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- [Narrator] In this

movie I'll introduce you



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to the remaining blend modes,



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starting with overlay and

ending with luminosity.



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Alright, so I'll go ahead

and click on the head



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to select it.



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And remember, that the edges are hidden



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if you're working along with me.



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But you can always bring them

back by pressing Control + H,



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or Command + H on the Mac.



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I want to keep them hidden,

so I'll go ahead and



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press that keyboard shortcut again.



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And then I'll click on the word opacity



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and I'll click on screen right here



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to bring up the blend mode pop-up menu.



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Now as I was saying,



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multiply is your ultimate darkening mode.



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Screen's your ultimate brightening mode.



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These guys, overlay through hard light,



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all combine both of those modes together



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in order to create a

heightened contrast effect.



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So we'll start with overlay,



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which tends to be the most

flexible of the three.



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Although again, because they're

based on multiply and screen



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they're all going to

deliver smooth results.



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Alright, so notice in the case of overlay



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that we're darkening the

background with our darkest colors,



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and we're brightening the background



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with our brightest colors.



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That is to say, the darkest

and brightest colors



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inside the face.



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And the other colors emerging according to



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their luminous in-between.



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We're also heightening the

saturation of the colors.



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So that's important to bear in mind.



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But the ultimate thing is that



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the luminous levels are being compromised.



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That is, the shadows and the highlights



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are being compromised

by the background image.



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So when you select overlay,



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the background is more powerful

than the selected object.



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And we'll come back to exactly

what that means in a moment.



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Now if you want a more subtle effect,



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you can go with soft light.



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Now it's popular to think that soft light



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is a reduced-opacity version of overlay.



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That's simply not true.



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It is a unique effect.



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It employs very different math.



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And it does generate

a truly softer effect,



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as we're seeing right here.



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Now if you want to increase the contrast



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beyond what you get with overlay,

then you want hard light.



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Which, notice is going

to keep those blacks



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in the hair and the collar,



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as well as the very bright

colors in the flesh.



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It's also going to give us some of those



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heightened saturation values

that we saw with overlay.



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But just as overlay gives

more power to the background,



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hard light gives more

power to the foreground.



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Which is why, in very real terms,



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hard light and overlay are opposites.



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Let me show you what that means.



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Right now, I've got the

image set to hard light.



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But I could grab that gradient background



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and put it in front of the image,



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then unlock it and click on

that gradient to select it.



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And then if I were to go

up to the opacity setting,



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which, as I was telling

you, shifts around up here



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in the control panel

depending on what's selected.



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And if I were to change it

to overlay this time around,



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which is going to give more

power to the background image.



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Which, in this case, is

the place photograph.



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You can see that we get the same effect.



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So setting the gradient to

overlay produces the same effect



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as setting the image here to hard light.



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Which is the way it's set right now.



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So notice nothing appeared

to change on-screen,



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even though I changed

the order of the layers



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here inside the layers panel.



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Now the reason that we're

not worried about the fact



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that the gradient now has a

blend mode associated with it



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is that there's nothing behind it.



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Blend modes only blend with

stuff in the background.



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If there is no background,

then the object on that layer



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is treated as opaque.



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In other words, it's

basically automatically



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subject to the normal mode.



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But the image is still selected.



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You can see that here

inside the layers panel.



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And you can see it if I press Control + H,



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or Command + H on a Mac,



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to bring back those edges.



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Anyway, I'm going to hide those guys.



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So there you have overlay

through hard light.



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We'll be seeing more of

those guys in the future.



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Next we have difference, which

is the first inversion mode.



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And what it does is it

uses the luminous levels,



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once again, from black to white



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in order invert the

image in the background.



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Now black doesn't have any effect.



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So you can see it ends up dropping out.



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So we end up with this

floating head effect once more.



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Why it ends up inverting absolutely,



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and the brighter the colors are,



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the more inversion that takes place.



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So as you can see here,



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the opposite of deep

violet is bright green.



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And so we're getting a color

inversion inside the image.



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If you want to brighten

things up a little bit



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and get rid of some of the

harsher color transitions,



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you can try exclusion.



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Now in many ways, exclusion

is a kind of compromise



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between difference and screen.



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Which is why we're still getting



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that floating head effect here.



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And so I want you to see the difference.



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This is the screen mode

with its uniform colors,



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and this is exclusion which

has a lot of similar makeup



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where the luminous levels are concerned,



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but we get these inverted

colors in the highlights.



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Alright, so rule of thumb.



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Difference, pretty darn useful.



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It's great for achieving

inverted text effects,



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as we'll see in a future movie.



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Exclusion is kind of

that effect you choose



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if you thought difference was

going to work and it didn't.



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And so you figure you'll try this instead.



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That's pretty much it.



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Alright, next we have got

hue through luminosity.



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And to understand them,

we have to take a look



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at the color theory that we reviewed



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back in chapter six of

the fundamentals course.



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You may remember that

hue is the core color.



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So it's the color that

we're seeing represented



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around this big color wheel,



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starting with red and

then ending back in red.



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Saturation controls the

intensity of the colors,



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starting at no saturation.



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That is gray here in the center.



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And ending up with vivid colors



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around the edge of the circle.



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Now this next item talks about brightness,



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which goes from bright color to black.



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We'll be looking at luminosity,

which is very similar,



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but it goes from white, through

all the colors, to black.



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And so that's where we're going to start,



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because it's the easiest one to understand



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in the case of the selected image.



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So I'll click on opacity,

click on exclusion,



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and select luminosity.



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And what that's going to do

is keep the luminous levels,



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the various shades of brightness.



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Starting with the shadows,

going through the midtones,



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and ending with the highlights.



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But we're going to keep

the color of the gradient



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in the background.



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So everything is going to look purple.



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And just for the sake of comparison,



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here's normal, which is a

colorful version of the image.



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And here's luminosity, which still has



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all those luminous levels,

but we're throwing away



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all the color and we're

giving it to the background.



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If you want to do exactly the opposite,



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then you would choose color.



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Now that's going to be less effective



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where the photographic image is concerned.



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Because we're throwing away

all the luminous levels



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inside the image and we're

just applying the color.



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Which is why we're losing

all the color in the hair,



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and in the eyes, and in the collar here



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where the image is black.



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And we're losing stuff in

the eyes and the forehead



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where the image is almost white.



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Color and luminosity

are opposites, however.



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So if I were to scroll down



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to the gradient layer once again,



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drag it in front of the image layer,



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and select it by clicking in the gradient.



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And then go up to this opacity option,



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which is shifted around again.



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And I were to switch to color,



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I would get that same effect

we were seeing with luminosity



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where the image is concerned.



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Because we're keeping the

color of the gradient,



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and the gradient is very colorful.



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And we're keeping the luminous levels,



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the opposite of color,

from the image below.



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Alright, I'm going to

grab that gradient layer



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and throw it down below once again.



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And then I'll click on the

image itself to select it.



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And we'll take a look

at these last two guys,



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hue and saturation.



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They are the components of color.



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And so if you were to

select hue, you would get



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all the bright saturation

levels from the gradient.



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So we're still keeping the

luminous from the gradient.



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We're also adding in

its saturation values.



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The only thing we're

getting from the image



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is the hue values.



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And as a result, everything

is super saturated



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because the background is saturated.



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If you wanted to do the opposite,



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just keep the saturation

levels from the image



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and blend them with the

hues and the luminous levels



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from that gradient background.



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Then you'd choose saturation.



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That is not going to be

a very powerful effect



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where a photographic image is concerned.



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And you can see we're just

dropping out saturation values



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all over the place.



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We really only have some

hot zones in the lips,



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and a little bit in the eyes.



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I hate to leave it there

at the end of the movie,



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so I'll go ahead and

switch back to luminosity.



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Which is, perhaps, most evocative



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where this image is concerned.



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Remember that you can mix

any of these button modes



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with the lower opacity value.



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And so if I were to tap the

5 key by virtue of the fact



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that I've installed D-keys,



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then I would combine the luminosity mode



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as we can see over here

in the transparency panel,



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with an opacity value of 50%.



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And that, friends, is how

you work with the last half



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of the blend mode pop-up menu.



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Starting with overlay and

ending with luminosity.