Using Blending Modes
Using Blending Modes
The blending mode specified in the Options bar
controls how pixels are affected by a painting or
editing tool. Additionally, you can set the blend-
ing mode of a layer to control how it interacts
with those below it. A clear understanding of the
following terms will better help you understand
blending modes:
•
•
•
Base color: The original color in the image
Blend color: The color being applied with
the painting or editing tool (or the color in
the top layer)
Result color: The color resulting from
the blend
List of Blending Modes
Here are the different blending modes available
through the Layers panel. I have attempted to
give you a clear and simple definition as well as a
sample of how these images blend.
NOTE
Blending Mode Practice
For more practice with blending,
open the files Ch09_Blend Modes1.
psd and Ch09_Blend Modes2.psd in
the Chapter 9 folder, and experiment
with different modes and opacity
settings.
Original Blended Image
About Blending Modes 145
Dissolve
Creates a random
replacement of
the pixels with
the base or blend
color.
Color Burn
Evaluates each
channel; darkens
base by increas-
ing contrast.
Lighten
Evaluates each
channel; it then
uses base or blend
color (whichever
is lighter).
Linear Dodge
(Add) Evaluates
color information
and brightens
base by increas-
ing brightness.
Soft Light
Effect is similar to
shining a diffused
spotlight on the
image.
Linear Light
Burns or dodges
by decreasing or
increasing the
brightness.
Difference
Evaluates each
channel and sub-
tracts or inverts
depending on
brightness.
Saturation
Creates color
with luminance
and hue of base
and saturation of
blend.
Darken
Pixels lighter
than blend are
replaced; darker
ones are not.
Linear Burn
Evaluates each
channel; darkens
base by decreas-
ing brightness.
Screen
Results in a
lighter color. It is
useful for “knock-
ing” black out of
a layer.
Lighter Color
Uses highest
value from both
layers to create
resulting color.
Hard Light
Effect is similar to
shining a harsh
spotlight on the
image.
Pin Light
Is useful for add-
ing special effects
to an image.
Exclusion
Is similar to the
Difference mode
but lower in
contrast.
Color
Preserves gray
levels. It’s very
useful for color-
ing and tinting.
Multiply
Is similar to draw-
ing strokes on
the image with
magic markers.
Darker Color
Uses the lowest
value from both
layers to create
resulting color.
Color Dodge
Evaluates color
information and
brightens base
by decreasing
contrast.
Overlay
Overlays existing
pixels while pre-
serving highlights
and shadows of
base.
Vivid Light
Burns or dodges
by increasing or
decreasing the
contrast.
Hard Mix
Enhances the
contrast of the
underlying layers.
Hue
Uses luminance
and saturation of
the base and the
hue of the blend.
Luminosity
Is the inverse
effect from the
Color mode.
Open the file Ch09_Blended_Overlay.psd from the Chapter 9 folder on the CD to experiment with blending modes.
146 Chapter 9 Using Blending Modes
Blending Modes in Practice
So far you’ve looked at blending modes in a strictly technical
sense. While it’s useful to have a clear understanding of the tech-
nology, don’t lose sight of the design possibilities. Blending modes
are a great way to mix layers together. For a designer, this can be
a useful way to create backgrounds for speaker support (like Pow-
erPoint presentations) or DVD menus. Let’s dissect one of those
backgrounds:
1. Open the file Ch09_Speaker_Support.psd from the Chapter
9 folder on the CD. This eight-layer document uses blending
modes to create a complex background.
2. Turn off the visibility icons for all but the bottommost two layers.
3. Select the Train layer. It is currently set to the
Overlay blending mode. Changing its blend-
ing mode will create a different look.
4. A useful shortcut to cycle blending modes is
Shift++(plus). This will step you forward in
the blending mode list. Pressing Shift+- (mi-
nus) will step backward through the blending
mode list. If you have a tool selected that
has its own mode settings (such as the Brush
or Gradient tool), the shortcut modifies the
blending mode of just the tool. To quickly
change the mode on a layer, select the Move
tool (V) or Marquee tools (M) first. Ex-
periment with different blending modes and
opacity settings to try out different looks.
5. Repeat your blending mode experimentation
for the Light, Highlights, and Soft Focus layers.
Try out different modes and opacity settings.
6. Select the Blue layer. It is set to the Color
blending mode, which applies its color to all
layers below it. This is a very useful way to
tint multiple layers for a consistent look.
Blending Modes in Action 147
Continue to experiment with different combinations of blending
modes and opacity settings. This sample image provides just a
quick glimpse into the power and flexibility of blending modes.
DESIGN “RULES” FOR BLENDING MODES
Rule #1—Don’t try to memorize how each blending mode works:
The good news is that they are grouped by similar traits. As you make
29
VIDEO
TRAINING
Blending Modes
your way through the list, you will notice a gradual progression
through styles. The first group darkens your underlying image, whereas
the second lightens it. The third set adds contrast, and the last two
generate dramatic results by comparing or mapping values. Depending
on your sources, some blending modes will generate little or no results.
Sound confusing? Keep reading.
Rule #2—Experiment: The best way to use blending modes is to just
try them out. Clicking through a long drop-down menu is boring. A
much better alternative is to select the Move tool and then use the
Shift++ keyboard shortcut.
Rule #3—Exploit them: Do you need a quick visual pop? Try blending
a blurred image on top of itself. Do you need to tint an image? Place a
solid or gradient on top of the image and change to Hue or Color mode.
Blending modes are available for every filter (choose Fade Filter from
the Edit menu) and all the Brush tools.
Blending Modes in Action
Now that you have a little practice with blending modes, it’s time
to explore their creative and production side in greater depth.
Blending modes are part of a professional’s workflow. The next
three sections showcase a few different ways to better integrate
blending modes for professional results.
148 Chapter 9 Using Blending Modes
Instant Spice
One way to improve a washed out or flat image is through blend-
ing modes. By blending a blurred copy of an image on top of itself,
you can quickly create a visual pop. Let’s give it a try:
1. Open the file Ch09_Spice.psd from the Chap-
ter 9 folder.
2. Select the Background layer in the Layers
panel.
3. Duplicate the Background layer by pressing
Command/Ctrl+J.
4. Significantly blur the new layer by choosing
Filter > Blur > Gaussian Blur. A value of 25
pixels should do the trick.
5. Select the Move tool by pressing V.
6. Cycle blending modes by pressing Shift++.
Look for modes (such as Overlay or Soft
Light) that increase saturation and add visual
“pop” to the image.
7. If needed, adjust the opacity of the layer as de-
sired. You can quickly change opacity by typ-
ing in the first number of an opacity setting,
such as 4 for 40% opacity. You can type 25 to
quickly switch to 25% opacity, for example, if
a more specific adjustment is required.
Here’s a quick look at how different blending modes can be used to
add instant spice to an image.
Blending Modes in Action 149
Dissolve
Color Burn
Lighten
Linear Dodge
Soft Light
Linear Light
Difference
Saturation
Darken
Linear Burn
Screen
Lighter Color
Hard Light
Pin Light
Exclusion
Color
Multiply
Darker Color
Color Dodge
Overlay
Vivid Light
Hard Mix
Hue
Luminosity
150 Chapter 9 Using Blending Modes
Fixing a Shadowed Image
If an image is completely thrown into the shadows, you can turn
to blending modes to shed a little light. In fact, this is a technique
that is often used by law enforcement agencies to enhance security
photos or footage.
1. Open the file Ch09_Meter.tif from the Chap-
ter 9 folder.
2. Duplicate the Background layer by pressing
Command/Ctrl+J.
3. Set the top layer to Screen mode. You can
choose it from the pop-up menu in the Lay-
ers panel or press the keyboard shortcut
Shift+Option/Alt+S. The image should ap-
pear significantly lighter.
4. You can further lighten the image by placing
another duplicate copy on top. Press Com-
mand/Ctrl+J as many times as needed. Each
will lighten the image further.
Blending Modes in Action 151
Applying a Rubber Stamp
You can also use blending modes to make one image appear as if it
were applied to another. If you add the Free Transform command,
you can make that stamp match the perspective of the photo. Let’s
give it a try:
1. Open the files Ch09_Boxes.tif and Ch09_
Logo.psd from the Chapter 9 folder.
2. Select the Logo.psd file so it is active.
3. Choose Select > All and then Edit Copy to
add it to your clipboard.
4. Switch back to the Boxes file and choose
Edit > Paste.
5. Press Command/Ctrl+T to invoke the Free
Transform command. To harness addi-
tional transformations, right-click/Ctrl-click.
Choose Distort: This will allow you to corner
pin the logo and match its angle to that of the
box.
6. You now need to scale the logo smaller.
Right-click/Ctrl-click and choose Scale.
Shrink the logo so it fits better on the side of
the box.
7. Set the Logo layer to the Multiply blending
mode and lower its opacity to 85%. This will
make the Logo layer appear to be stamped on
the crate.
Table 9.1 provides the keyboard shortcuts to
make it easier for you to use blending modes.
152 Chapter 9 Using Blending Modes
NOTE
Table 9.1 Blending Shortcuts
Not All Modes Have Shortcuts
Result Windows Windows Mac OS
The two newest modes (Darker
Normal Shift+Option+N Shift+Alt+N
Color and Lighter Color) do NOT
Dissolve Shift+Option+I Shift+Alt+I
have a shortcut key.
Darken Shift+Option+K Shift+Alt+K
Multiply Shift+Option+M Shift+Alt+M
Color Burn Shift+Option+B Shift+Alt+B
Linear Burn Shift+Option+A Shift+Alt+A
Lighten Shift+Option+G Shift+Alt+G
Screen Shift+Option+S Shift+Alt+S
Color Dodge Shift+Option+D Shift+Alt+D
Linear Dodge Shift+Option+W Shift+Alt+W
30
VIDEO
TRAINING
Filters & Blending Modes
Overlay Shift+Option+O Shift+Alt+O
Soft Light Shift+Option+F Shift+Alt+F
Hard Light Shift+Option+H Shift+Alt+H
Vivid Light Shift+Option+V Shift + Alt+V
Linear Light Shift+Option+J Shift + Alt+J
Pin Light Shift+Option+Z Shift + Alt+Z
Hard Mix Shift+Option+L Shift + Alt+L
Difference Shift+Option+E Shift + Alt+E
Exclusion Shift+Option+X Shift + Alt+X
Hue Shift+Option+U Shift+Alt+U
Saturation Shift+Option+T Shift+Alt+T
Color Shift+Option+C Shift+Alt+C
Luminosity Shift+Option+Y Shift+Alt+Y
Color Correction
and Enhancement
The primary purpose of Photoshop is to act as a
digital darkroom, where images can be correct-
ed, enhanced, and refined. How do you know an
image needs touch-up? You can pretty much as-
sume every image can look a little (or even a lot)
better than how the camera captured it. Whether
it’s adjusting the exposure, increasing contrast,
or boosting saturation, Photoshop is the place to
improve an image.
Learning how to spot problems, and then choos-
ing the right correction technique is an essential
part of mastering Photoshop. Several different
tools are available, some more useful than others.
By analyzing the most important tools and deter-
mining in which situations they might help you, a
more thorough understanding of color correction
is possible.