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The composite (HSL) modes

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

Video: The composite (HSL) modes

Now let's take a look at the composite blend modes, also known as the HSL modes. I'm going to go ahead and switch back to my Sky & statue.psd image in progress here. And you know what, let's go ahead and save out a layer comp at this point, because I've done a lot of work. So I think I'll go ahead and click on my Layer Comps icon. I'll create a new layer comp by clicking on the page icon. Make sure that the Appearance checkbox is turned on, Visibility should be turned on as well, and I will call this Difference mode, because I'm probably going to switch away from that mode before we're done here, and I'll click OK.

The composite (HSL) modes

Now let's take a look at the composite blend modes, also known as the HSL modes. I'm going to go ahead and switch back to my Sky & statue.psd image in progress here. And you know what, let's go ahead and save out a layer comp at this point, because I've done a lot of work. So I think I'll go ahead and click on my Layer Comps icon. I'll create a new layer comp by clicking on the page icon. Make sure that the Appearance checkbox is turned on, Visibility should be turned on as well, and I will call this Difference mode, because I'm probably going to switch away from that mode before we're done here, and I'll click OK.

And just to make sure that things are in order, I will move that to the third position here by dragging it up the stack. So I now have Opaque layers, the original Opaque layers, Face to LBurn looks pretty good, and Difference mode. Quite a few changes made. Ultimately we're going to get to something along these lines right here, the Blend mode madness layer comp. Anyway, let's return to Difference mode, if you're following along with me. I want you to click on the Slight blue item, the Slight blue layer here inside the Layers palette, and also turn it on so it's visible.

And you can see what it is, it's a very low-grade blue to transparent gradient sitting on its own layer, and I'd like to use it to experiment with this set of modes down here. As I say, they're sometimes called the composite modes, which is why, by the way, the engineers have elected to include the Lighter Color and Darker Color items inside of this area, because they are composite lightening and composite darkening effects. I totally agree with that rationale. But anyway, that's why they're there. What really binds the other modes together, however, is not so much their composite behavior, but rather the HSL mode that they subscribe to, Hue, Saturation and Luminosity.

And you may recall that Hue plus Saturation equals Color. So you can divide colors up into those properties. So in other words, if I were to apply the Color mode to the Slight blue layer, I would go ahead and keep the color of the Slight blue layer and let the Luminosity values, that is the Brightness values, from the underlying layer show through. If I were to switch to Luminosity instead, which is the opposite of Color, then I would keep the Luminosity values that are associated with the Slight blue layer, and I would let the color values from the underlying layer show through.

That doesn't turn out to be that great-looking of an effect. Color certainly looked a lot better. So I'm going to go ahead and press the Escape key to make sure that the Luminosity value is no longer active, then I'll press Ctrl+Minus to back up to the Color mode, then I'll press Shift+Minus to back up to the Color mode, then just to get a sense of what the other two modes do. As I mentioned just a moment ago, Color is made up of Hue and Saturation so we can peel it apart. Here's what things look like if we just keep the saturation values from the Slight blue layer and mix them with the Luminosity and Hue values from the layers below. And here's what the image looks like [00:03:04.0 7] if we mix the Hue values from the Slight blue layer with the Luminosity and Saturation values from the layers below. And of all the modes that we've seen so far here, I think this looks the best. In other words, Hue does the best job of mixing the Slight blue layer along with the other layers in the stack.

So I'm going to settle on Hue, and by the way all of these guys have keyboard shortcuts, it's Shift+Alt+Y or Shift+Option+Y for Luminosity, Shift+Alt+C or Shift+Option+C for Color, Shift+Alt+U or Shift+Option+U for Hue. While I almost never use the Saturation mode, it is Shift+Alt+T or Shift+Option+T, for Sat, the last letter in Sat there. Anyway, let's stick with Hue for now. And to go ahead and finish off all of the layers except for the text layers, I'm going to switch back yet again to the Statue layer, and I'm going to change its mode setting from Difference- I'll go ahead and press the Escape key so that mode option is no longer active- I'm going to switch it from Difference to Luminosity by pressing Shift+Alt+Y or Shift+Option+Y on the Mac, and we end up getting this effect right here.

Which I find to be highly pleasing. It does a great job of mixing this background with the image, with the marble texturing, which I think looks really really great at this point, with that color. So we get an nice transition from the blue inside of the statue face here and the warm colors of the sky region in the background. So this is our more or less final version of the composition. So why don't we go ahead and save that out as yet another layer comp, go ahead and click on the Layer Comp icon if you're working the way I'm working, or you might choose the Layer Comps command from the Window menu.

Then click on the page icon and name this guy Almost done, or something along those lines. Make sure that the Appearance checkbox is turned on, Visibility should be turned on as well, and click the OK button. And now we have several different Layer Comps to work on. I'll move the layer Almost done above Blend mode madness, and you can see that I've made a few different decisions here between these two items. If you want to click in front of Blend mode madness, you'll see something of a change. Not only will you see the text appear onscreen, that's the biggest difference of course, but you'll also see a difference in the marbling texture. Notice that we have more of a hot marbling texture going on inside of our composition thus far than I assigned when I was building this composition in the first place. I like what we're doing now better, as it turns out.

Anyway there is our composition as it stands. We've seen every single one of the blend modes. Whew! What an exhaustive if brief overview, if I do say so myself. In the next exercise we'll check out a couple of blend modes that are not available to the Layers palette because they're applicable to the Brush tool.

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

129 video lessons · 39076 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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