When dragging and dropping a layer into a Layer group, Photoshop positions the layer at the top of the Layer stack (within the group). Holding the Shift key when releasing the mouse will position the layer at the bottom of the stack (within the group).
Posts tagged "Layer Groups"
• Command (Mac) / Control (Win) -click the disclosure triangle next to a Layer Group/Artboard to expand/collapse all layer Groups in the document. As you expand/collapse the Layer Groups/Artboards, note that any nested Layer Groups remain in their original state.
• Option (Mac) / Alt (Win) -click the disclosure triangle next to a Layer Group/Artboard to expand/collapse all Layer Groups/Artboards in the document - including nested Layer Groups.
• Or, Control (Mac)/ right (Win) -click the disclosure triangle next to a Layer Group/Artboard and choose “Close/Open this Group” or “Close/Open all Other Groups” from the context sensitive menus.
When you want to apply the same Layer Style (or Effect), to multiple layers in a document, try putting all of the layers into a Group and then add the Layer Style to the Group (instead of adding the Layer Style to each layer). That way, if you have to make changes to the Layer Style, you only have to make the change to the Layer Style on the Group.
Any layers that I add to that Group will automatically have the Layer Effect Applied.
One word of caution: if you have layers within the Group that overlap one another, Photoshop is going to act as if all of the layers within the Group are merged and then applies the Layer Style. In the illustration below, see how repositioning the two shapes in the Layer Group so that they overlap creates a very different result than when the Layer effects are added to each individual layer.
Note: if you do need to apply the same Layer Styles to several individual layers, there are many different ways to do this. My favorite method is to copy and paste via the context sensitive menu: Control -click (Mac) | Right -click Win to the right of the layer name on the layer with the desired style and choose “Copy Layer Style” from the context sensitive menu. Then, select the layers that need the layer style applied and Control -click (Mac) | Right -click Win in the layer (to the right of the name) and select “Paste Layer Style”.
Click here (2014 Favorite Layer Shortcuts) to download a compilation of some of the Layer shortcuts that I am going to share today in my compositing course at ADIM. Of course this isn’t a complete list, so feel free to search the blog for more in-depth tutorials, training, techniques and shortcuts for working with Adobe Photoshop and Lightroom.
Dragging in the Layers panel to reposition a layer below a Layer Group can give different results than expected. In the example below, dragging and dropping the texture layer below the Cactus Layer Group, results in the texture layer being added to the Layer Group (inside of it, instead of below it).
Instead, try clicking the disclosure triangle next to the Cactus Layer Group to close it (hide the contents), then drag and drop the texture layer below it.
Or, regardless of the state of the Layer Group (opened or closed) you can simply drag the Cactus Layer Group above the texture layer!
In this Quick Tip, Julieanne demonstrates three different ways to display an image within a shape in Photoshop including vector masks, clipping masks, and layer groups.
Layer Groups — they’re not just for organizing your layers! In this episode of The Complete Picture, Julieanne demonstrates 5 ways to use Layer Groups to create special effects in Photoshop.
In Photoshop CS6, not only can you use a Layer Group as the bottom of a Clipping Mask (so that you can clip the contents of a layer(s) to the contents of an entire group) but you can also add Layer Effects/Styles to a Layer Group to have the style applied to all of the layers in the Group (as a single unit).
In case you didn’t watch the video in yesterday’s post, here are some of the changes made to the Layer Effects/Styles in Photoshop CS6:
• The menu order of the Layer Effects/Styles has changed. Although it might not be obvious at first, they are now in the order in which they are applied to the content in the layer. For example, the Drop Shadow effect is applied (or will be rendered) below all other Effects, the Bevel and Emboss will rendered on top of any other Effects. This should help when visualizing how several effects are going to be applied to the contents of a layer or group.
• Layer Effects/Styles can be applied to Groups. As you can see in the illustration below, the layers on the left have a Stroke effect applied to each layer individually. The layers on the right have the Stroke effect applied to the Group. Applying the Layer Effect/Style to the Group has a different result because the layers are all treated as one (as if they are flattened) before the Layer Effect/Style is applied to the Group.
• Option -click (Mac) | Alt (Win) -click the disclosure triangle on the Layers panel to the right of the “fx” icon to hide/reveal all Layer Effect/Styles in the document.
• Both the Gradient Overlay and Stroke Layer Effects have a “Dither” option. Note: to apply a dither on a Stroke, first change the Fill Type to Gradient.
• There is a new command (Layer > Rasterize > Layer Style) which renders the layer effect into the layer (think of it as merging or flattening the Layer Effect/Style with the content of the layer).
• If any changes have been made in the Layer Style dialog under the Advanced Blending area, a new Blending Effects icon is displayed on the layer in the Layers panel.
In this video, you’ll learn time-saving techniques to boost your productivity as Julieanne reveals essential enhancements that will improve the way you work with Layers, Groups, the new Properties panel, and much more!
Layer Groups have a unique blend mode called Pass Through which is only visible when a Layer Group is targeted in the Layers panel. It allows any adjustment layers, blend modes, advanced blending options, opacity and fill values applied to layers within a Group, to affect layers below the Group in the layers panel. To restrict the blending of layers to only happen within a Group, change the Layer Group’s blend mode to Normal.
The sixth group of Blend modes have no neutral colors. They work in a hue, saturation, luminance space that is similar to but different from both HSB and HSL. In particular, while hue is the same in all three spaces, all of the spaces define saturation and brightness/lightness/luminance somewhat differently. All of the combinations described below are subject to clipping to keep the values in the valid RGB range.
• Hue – Creates a result color with the luminance and saturation of the base color and the hue of the blend color.
• Saturation – Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area that has no (0) saturation (gray) causes no change.
• Color – Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images. Color yields a result with the same hue and saturation as the upper color and the luminance of the lower color.
• Luminosity – Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode is the inverse of Color mode.
One of the common uses of the Color blend mode is for selective coloring effects using the painting tools, gradient fill layers and layer effects. For example, you can select the paint brush, set its blend mode to color and paint directly on an image (but this isn’t very flexible if you make a mistake). For more flexibility, you can choose to create a new layer and set it’s blend mode to Color and set the paint brush’s blend mode to Normal to paint any part of an image.
Difference, Exclusion and Subtract have a neutral color of black. This means that black as a blend color will have no effect on the result color. The Divide blend mode has a Neutral color of white.
• Difference – Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values.
• Exclusion – Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base color values. Blending with black produces no change. The effect is a bit like using one image to solarize the other.
• Divide and Subtract – Both are intended for us with calibrated imaging however interesting creative effects are also possible. For astronomy and microscopy: you want to subtract background values (dark frames, factoring out hot pixels, etc.), and divide by a flat field image (removing vignetting and other lens defects, bringing insensitive pixels back up to normal range, etc.). You can remove lens falloff even if you have something that Lens Correction can’t handle (like mirror lenses, dust on the lens, etc.). Of course you can also use them for HDR toning tricks (or experimentation). Martin Evening has posted an excellent tutorial on these two new blend modes. Click here to read more…
The fourth group of Blend modes have a neutral color of 50% gray. This means that 50% gray as a blend color will have no effect on the result color. All of the light modes (except for Hard Mix) lighten when using colors brighter than 50% gray and darken when using colors darker than 50% gray. This happens on a channel-by-channel basis so they can actually both lighten and darken at once.
• Overlay – Multiplies or screens a scaled version of the blend color into the base color based on whether the lower color is darker or lighter than 50% gray. Colors darker than 50% are multiplied, colors lighter are screened. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced but is mixed with the blend color to reflect the lightness or darkness of the original color.
• Soft Light mode – Darkens or lightens the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area but does not result in pure black or white. It uses gamma adjustment s to darken or lighten. The effect is similar to shining a diffused spotlight on the image.
• Hard Light – Multiplies or screens the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white. The effect is similar to shining a harsh spotlight on the image.
• Vivid Light – Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast. Vivid Light uses color burn and color dodge to darken or lighten.
• Linear Light – Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness. Linear Light uses linear burn and linear dodge to darken or lighten.
• Pin Light – Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. Pin Light uses darken or lighten modes to darken or lighten. This is useful for adding special effects to an image.
• Hard Mix – Lighter colors lighten the result. Darker colors darken the result. Lowering the fill opacity creates less posterization/thresholding.
The third group of Blend modes have a neutral color of black. This means that black as a blend color will have no effect on the result color. These blend modes all have stronger effects as the blend color becomes lighter. Using the Fill slider on Layers palette and using blend modes from this group may modulate this effect rather than performing a simple opacity blend the way normal mode does. The lightening modes are essentially the inverses of the darkening modes.
• Lighten – Looks at the color information in each channel and selects the lighter of the base or blend color as the result color. Pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change.
• Screen – Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. The effect is similar to projecting multiple photographic slides onto the same screen. Screen reduces contrast and can produce and effect similar to painting an area with bleach.
• Color Dodge – Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing the contrast. Color Dodge is an exception to the neutral color rule in this group – it is the only lightening mode that preserves blacks. Color Dodge is similar to moving the input white triangle in Levels. As such, color dodge increases contrast but may clip the brighter portions of the lower colors to white.
• Linear Dodge – Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Linear dodge is the combination of color dodge and screen. As such, it has a stronger lightening effect than either of them. Linear Dodge will clip bright values, unlike Screen.
• Lighter Color Compares the total of all channel values for the blend and base color and displays the higher value color. Lighter Color does not produce a third color, which can result from the Lighten blend, because it chooses the highest channel values from both the base and blend color to create the result color.