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Photoshop Masking and Compositing: Advanced Blending
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Using the Underlying Layer slider option


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Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Using the Underlying Layer slider option

In this exercise, I'll show you how to force through luminance levels from one or more underlying layers, using the underlying layer slider bar. I have saved my progress as Clouds & Lighting.psd, found inside the 09_sliders folder. We are going to revisit the blending options by double-clicking on an empty portion of this lighting layer. Notice by the way, that everything we've done so far is a parametric nondestructive modification. In other words, we are using parameters inside of a dialog box in this case, in order to make our modifications, which means that we can change our mind anytime we like.
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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

Using the Underlying Layer slider option

In this exercise, I'll show you how to force through luminance levels from one or more underlying layers, using the underlying layer slider bar. I have saved my progress as Clouds & Lighting.psd, found inside the 09_sliders folder. We are going to revisit the blending options by double-clicking on an empty portion of this lighting layer. Notice by the way, that everything we've done so far is a parametric nondestructive modification. In other words, we are using parameters inside of a dialog box in this case, in order to make our modifications, which means that we can change our mind anytime we like.

I could go ahead and reset every single thing that I've done so far, just by changing the options here inside the dialog box. However, I don't want to do that of course. So I am going to reinstate the settings that were here when I first visited the dialog box. By pressing the Alt key or the Option key and a Mac, that changes a Cancel button to Reset button and then you click on it. And all of our options come back into place. Even though, the lightning is masked against the clouds. And it's masked better than it was once with the layer mask.

Notice that we have these nice, soft transitional edges. The lighting still doesn't appear to be coming out of the clouds. It appears to be sitting on top of the clouds. So what I would like to see happen, is that the cloud colors up here at the top, force through. If I were to drag the black slider triangle over to the right, you can see that I would end up masking the lightning inside the clouds. So I'm forcing through the dark colors from that Underlying Layer and in my case, I am saying anything with the luminance level of 124 or darker in the active layer is forcing through.

Anything 124 or lighter, is behaving normally. That's the opposite of what I want. So I will go ahead and drag this black slider triangle back over to the left. And instead, I will take this white slider triangle over to 160s when I'm looking for. And now, I am saying anything with the luminance level of 160 or brighter is forcing through and that would be these colors in the clouds here. Anything 160 or darker is behaving normally. So that we can see, the lightning covering the darkest portions of the image, which include these dark blues inside the sky.

Now of course, we have got ourselves another on/off proposition that is either the pixels are forcing through or they're not. So we are going to have some jagged transitions. The solution is to press the Alt key or the Option key and a Mac and drag in this case, the right half of that white slider triangle until you reach 185. So we are looking for just a little bit of fuzziness there. And now we are saying anything with a luminance of 185 or brighter is forcing through, anything 160 or darker, is behaving normally. And anything between 160 and 185 is gradually forcing through the lightning layer.

Now we're done. I will go ahead and click OK in order to accept that result and notice, what a wonderful job those two sliders have done. We have got these tiny little tendrils of lightning that are passing in and out of the clouds. We've got these spot bits of lightning inside the clouds as well, just beautiful stuff here. And that's exactly the kind of thing that you can expect from the Luminance Exclusion slider bars, here inside of Photoshop.

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