Almost all of the blend modes in Photoshop have their own keyboard shortcut. They all begin with Option + Shift + a letter (Mac)/ Alt + Shift + a letter (Win). Most often the letter is the first letter of the name, but not always!
Normal + N
Dissolve + I
Behind + Q (Brush tool only)
Clear + R( Brush tool only)
Darken + K
Multiply + M
Color Burn + B
Linear Burn + A
Lighten + G
Screen + S
Color Dodge + D
Linear Dodge + W
Overlay + O
Soft Light + F
Hard Light + H
Vivid Light + V
Linear Light + J
Pin Light + Z
Hard Mix + L
Difference + E
Exclusion + X
Hue + U
Saturation + T
Color + C
Luminosity + Y
I couldn’t find a shortcut for Subtract or Divide, but if you know of one, please add it in the comments!
If you want to quickly cycle through the painting tool’s blend modes, hold the Shift key and hit the “+” (plus) or “-” (minus) to move forward or backwards. Careful: f you have a tool selected that is not a painting tool, these shortcuts will affect the blend modes on the Layers panel.
I’m sorry, I completely forgot to blog about this! I was asked to make another guest appearance on the Photoshop Playbook series, so here’s a short tutorial on how to add textures to photographs (both locally as well as selectively) in Photoshop. I hope it’s helpful!
Clicking on the adjustment layer icon at the bottom of the Layer’s panel quickly adds an adjustment layer while bypassing the New Adjustment Layer dialog box. However, when adding Gradient and Solid Color Fill layers, I often want the option to change the blend mode of the layer (before choosing the colors). Fortunately, Option + (Mac) | Alt + (Win) clicking the icon will display the Adjustment Layer’s dialog box where I can quickly make the changes I need.
“Join Julieanne Kost as she walks you through her creative thought process and explains how she transforms concepts and raw images into entirely new works of art using Adobe Photoshop. Discover how to select the images you need to create a whole that is greater than the sum of its parts. Master the tools used in compositing, including adjustment layers, masking, blending, and Smart Objects, so that the technology doesn’t get in the way of expressing your creative vision. Learn how to adjust scale and perspective and manipulate texture and focus to help viewers temporarily suspend their disbelief long enough to enter your world.”
What makes a good composite?
Refining your story
Composing using the basic principles of design
Customizing your Photoshop workspace
Preparing elements from your source images
Adjusting color, tone, balance, and perspective
Mastering the Pen tool
Unifying with texture, focus, leading lines, and structure
There are several new features in Photoshop CS6 that make working with layers more efficient.
• In previous versions of Photoshop, we could select the Move tool (or the Marquee, Lasso, Quick Select etc. – basically any tool that didn’t have an Opacity setting), and use the numeric keys on the keyboard to change the opacity of a layer. Tapping one number assigns the percentage of the tapped number (1 = 10%, 2= 20% etc. and 0 = 100%). Tapping two numbers quickly will give you that exact amount (5 + 4 = 54%). In Photoshop CS6, tapping 0 + 0 quickly will set the Layer’s opacity to 0 (zero). This works with either a single layer or multiple layers selected.
• With multiple layers selected, you can now change the Blend Mode for all selected layers.
• If a layer is targeted (selected) in the Layers panel, but hidden (the eye is toggled off) the Opacity and Blend Mode are now visible.
• With multiple layers selected, you can now lock all selected layers by tapping the lock icon.
• With multiple layers selected, Command + J (Mac) | Control + J (Win) will duplicate the selected layers. This shortcut works for Layer Groups as well.
• With Multiple layers selected, Control -click (Mac) / Right Mouse -click (Win) on the eye icon in the Layers panel to change the color label of all selected layers at once.
In this episode of The Complete Picture, I will demonstrate how to create a single vector logo out of multiple type and shape layers, specify a consistent size, apply a style and save the entire creation as a Tool Preset! In addition, I will show you how to add a scan of your signature to any photograph with a simple change of a layer blend mode.
Changing the blend mode of a Curves (or Levels) adjustment layer on the Layers panel from Normal to Luminosity will restrict the adjustment to only change the luminosity (grayscale) value of the image, thereby eliminating an color shift that might otherwise take place.
In this episode of The Complete Picture, Julieanne discusses how the addition of color as well as supporting imagery can help reinforce the mood and message of a composite image that a single photograph may fail to do on it’s own. Discover how to composite images through the use of masking, blend modes, smart objects, gradients and edge effects.
To add a color wash to multiple layers, create a new layer and fill it with any color (we will hide the color in a minute but you need the layer to be filled with something in order for this to work). Click the “Add a Layer Style” icon at the bottom of the Layers panel and choose “Blending Options” from the list. In the Layer Style dialog, in the Advanced Blending area set the Fill opacity slider to 0 (zero). Click Gradient Overlay to display it’s options, Set the Blend Mode to Color and choose a gradient preset (by clicking on the small downward facing triangle to the right of the gradient) or create your own (by clicking in the gradient area and using the Gradient Editor). Of course you can always experiment with other blend modes such as Soft Light, Hue and Multiply, Color is simply a starting point.
To add a color wash (or color overlay) to a layer using a Gradient Layer Style, simply select the layer and click the “Add a Layer Style” icon at the bottom of the Layers panel and select Gradient Overlay from the list. (Note: the Layer Style must be applied to a layer, not the Background, to turn the background into a layer, double click the word Background.) In the Layer Style dialog, in the Gradient Overlay area, set the Blend Mode to Color and choose a gradient preset by clicking on the small downward facing triangle to the right of the gradient or create your own (by clicking in the gradient area and using the Gradient Editor). The advantage of using a gradient Layer Style over a Gradient Layer, is that this “effect” can be saved as a style (by clicking the New Style button in the Layer Style dialog) and then applied to any other image with a single click (using the Styles panel).
When burning down edges in a traditional darkroom, the corners were often affected more than the sides (due to overlap). To achieve this effect in Photoshop, create a new layer and set it’s blend mode to Multiply on the Layers panel. Then, select the Gradient tool and select the “foreground to transparent” gradient from the gradient picker (in the Options bar). Select a light to medium gray as your foreground color (or select black and lower the opacity of the Gradient tool) and set the blend mode for the Gradient tool to Multiply. Position the gradient tool at the outside edge of the image and click-drag the gradient into the image as far as the burned edge is desired. Repeat for each edge.
The first illustration is of the original image. The second and third illustrations both show the darkening (burning) of the edges (both use a separate layer with their blend mode set to Multiply in the Layers panel and 50% gray as the foreground color). However, in the center illustration the blend mode for the Gradient tool is also set to Multiply - notice how the corners are darker than the sides. In the third illustration the blend mode of the Gradient tool was set to Normal - as a result, the corners and sides are all the same value. Obviously the edges are exaggerated here for demonstration purposes - to reduce the effect, you would simply decrease the opacity of the layer on the Layers palette.
If you have multiple layers in a Layer Group, instead of setting each layer’s blend mode individually, try setting the blend mode for the Layer Group. This will treat all of the layers in the Group as if they were “merged” together, then blend them as one.
In the first example each individual layer has it’s blend mode is set to Multiply. In the second example, each individual layer has it’s blend mode is set to Normal, but the Layer Group is set to Multiply - as you can see the results are very different.
A great way to ensure that a change you make to an image is only affecting the tonal (not color) values is to set the blend mode to Luminosity. For example, if you have an area in an image that is too dark and you want to lighten it without changing the colors, add a Curves Adjustment Layer and set the blend mode to Luminosity. Then raise or lower the curve as necessary – without affecting the color values. This can be especially helpful when dodging or burning skin-tones. If you want to affect the colors and not the tonal values, simply change the blend mode to color.
The Multiply blend mode is a good technique to combine line art with textured, alternate background. For example, if you have an original pen and ink drawing, you can scan it in, place the layer on top of a new background or on top of different colors and then set it’s blend mode (on the layers palette) to Multiply to combine the images. I’ve even seen people apply “temporary” tattoos on photographs using this technique.
Here are a few examples of when I have found the Multiply Blend mode useful in my own work. Although none of the blended layers are "line art", they are all high contrast photographs with white backgrounds (or almost white) which blend easily. The first is a photograph taken in the Forbidden City in Beijing China composited with a motion blur image of the ocean, the second were bats flying in Austin, Texas right before sundown (composited over a second photo of the overpass), the third, a photograph of a target at a shooting range, multiplied with a paper texture with the Chicago skyline painted below, and the fourth a silhouette of trees in the fog in central California multiplied against a prison wall in New Mexico being lit by window light.
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.
In this example, I added a Black and White Adjustment Layer to make the two layers - the hat and coat and tie, in the Layer Group to display a black and white. However, because the Layer Group’s blend mode was set to it’s default “Pass Through” blend mode, the Black and White Adjustment layer passed through the bottom of the Layer Group and affected the Background layer as well. Changing the Layer Group’s blend mode to “Normal” restricted the Black and White Adjustment Layer to only affect those layers within the Layer Group - allowing the Background layer to appear in color.