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- [Instructor] Alright, we

still have a few movies left,



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but I'm hoping they just fly by



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as I show you how to

transform our artwork so far



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into this elaborately tattooed face.



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And, as I mentioned at the onset,



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I'm hoping that you're going

to be terribly relieved



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that I created all the

path outlines in advance.



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So, first we need to do a little clean up.



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Here inside the layers panel,



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go ahead and click on the "your" layer



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and then Control or Command

click on the "glasses" layer



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as well as "push posh".



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And, by virtue of the fact that

you Control or Command click



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as opposed to Shift clicking,

you will have selected



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these layers independently of the others.



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At which point, drop down to

the Trash icon in the bottom



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right corner of the Layers

panel and click on it,



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then click on the Yes button

to get rid of those layers.



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Alright, now I want you to

unlock the "image" layer,



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twirl it open, twirl

open the Clipping Group,



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and notice that we have two images here.



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Go ahead and target the top image



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by clicking on its circular meatball



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on the right-hand side

of the Layers panel,



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and then press the Backspace key



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or the Delete key on a

Mac to get rid of it.



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Now, target the remaining image



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and go up to the Transparency panel,



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click on Luminosity,

and switch it to Normal.



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Or, if you loaded D keys,

you can just press Shift-0.



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Alright, now twirl this

layer closed and lock it.



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And now notice that we

have two layers of tattoo:



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"tattoo 1," which looks like this,



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and then we have "tattoo 2."



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And these are all path

outlines that I more or less



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drew by hand using the pen tool.



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So, it's obviously something

of a labor of love.



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Alright, so notice that

all the paths are filled



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with one of two colors.



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Either this very dark brown right here



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or this very dark blue,



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which will provide us with

a little bit of variety.



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Alright, I'm going to start

with the tattoo layer,



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so I'll turn it on.



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For the moment I'll turn "tattoo 2" off.



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And then, I'm going to go ahead

and target the entire layer



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by once again clicking

on the circular meatball,



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and that's going to allow us

to apply an effect to the layer



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as opposed to the contents of the layer.



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Now what you want to

do is press Control-H,



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or Command-H on the Mac, to

hide those selection outlines,



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and I'm going to zoom in

on the eye right here.



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Now, you might expect that

the best mode for tattoos



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would be Multiply.



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And I say that because Multiply



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is a kind of magic marker effect.



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It really does emulate how ink soaks



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into paper or skin or what have you.



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But in our case, perhaps because

these objects are so dark,



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Multiply provides us with

a very dark effect indeed,



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and it's difficult to see the skin texture



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and other details in the background.



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Now you can, assuming you loaded D keys,



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press something like the seven key



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to reduce the opacity value to 70%,



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but that's not really the

effect I'm looking for,



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so I'll just press Control-Z,

Command-Z on the Mac,



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to undo that change.



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Now, notice Color Burn.



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It's kind of interesting.



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It brings out some of

the skin detail here,



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but it also provides us with

some very harsh transitions,



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and we get some super-saturated colors.



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Again, not what I'm looking for.



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Another one to try out is Overlay,



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which does provide us with some



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pretty interesting skin texture,



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and we're able to bring out



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these highlights in the forehead.



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The only problem is

that we don't have much



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in the way of darkness, which is why,



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in the end, I decided on Hard Light,



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which produces this effect here.



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And in areas, it's going

to look pretty opaque,



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but around the eyes in particular,



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we get some great interaction.



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Alright, now I'll go ahead and

turn on "tattoo 2" like so,



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and I'll target it by

clicking on its meatball,



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and I'm going to zoom out a little bit.



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And this time around,

again, you can experiment



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to your heart's delight, but

I came up with Difference,



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which produces this

really interesting effect.



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Now, what's so great about

it, I'm going to Undo.



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What I want you to watch,



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is notice that these

stripes right here are blue,



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and these upside down triangles are brown.



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But, As soon as I apply

the Difference mode,



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we get a kind of opposite effect.



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The stripes turn a kind of light brown,



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and the upside down

triangles turn a light blue.



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And, so Difference is going to invert



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those colors once again,

and we're going to end up



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with not only lights

where we once had darks,



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but also complementary colors as well.



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So, the color complement to blue



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is this kind of orange right here,



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and the color complement to

brown is a very light blue.



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Alright, so I'll press

Control-H or Command-H in a Mac



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to bring back my selection edges.



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I'll press Control-Shift-A,

or Command-Shift-A on a Mac,



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to deselect my artwork,

and then I'll zoom out



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by pressing Control-0

or Command-0 on a Mac.



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Alright, now what's so great

about applying blend modes



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to entire layers is that you can now



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switch things back and forth.



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So, I'll zoom in just a

little bit more than this,



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and I'll scroll down.



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And imagine that we decide

that these lines right here,



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which are all combined into

a single compound shape,



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and these lines as well,

would be better off dark.



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That is to say, better off

subject to the Hard Light mode,



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then all we have to do is select them



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and then go over here to the Layers panel



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and drag that little green square



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from the tattoo layer down

to the "tattoo 1" layer,



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and everything changes on the fly.



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So in other words, none

of these path outlines



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are directly affected by a blend mode.



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Rather, the entire layer is.



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And so if I take these guys as well,



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click on one, Shift-click on the other,



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and drag them and drop them

onto the "tattoo 1" layer,



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they become immediately affected

by that Hard Light mode.



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And also worth noting,

I'm going to go ahead



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and zoom in here and press Control-Shift-A



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or Command-Shift-A to deselect my artwork.



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Notice that we don't have

any interaction between



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this path outline right here

and these guys over here.



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Normally, they'd be darkening each other,



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notice this right here,

I'll go ahead and zoom in,



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the way that these light brown lines



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are darkening the dark brown ones.



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Normally we'd see that

kind of interaction,



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but in this case we're

not seeing it at all,



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and that's because all

of those path outlines



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exist on the exact same layer.



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And that goes for these guys too.



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Notice that this path leaks up into these,



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and so before, when

these guys were located



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on the tattoo layer, we were getting



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a kind of interaction right there.



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And it's even more obvious up here



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along these path outlines,



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but because now all of these

paths exist on the same layer,



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that's not occurring,

because again, the blend mode



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is assigned to the layer,

not the individual paths.



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Alright, I'll go ahead and zoom back out



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and back in as well, I'm just

trying to reset my view here,



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and now let's say I decide that these guys



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right here are way too dark,



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and so I'll click on this

one, Shift-click on this one,



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these are the paths along

the bottom of the eyelids,



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and I'm going to Shift-click on each



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of these two paths as well,



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and now I'll go ahead and

drag the purple square,



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because this time around,



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these guys exist on the "tattoo 1" layer,



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and I'll go ahead and

drag that purple square up



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until it turns green,



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and that goes ahead and drops those guys



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onto the "tattoo 2" layer,



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at which point they appear inverted,



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as well as bright instead of dark.



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So in other words, what

was formerly a blue path



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is now a brownish, a light brownish path,



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and what was formerly a brown path



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is now a light blue path.



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Alright, now I'll click off my artwork



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in order to deselect it.



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And that, my friends, is

the raw power of applying



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blend modes to entire layers

here inside Illustrator.