- [Instructor] Alright, we still have a few movies left,
but I'm hoping they just fly by
as I show you how to transform our artwork so far
into this elaborately tattooed face.
And, as I mentioned at the onset,
I'm hoping that you're going to be terribly relieved
that I created all the path outlines in advance.
So, first we need to do a little clean up.
Here inside the layers panel,
go ahead and click on the "your" layer
and then Control or Command click on the "glasses" layer
as well as "push posh".
And, by virtue of the fact that you Control or Command click
as opposed to Shift clicking, you will have selected
these layers independently of the others.
At which point, drop down to the Trash icon in the bottom
right corner of the Layers panel and click on it,
then click on the Yes button to get rid of those layers.
Alright, now I want you to unlock the "image" layer,
twirl it open, twirl open the Clipping Group,
and notice that we have two images here.
Go ahead and target the top image
by clicking on its circular meatball
on the right-hand side of the Layers panel,
and then press the Backspace key
or the Delete key on a Mac to get rid of it.
Now, target the remaining image
and go up to the Transparency panel,
click on Luminosity, and switch it to Normal.
Or, if you loaded D keys, you can just press Shift-0.
Alright, now twirl this layer closed and lock it.
And now notice that we have two layers of tattoo:
"tattoo 1," which looks like this,
and then we have "tattoo 2."
And these are all path outlines that I more or less
drew by hand using the pen tool.
So, it's obviously something of a labor of love.
Alright, so notice that all the paths are filled
with one of two colors.
Either this very dark brown right here
or this very dark blue,
which will provide us with a little bit of variety.
Alright, I'm going to start with the tattoo layer,
so I'll turn it on.
For the moment I'll turn "tattoo 2" off.
And then, I'm going to go ahead and target the entire layer
by once again clicking on the circular meatball,
and that's going to allow us to apply an effect to the layer
as opposed to the contents of the layer.
Now what you want to do is press Control-H,
or Command-H on the Mac, to hide those selection outlines,
and I'm going to zoom in on the eye right here.
Now, you might expect that the best mode for tattoos
would be Multiply.
And I say that because Multiply
is a kind of magic marker effect.
It really does emulate how ink soaks
into paper or skin or what have you.
But in our case, perhaps because these objects are so dark,
Multiply provides us with a very dark effect indeed,
and it's difficult to see the skin texture
and other details in the background.
Now you can, assuming you loaded D keys,
press something like the seven key
to reduce the opacity value to 70%,
but that's not really the effect I'm looking for,
so I'll just press Control-Z, Command-Z on the Mac,
to undo that change.
Now, notice Color Burn.
It's kind of interesting.
It brings out some of the skin detail here,
but it also provides us with some very harsh transitions,
and we get some super-saturated colors.
Again, not what I'm looking for.
Another one to try out is Overlay,
which does provide us with some
pretty interesting skin texture,
and we're able to bring out
these highlights in the forehead.
The only problem is that we don't have much
in the way of darkness, which is why,
in the end, I decided on Hard Light,
which produces this effect here.
And in areas, it's going to look pretty opaque,
but around the eyes in particular,
we get some great interaction.
Alright, now I'll go ahead and turn on "tattoo 2" like so,
and I'll target it by clicking on its meatball,
and I'm going to zoom out a little bit.
And this time around, again, you can experiment
to your heart's delight, but I came up with Difference,
which produces this really interesting effect.
Now, what's so great about it, I'm going to Undo.
What I want you to watch,
is notice that these stripes right here are blue,
and these upside down triangles are brown.
But, As soon as I apply the Difference mode,
we get a kind of opposite effect.
The stripes turn a kind of light brown,
and the upside down triangles turn a light blue.
And, so Difference is going to invert
those colors once again, and we're going to end up
with not only lights where we once had darks,
but also complementary colors as well.
So, the color complement to blue
is this kind of orange right here,
and the color complement to brown is a very light blue.
Alright, so I'll press Control-H or Command-H in a Mac
to bring back my selection edges.
I'll press Control-Shift-A, or Command-Shift-A on a Mac,
to deselect my artwork, and then I'll zoom out
by pressing Control-0 or Command-0 on a Mac.
Alright, now what's so great about applying blend modes
to entire layers is that you can now
switch things back and forth.
So, I'll zoom in just a little bit more than this,
and I'll scroll down.
And imagine that we decide that these lines right here,
which are all combined into a single compound shape,
and these lines as well, would be better off dark.
That is to say, better off subject to the Hard Light mode,
then all we have to do is select them
and then go over here to the Layers panel
and drag that little green square
from the tattoo layer down to the "tattoo 1" layer,
and everything changes on the fly.
So in other words, none of these path outlines
are directly affected by a blend mode.
Rather, the entire layer is.
And so if I take these guys as well,
click on one, Shift-click on the other,
and drag them and drop them onto the "tattoo 1" layer,
they become immediately affected by that Hard Light mode.
And also worth noting, I'm going to go ahead
and zoom in here and press Control-Shift-A
or Command-Shift-A to deselect my artwork.
Notice that we don't have any interaction between
this path outline right here and these guys over here.
Normally, they'd be darkening each other,
notice this right here, I'll go ahead and zoom in,
the way that these light brown lines
are darkening the dark brown ones.
Normally we'd see that kind of interaction,
but in this case we're not seeing it at all,
and that's because all of those path outlines
exist on the exact same layer.
And that goes for these guys too.
Notice that this path leaks up into these,
and so before, when these guys were located
on the tattoo layer, we were getting
a kind of interaction right there.
And it's even more obvious up here
along these path outlines,
but because now all of these paths exist on the same layer,
that's not occurring, because again, the blend mode
is assigned to the layer, not the individual paths.
Alright, I'll go ahead and zoom back out
and back in as well, I'm just trying to reset my view here,
and now let's say I decide that these guys
right here are way too dark,
and so I'll click on this one, Shift-click on this one,
these are the paths along the bottom of the eyelids,
and I'm going to Shift-click on each
of these two paths as well,
and now I'll go ahead and drag the purple square,
because this time around,
these guys exist on the "tattoo 1" layer,
and I'll go ahead and drag that purple square up
until it turns green,
and that goes ahead and drops those guys
onto the "tattoo 2" layer,
at which point they appear inverted,
as well as bright instead of dark.
So in other words, what was formerly a blue path
is now a brownish, a light brownish path,
and what was formerly a brown path
is now a light blue path.
Alright, now I'll click off my artwork
in order to deselect it.
And that, my friends, is the raw power of applying
blend modes to entire layers here inside Illustrator.