turn the portrait back on, I should know that both of these images come from a Fotolia Image Library, about what you can learn more at fotolia.com/deke. Now I'm going to go ahead and change the blend mode associated with that portrait layer to Overlay, and that'll create an effect much as if we had somehow projected the image of this woman onto this surface.

So the shadow details on her face are burning into the background, the highlights are brightening the background, and so forth. So it's almost a matter of wrapping one texture around another, as we'll see in subsequent exercises. All right, now I'm going to click on the Wall layer and I'm going to change its blend mode Hard Light. Now that's not going to make any difference as you can see here and the reason is that blend modes only work down the stack. If there's nothing below a layer, you can change its blend mode to anything you like.

However, the blend mode is not going to work, because there's nothing to blend with, in the background. But notice now, if I change the order of these two layers, so wall is on top and portrait is underneath, the effect again does not change, and that's because Hard Light and Overlay are commuted versions of each other, that is to say, when Hard Light is on top, you get the same effect as when Overlay is on top. When an Overlay layer is on top, then you're emphasizing the layer below, as we're in this case.

If I was to ask you which layer is the most prominent, I would gather that you would say the cave wall, because it looks as if the cave wall is actually what we're seeing with her projected onto it. Meanwhile, when you set a layer to Hard Light, then it takes precedent over the layer below. So to just give you a sense of what it look like if we went the other way around, if we gave the portrait layer precedent instead, I'll press Shift+Alt+O or Shift+Option+O on the Mac, to change that wall layer to the Overlay mode, you can see that that shifted its appearance onscreen.

I'm now going to select the portrait layer, and I'm going to press Shift+Alt+H or Shift+Option+H on the Mac to change its blend mode to Hard Light, that's not going to change anything, because as before, there's nothing underneath a portrait layer to blend with. However, notice now, if I change the order of these two layers, so she's on top and the wall is on the bottom, we're getting the exact same effect. Once again, because Overlay and Hard Light are commuted versions of each other. When a layer is set to Hard Light it takes precedent just as this portrait shot is now taking precedent inside of the composition.

When the wall is on top and set to the Overlay mode, it gives precedent to the layer below it, which is still portrait, so we end up with the exact same effect. Now one of the reasons I mention this is not just because it's interesting, but also because I think it will help you navigate through these modes and make sense of them when you're applying them on your own. For example, I'm going to grab that portrait layer, move it on top and I'm going to press Shift+Alt+N or Shift+ Option+N on the Mac, in order to restore it to the Normal mode. Now let's say I want to enhance the contrast of this image while enhancing its color as well, you can do that using an empty adjustment layer set to one of the contrast modes.

So for example, if I press the Alt key or the Option key on the Mac and click that black white icon and choose for example Brightness/Contrast and then I'll just call it dummy, because I'm not going do anything with it, click OK. In other words I'm not going to change either the values, I'll go ahead and collapse the Adjustments panel and then I'll change the blend mode from Normal to Overlay and we end up getting this enhanced contrast effect that ends up benefiting this image quite nicely, because after all it was a pretty low contrast image in the first place.

Now if you feel like there is too much contrast, you can to switch from Overlay to Soft Light and you'll end up achieving a different effects, so here's the original version of the portrait shot and here's a versions subject to essentially setting itself to the Soft Light mode. Now what you'll typically hear from folks is if Overlay isn't enough, then you can bump things up by switching the Hard Light. However, that's not going to make any difference in this case, because it's the same darn blend mode, it just matters which layer is on top.

Well, this dummy layer is essentially a copy of the portrait layer, so they're both the exact same layer, so we're going to get exactly the same effect and that's something to bear in mind when you're working with your own images. So where this sort of approach is concerned, if Overlay isn't quite doing it for you then you want to bump it up all the way to Linear Light, that's going to be your high contrast mode when you're working with an adjustment layer for example, that of course is going to be too much, you're going to see all sorts of clip shadows and blown highlights, so then at this point you would reduce the Fill value, I'm going to press Shift+5 to take that Fill opacity down to 50%, which isn't quite enough, so I'll go ahead and try Shift+2 instead, to take it down quite a bit further.

So we now have Linear Light combined with a Fill value of 20%. If I turn off that dummy layer, you can see that's making a big difference. So this is the original fairly low contrast version of the image, and this is the newly enhanced version. Thanks to the application to an Empty Adjustment Layer of Linear Light and a Fill Opacity of just 20%.

There are currently no FAQs about Photoshop Masking and Compositing: Advanced Blending.

Share a link to this course
Please wait... Please wait...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop Masking and Compositing: Advanced Blending.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked