Layer Blend Modes

Austin Batchelor
A free video tutorial from Austin Batchelor
Concept Artist and Illustrator
4.5 instructor rating • 14 courses • 205,283 students

Lecture description

In this lecture students will learn about layer blend modes.

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12:24:45 of on-demand video • Updated May 2018

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English [Auto] All right so we're going to be going in this lecture over all of the layer blend modes. Now we're not going to be going over all the windows in Photoshop because there are some that aren't covered in pro-create but most of them are the ones that are uncovered aren't really going to be important when it comes to digital painting you're probably never going to use them. So as far as this goes. We are going to go over all the ones to procreate so you can see here I have this base layer which is going to be what our blend modes are going to interact with so we can get an idea of what they do and then we have this layer which is grayscale we have from black to white. And that ingredient from black to white and then just three colored boxes of black white and then 50 percent gray. OK. And then we have here we have a dark will mid-tone color will in a light color will and then a gradient from red all the way through all the hues back up to red and then these color blocks which are used for C M Y K and R G B color systems or game. So we're going to be using these to create or blend modes to interact with this Lebanese. So our base layer which is this tree this valley scape. Set to normal we're not going to change that. But we are going to be changing these as we go. So let's start with the first one which is going to be our darkened section. We're going to start with multiplying. OK. Now what multiply does is it multiplies the layer on top by the layer beneath. Case you could see here. White does nothing. The image is not changed at all. If we're looking over all the way on the right side I want to make a new layer here and drawn it so you can see where I'm pointing. So too big. Get pencil. OK so white which is over here on this side of things completely unchanged. But if you look over here where it's black it goes all the way dark because when you look at white as the value of 0 when you multiply white with anything you get nothing right. So it's not going to do anything when you multiply black with something it's going to go all the way black. So that's multiplying if we look over here with our values our colors over here you can see does the same thing. It's just multiplying it by whatever's underneath. So the dark color red is going to be a lot darker than the light color with the light color we're almost has no change to it. It's just a little bit of a difference. OK. So that's multiply what you're mostly going to multiply for we'll be creating shadows and that's going to be the majority of its uses. The next one in the list is going to be linear burn now linear burn is similar to multiply. It's going to decrease the value of the base color based on the value of the blend color. OK so the blend color is this layer on top and the base color is what's below. Right. So you can see it's similar to multiply. It's going to provide more contrast in the darker areas. OK. So you can see White has no effect. But Black does have an effect. And if we switch between this and multiply you can see that it provides a lot more contrast over here where it gets into the dark blues than multiply does. OK multiply just kind of well so to even everything out as it gets darker and linear O'Byrne is going to provide that contrast that we're looking for. OK. Next one is color and color burn it's going to increase the contrast between the base layer and the blend layer. Some of it like when you use the burn tool. OK. So if you ever use a burn tone for a sharp color burn is the same thing only it covers the entire layer and it's basing it off of whatever is on the blend layer on top. And we can see if we change this one to color burn as well. It's going to do the same exact thing. Let's look at Darkon. Hey Darkon is when did two layers get compared. OK so the layer on top which is our blend layer and in the letter beneath it this is our base layer the blend layer compares the two layers. And which ever value is darker is the one that gets represented. OK. So for example over here on the right if we look in the white area there's nothing. Everything is darker than white. OK so nothing's changing. All right but if we look over here where it gets darker it's comparing. OK. Is the value below this lighter or darker than what's in my blood. If it's the blend mode is darker then we're going to show that instead if the blend mode is lighter it's like a shop at all. So you can see in the 50 percent area here anywhere where the original image was brighter than 50 percent gray. It got filled in with 50 percent gray like the hole in those trees there or in the sky. It just got filled in. 50 percent gray hair. That makes sense. Moving on. Let's go to. Next is the lighting category. OK so violators are going to be basically the exact opposite of the Darkon category. OK. Light in does the opposite of what darkened. So if we like that it's going to do the same thing as Darkon but instead it's comparing the values and instead of going with the darkest one and is going with the lightest one you can see here white is all the way light because it's picking the. Now you liking that one instead. And same with on this side over here. Dark. There's nothing darker than black. And so it's unaffected came essentially the exact opposite of Dargan. OK. Let's go to the next one which is going to be screen. OK screen is the opposite of multiply K takes anything darker or sorry takes anything lighter than that. We need it and multiplies it by the chosen color while multiply takes anything darker than the original layer and multiply that by the chosen color. OK so screen opposite of multiply. And we can see that she just wanted to screen to you just so you can see and we can turn that off and turn it back on. Does the exact same thing. The darker the value is the less effect it's going to have when you're using screen and the brighter it has a more effect it will have. OK. So that screen next one is at. OK. So it is pretty similar. It's just a lot less strong. It's almost the same thing just not as powerful. And then color died. Yeah. There we go cold dodge here. It's going to decrease the contrast based off of what the values are. So it's going to create really saturated mid tones and then blown out wipes. It's another one that you probably won't use that much. Not very common but it is there for the rare circumstances where you might like the effect it provides. And we turn off the color you can see what it does as well. OK. So just to explain that again it's decreasing the contrast Kate. It's creating admin tones and then blowing out the wipes in order to create that contrast. OK. Next we have let's turn this off. Bring this back on. Move on to our contrast category. So contrast is our legal modes apply both the lightning and darkening effects. OK so if it's darker than 50 percent gray that's going to have a darkening effect applied. And if it's higher than 50 percent it will have a lightening effect. So it's possible to have basically both multiply and screen happening in the same time using these layers. OK. So it's just going to be comparing anything in the blend layer. Anything darker will get multiplied anything lighter. So we use overlay. It's basically multiply and screened combined. OK but a half strength. So instead of being full blown all the way out and takes whatever screener would be in whatever multiplier would be and brings them down to 50 percent of their original power. OK. So instead of going all the way black even though it's black all way on his left side over here it just darkening it by 50 percent of what it normally would be and sort of bringing all the way white like it otherwise would have. It only brings it to 50 percent of that. This is really useful for adding extra layers and things like that because it was evenly distributed over the whole image especially if your texture has different values to it and you can lower the opacity to get the desired effects without distorting your image too drastically. So if we change color one over here to overlay you can see as well it all it's doing is changing that and if it's darker and makes it darker if it's lighter it brings a lighter than the base image can. Next one is going to be soft light. So let's check out soft light here. Well let's do a hard life first hard light is basically the exact same as overlayed. It's over instead of having that 50 percent issue is at 100 percent. So it's including multiply and screen on the same layer. Anything brighter than 50 percent gets the screen filter applied anything darker than 50 percent gray gets the multiply combined. But instead of bringing things down to 50 percent like we did with overlay then we're just pulling out all the way tapes you could see here. If we compare it back with overlay anything in the black range doesn't go all the way black but on hard light it does. Same with the whites. OK. And we can compare it up here as well. Well turn that off ok. Same thing. All right. Moving on. So we have hard lights and we have soft light. OK. Soft light is just a I mean it's you could think of it as a softer version of overlay it does a similar thing has a similar effect just not nearly as powerful and same effect. All right moving on we have our next category which is the difference category. So in the difference category what it does is it looks for variations between layers to create the blend. OK so we'll start with exclusion here. Exclusion is going to in verse the layers so Black has no effect. And White is complete inversion. OK. So anywhere in between there it's going to be a less intense effect right. So we could see here everything that's why on the right side has been completely inverted. OK the opposite of what it was before and then same on the left one we get a black. Nothing has happened. We can do the same thing if we go over here to our color layer and we do exclusion from that on you can see it does the same thing. Pretty simple. It's a pretty specific effect. You're not going to use it very often but maybe you want to make something look like it's from like another dimension or something like that you really just want a twist of years-I then you can use the exclusion layer to have the next one is going to be a difference and now difference inverts the value based off of the difference between layers so small differences are going to get darker and big differences are going to get lighter. OK so the change is a difference will turn out later on you could see what I'm talking about. OK. So the bigger the differences between the baseline the blend mode and the more inversion there is and the less of a difference or is the lesson learned there. It's pretty similar to exclusion. Once again the differences are pretty minimal. It's not something you're going to need to be using fairly often at all if ever. But that's what it does. OK let's move on to the next one which is subtract OK now subtract is essentially the opposite of add subtracts the value of the blood layer. OK so if the Blen layer is up here you could see the whites the value of white is very high. It's a very high value. So it's taking that and subtracting it from the image underneath only leaving the darkest eyes behind which is why it looks black on the side where we're supposed to be black. There's absolutely no difference because there's nothing to subtract the value is absolute zero. The next one in the next category is going to be the color category. OK so we'll change this to color the color category only affects hue saturation and luminosity. OK. Unlike the other one. So. What it's going to do. It's only going to change you but not the saturation or value. So you can see right here since this is grayscale. It turns everything black and white. But if we come to our color layer and we change it to here turn this back on it's only only going to be changing the hue. So luminosity and saturation stays the same. So in the base image of something's really desaturated it's not going to change and make it more saturated or something is really dark. It's not going to make it brighter but it will adjust whatever the saturation and luminosity pixels hue is to whatever's on top. So you could see in the sky still stays the same value still stays the same saturation but instead the huge change to this yellow or wherever it is on the on the color wheel and the next one is going to be run. Let's do this one is saturation. This is similar to piu but instead it only changes the saturations on this one. Q Is uneffected luminosity is unaffected by saturation is affected. K. so the more saturated it is the more of a difference it's going to make on here. All of these are equal saturation. So there's virtually no difference. Next one is going to be Peller. OK. So color it's going to combine in saturation layers and only leaves the luminosity untouched. OK. So that's going to take whatever the human saturation is of the blood layer which is our color whorls and stuff like that. And I take that and that's going to alter the layer underneath the luminosity which is its values how light and dark gets stays unchanged. OK. So it's going to bring the saturation up to match whatever's on the top layer. It's going to bring the hue around to match for drivers on the air but the actual values how bright or dark is is going to be unchanged. This is pretty good if you want to change a color or something you can make a new layer on top of your painting and then paint over it and it's going to completely change your color while not actually changing your value structure. So that's really useful. And then the last one is going to be luminosity. OK. So lunacy is a really weird one you rarely use it but what luminosity does is basically the opposite of color. OK. It's going to leave you in saturation untouched but it will change luminosity. OK so it's going to adjust the base layers value based off of the blend layers value that's going to leave the hue saturation the same as it was before. So you know all the greens blues in the sky all that stuff stays the same. But how bright or dark it is is going to be changed to match what's on the top layer and what's skin something you want used but now that you understand it you can possibly think of a use for when you might want to use it anyways. That's it for those lecturn those are the layer blend modes. I know it's a lot to take in. Luckily as we go through this course whenever I switch to a new blend I will explain it and tell you why I'm doing it and what it does to give you a little bit of a refresher. And that way you can see actual real world painting examples of when you might be using these layers. So I suppose Doctor and I'll see you guys in the next one.