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The brush-only modes

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: The brush-only modes

In this exercise, I'm going to show you a couple of blend modes that are not found inside the Layers palette. Even though they are applicable to layers, you have to apply a them using a painting tool or the Fill command under the Edit menu. You may recall these guys from our blend mode keys document. I'm going to switch to that document. This is the Blend mode keys.psd document that's found inside the 15 Blend Modes folder. And if you scroll to the bottom of the document, it mentions the brush-only modes, which are Behind and Clear, these guys right there.

The brush-only modes

In this exercise, I'm going to show you a couple of blend modes that are not found inside the Layers palette. Even though they are applicable to layers, you have to apply a them using a painting tool or the Fill command under the Edit menu. You may recall these guys from our blend mode keys document. I'm going to switch to that document. This is the Blend mode keys.psd document that's found inside the 15 Blend Modes folder. And if you scroll to the bottom of the document, it mentions the brush-only modes, which are Behind and Clear, these guys right there.

Airbrush is not a blend mode, it's just an option that happens to have a keyboard shortcut assigned to it. But Behind and Clear are authentic blend modes, at least they're treated as blend modes inside the program. They work a little differently than the blend modes we've seen so far, though. Alright, so I'll switch back to the Sky & statute.psd image and I'm going to go ahead Alt+click or Option+click on the eyeball in front of the Statue layer, so that we're seeing the layer by itself without any other layers going on inside the document, and I'm going to press Shift+0 in order to raise the Fill value to 100%, so that we're seeing the image by itself.

Notice that we're seeing a normal version of the image, even though it's set to the Luminosity mode, because there's no other layers to interact with it. It just shows us the normal version of the image, which can be handy for experimentation as it turns out, and that's what we'll be doing. I want you now to grab this tool right here, the Brush tool, which you can also get by pressing the B key if you want, and I'm going to increase the size of my Brush pretty significantly here. Something along the lines of a 100-pixel Brush will do nicely. And it's a soft Brush as well, the Hardness value is set to 0% right now.

And I'm going to switch my foreground color to 255 red and 0 green and 0 blue, so that I have a solid red Brush going on. Now currently the mode is set to Normal. Notice that we have all the blend modes available to us, every single one of those 25 blend modes that are available inside the Layers palette are also available to us when we are using the Brush tool, plus two more. We also have Behind and Clear in the top section of the Blend Mode pop-up menu. So I'm going to just go ahead and press the Escape key a couple of times so that blend mode option is no longer active and I'm going to paint, just so that we can see the results of the Normal mode. That is normal painting for you, nothing special going on. I'll press Ctrl+Z to undo that brush stroke. Now I'm going to press Shift+Plus in order to advance to the next blend mode, which is Dissolve. Notice because I have a Brush tool active, I don't change the blend mode associated with the layer, I change the blend mode that's associated with the Brush instead.

And if I paint in the Dissolve mode, you can see that I get this dithered edge to my brush, so that I get sort of a weird pixilated spraypaint effect. Kind of nifty, might find a use for it. I don't tend to work this way, but you know, there it is. I'm going to press Ctrl+Z to undo that brush stroke once again, and then I'm going to press Shift+Plus to advance to the Behind mode. Now what the Behind mode does is it allows you to paint strictly behind an image. And wait one second, I'm actually going to back up just as a sideline here. I'm going to back up to the Normal mode once again by pressing Shift+Minus a couple of times.

If you want to paint exclusively inside the confines of a layer, you may recall you can do that by turning on this first Lock option, the one that locks the transparent pixels. So I'll go ahead and click on that option, and now were I to paint inside the layer, I would only paint inside the layer. I'm always painting inside the lines. Compare that to the Behind mode. So I'll go ahead and undo that modification, I'll turn off Lock. It's very important that you unlock the transparent pixels for this next step to work. And then I'm going to switch from the Normal mode to the Behind mode.

And now if I paint, I paint only outside of the layer. So the Behind mode, the Behind blend mode, is the exact opposite of locking the transparent pixels. Those two options, even though they are exact opposites of each other, are expressed in very different ways inside of the program. So anyway, the Behind mode allows me to paint exclusively inside of the transparent portions of the image. And were I now to switch to a different color, like I'll switch to sort of a dark green here, and paint again, I would paint exclusively behind not only the face, but also the red brush strokes that I added a moment ago. Finally, we've got the Clear mode available to us. I'll go ahead and choose that mode from the menu.

The Clear mode strictly turns the the paintbrush into an eraser. So notice now that I'm erasing away colors. That's what the Clear mode does. Not really anything super special, and not super unusual either, cause if you want that behavior you could just switch to the Eraser tool as well. But that's what the Clear mode does. Alright, I'm going to go ahead and undo those last few modifications, so I'll restore the original version of my layer by pressing Ctrl+Alt+Z, or Cmd+Option+Z on a Mac.

Three times in a row in my case. Then I'm going to press Shift+Alt+N, or Shift+Option+N, in order to switch back to the Normal mode. I want to show you the same modes applied from the Fill command. So I'll select a region using the Marquee tool, I'm going to go ahead and select a region of the image. I want to make sure that my rectangular marquee goes inside of the image as well as outside of the image, that is to say inside the layer and outside the layer. And I'm going to restore red as my foreground color.

Then I'm going to go up to the Edit menu and choose the Fill command. And notice once again that we have blend modes available to us. Make sure, by the way, that Use is set to Foreground Color. Then notice that we have blend modes and opacity settings available to us, and I've got my big list of blend modes, including those modes that are available to us when using the Brush tool, Behind and Clear. Now as things stand right now, I'm not seeing Lighter Color or Darker Color. Who knows if that's going to change in the final released version of Photoshop CS3, but in my beta version those blend modes are missing. Alright, I'm going to try the Behind mode right here, and I'll clicked OK, and notice I just fill the region behind the face. I don't fill into the face at all.

Alright, so I'll go ahead and press Ctrl+Z once again to undo that modification. I'm going to choose the Fill command once more so that you can see the effects of the Clear blend mode, but I'll do it in a different way. I'm going to do it from the keyboard. The keyboard shortcut for the Fill command is Shift+Backspace, believe it or not, an undocumented- it doesn't appear in the Edit menu- an undocumented keyboard shortcut for Fill. And that's Shift+Delete on the Macintosh side of things. I'm going to switch the mode from Behind to Clear, and then I'm going to click OK and sure enough, I used the selection in order to cut a hole. Now I could have done that just as easily by- I'll go ahead and undo that modification- I could have done that just as easily by pressing the Backspace key, or the Delete key on the Mac, but there it is, there's the Clear mode. I just want you to know every single mode that's available to you inside of Photoshop.

Go ahead and restore the original version of the layer. I want you to make sure that it's not all messed up on the pixel level. But you don't have to restore the Fill Opacity value and all the other layers because, if you went ahead and saved the layer comp in a previous exercise, you can just restore that layer comp by going to the Layer Comps palette and clicking in front of Almost done. Again, that's if you've been working along meticulously with me here. Then you will restore every single ingredient of that composition. Now, it's important that you don't have any pixel-level modifications, that is to say your brushstrokes should be undone, and your Fill effects should be undone as well, because Layer Comps only tracks parametric modifications, that is blend mode modifications, Opacity settings, Fill settings, and so on inside of the image. In the next exercise, we're going to finish off this composition by bringing in a little bit of text.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39074 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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