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- [Instructor] In this movie,



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I'll show you how to create type



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that inverts everything behind

it using the difference mode



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and if you've ever seen this demoed before



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in any software, what

I'm about to show you



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will hopefully blow your mind,



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because it not only employs difference,



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but we're also going to integrate



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the saturation and overlay modes



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in order to make sure that the text



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is either white or black



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with just a few gray values in between.



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All right, so I'll go ahead



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and switch over to my document so far,



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and I will switch to the

layers panel right here.



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Once again, I'm really

running out of room,



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so I'm going to double

click on the swatches tab



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in order to collapse that panel,



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and then I'm going to have to

drag this horizontal bar up,



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and notice that we have

a layer called "your"



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and then we have one called "push posh,"



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and together, they make up

the headline for this image.



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Now, notice that all the letters



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have drop shadows currently,

and that's necessary.



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Notice if I click on the word "your,"



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and all this text by the

way has been converted



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to outlines, but it could be live text,



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notice if I were to switch

to the appearance panel



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and turn off that drop shadow



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and then click off the letters,



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we're really losing the

contrast right there,



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but in my opinion, the drop

shadow is a clumsy solution.



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I would rather come up with

something like this here.



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All right, so the first

thing I'm going to do



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is select my text.



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Your text has to be

white, absolutely white



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for this trick to work,



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and then what you want to do

is click into word opacity



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up here in the control

panel, wherever it may be,



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then click on normal

and choose difference,



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and that's all it takes to create text



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that inverts everything behind it.



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Notice if I move it to

a different location,



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it's still going to invert everything.



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Problem is, it does so very colorfully,



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and I personally find that effect



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to be extremely distracting



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and not all that legible to boot.



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So, I'm going to press control Z



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or command Z on the Mac,



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to put that text back where it goes,



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and I'm going to zoom in as well



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so that we can watch the magic.



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So the next thing you want to do



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is switch to the layers panel



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and go ahead and target the layer.



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So you want to select the entire layer.



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One of the great things

about any container



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inside Illustrator is that you

can assign blend modes to it,



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but in our case, we're going to assign



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attributes to the layer, fill attributes,



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and then we're going to

assign blend modes to those.



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So go ahead and switch over

to the appearance panel



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and drop down to the add new

fill icon and click on it,



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and so yes, you can add fills to layers,



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and so imagine that we have

a kind of infinite fill



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that just happens to be

clipped by these letter forms.



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Now for some reason it comes

in as a weak black in my case,



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and so I'm going to go ahead and click



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on this fill swatch right there



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and what you want to do is

select any shade of gray,



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doesn't matter which one, just grab one,



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and then twirl that fill

open, if it's not already,



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click on the word "opacity"



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and change the mode once

again to saturation,



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and that'll go ahead and leach the colors



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out of those letters,



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and the reason this is

working so brilliantly



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is that we've applied this

fill on top of the layer,



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so think of it this way.



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We'll go and switch back

to the layers panel.



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You've got the word "your"



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that's set to the difference mode,



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and then you're piling

something on top of it,



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and it's very important

that you do it this way,



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that you're working on a container,



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because if you just tried to

apply gray to the word "your"



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and you set it to the saturation mode,



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it wouldn't work,

because after all, white,



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which is the color of the text,



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already has no saturation,



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so you're not going to

get any work done there,



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but you can plot more blend

modes on top of each other



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by essentially nesting that

text inside this layer.



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All right, now I want

to increase the contrast



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so that we have fewer of these grays,



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and we have more in the

way of black and white.



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Now, if I were working in Photoshop,



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I would apply a levels adjustment layer,



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but there is no such thing as

levels inside of Illustrator,



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but we've got the next best thing here.



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We're going to apply a gradient



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and set it to the overlay mode.



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So drop down to the add new fill icon,



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and once again click on it.



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It doesn't matter it's

on top of the stroke



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because we don't need a

stroke for this effect.



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Then what you want to do is

bring up your gradient panel



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if it's not already up,



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make sure the fill is active

instead of the stroke,



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and then just click on the gradient slider



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in order to add, with any luck,



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a default white to black gradient,



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and I'm going to double click

on this black color stop



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and notice it's set to a K value of 100%.



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That's going to be a weak black,



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which is not what we want,



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and so to darken things

up, go ahead and switch



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from gray scale to RGB,



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and you'll end up with a nice, rich black.



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The R, G, and B values should all be zero.



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All right, now this thing's

going the wrong direction,



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so I'm going to set it

to 90 degrees let's say,



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which is the opposite of what I want.



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I want the dark stuff to be at the bottom



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and the bright stuff at the top,



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and so I'm going to click



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on the reverse gradient icon



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in order to set the gradient

in the right direction.



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All right, now make sure

this fill is twirled open,



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click on its opacity setting,



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and change the blend mode to overlay,



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and you'll see in a second



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that overlay's going to provide

us with the best results.



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Now, I'm going to move this black value up



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in order to provide more

darkness, notice that,



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and I'm going to move

the white color stop in



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toward the left in order to

make the whites brighter.



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So just to give you a sense,



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this is what we had before,

and this is what we have now.



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Now, it maybe tempting to try

a different contrast mode.



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You could go with soft light, by the way,



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if you wanted to essentially

undo some of your work,



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or you could try out hard light.



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The thing about hard light is



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you're going to see the gradient.



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Notice that the gradient is overtaking



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the hair in the background,

and that's not what we want,



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which is why overlay is going

to give us the best effect.



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Now, if you know anything about Photoshop



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and you've ever done any

masking in Photoshop,



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you may have set the brush,

the actual brush tool,



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to the overlay mode and

brushed inside the mask



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in order to darken and

brighten the details.



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That's exactly what we're doing here,



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and that's why it's

working out so brilliantly.



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All right, but I'm going to

back things off a little bit.



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I'm going to set the location



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for the black color stop to 50%,



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that's not backing things off,



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that's making it more radical,



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and then I'm going to click

on the white color stop



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and change its location to 60%



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in order to produce

this effect right here.



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All right, let's see it in action.



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I'm going to deselect

the text for a moment,



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and then I'm going to press control zero



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or command zero on a

Mac to center my zoom.



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Now I'll grab that text once again,



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I'll press control H or command H on a Mac



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in order to hide the edges,



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and then notice you can drag this text



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anywhere you want it to be,



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and it's going to end up giving

you that inversion effect.



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Now, it's not going to be very legible



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over some of the facial features,



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but you're getting a sense



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for just how flexible this effect is.



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All right, I'm going to

move it back where it goes



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by pressing control Z or command

Z on the Mac a few times,



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and now because we don't need

those drop shadows at all,



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I'll go ahead and select the word "posh"



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and just to make sure it's selected,



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press control H or command H on a Mac



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to bring back the edges,



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and I'll shift click on the word "push"



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and here in the appearance panel,



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I'll just go ahead and turn

off the drop shadow like so.



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And that, folks, is how you create text,



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or anything else for that matter,



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it could be a path outline,



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that inverts everything behind it



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using the difference mode



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combined with saturation and overlay



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here inside Illustrator.