Posts tagged "Layer Groups"

January 5, 2016

Adding Layers to Layer Groups in Photoshop

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).

5:16 AM Permalink
November 5, 2015

Displaying Layer Group and Artboard Contents in the Layers Panel

• 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.

The original state of the document, Cmd/Ctr -click once on the disclosure triangle collapses all Layer Groups, Cmd/Ctr -click again expands them (note that the nested Layer Groups remain in their original state.

These three screenshots of the Layers panel reveal: the original state of the Layers panel; Cmd/Ctr -clicking once on the disclosure triangle to collapse all Layer Groups/Artboards; and Cmd/Ctr -clicking again to expand them. (Note that the 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.

click the disclosure triangle to expand collapse all groups nested within the current group

These three screenshots of the Layer panel reveal: the original state of the Layers pane; Option/Alt -clicking the disclosure triangle to expand collapse all groups nested within the current group; Option/Alt -clicking the disclosure triangle again to reveal all contents of all Layer Groups – including nested Layer groups (“Nested Group 2” is expanded using this shortcut).

• 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.

5:58 AM Permalink
December 5, 2014

Applying Effects and Styles to Layer Groups in Photoshop

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.

I the example below, I put all of the layers that needed the same Layer Effect into the “Fish” Layer Group.

Because the Layer Style was applied to the “Fish” Layer Group, the Layer Style is automatically applied to all three layers included in the Group. Notice how the large “fish” on the left has a gradient and pattern overlay while the two other “fish” (whose layers aren’t included in the group) do not.

Any layers that I add to that Group will automatically have the Layer Effect Applied.

layer Styles are automatically applied as additional layers are added to the group.

Here, all of the layers that make up all three of the “fish” have been added to the “Fish” Group, so they all have the same gradient and pattern overlay (because Layer Styles applied to a Group are automatically applied as additional layers as they are added to the group).

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.

Even though the three Seaweed layers are within the group, each layer has it's own Layer style applied and we get the same results that we would if the layers were not with in a group

In this example,the same layer Style is applied to each plant layer.

layer style

In this example, the Layer Style is applied to the Layer Group. Notice how it appears as if the three plant layers are merged before the layer style is applied.

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”.

5:12 AM Permalink
March 11, 2014

My Favorite Shortcuts for Working with Layers

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.

5:00 AM Permalink
September 20, 2013

Repositioning Layer Stacking Order in Photoshop

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).

drag

Dragging the texture layer below the cactus group adds the texture to the layer group.

 

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.

dragging

Or, regardless of the state of the Layer Group (opened or closed) you can simply drag the Cactus Layer Group above the texture layer!

5:01 AM Permalink
April 24, 2013

Quick Tip – Displaying a Photograph within a Shape in Photoshop

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.

9:00 AM Permalink
February 27, 2013

Video Tutorial – 5 Reasons to Use Layer Groups in Photoshop

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.

5:16 AM Permalink
May 24, 2012

More Powerful Layer Groups in Photoshop CS6

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).

5:22 AM Permalink
May 1, 2012

Updates Layer Effects/ Styles in Photoshop CS6

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.

5:03 AM Permalink
April 30, 2012

Video Tutorial – Julieanne’s Favorite Enhancements for Working with Layers in Photoshop CS6

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!

5:13 AM Permalink
November 16, 2010

The Pass Through Blend Mode

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.

text

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.

5:51 AM Permalink
November 15, 2010

The Sixth Group of Blend Modes

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.

test

With the Color blend mode I find that I’m often having to guess how the color will appear (on top of the original image). Sometimes the resulting color is much lighter or darken than you may expect based on the content of the layers underneath. So, I find the following method a bit more predictable: Start by converting the image to B/W, then select the area that you want to add color to and then choose Layer > New Fill Layer > Solid Color. In the New Layer dialog box, set the Mode to Color and click OK. Then, you can interactively select the right color in the Color Picker - taking the guesswork out of the process. I also find that the Hue blend modes works better at times so be sure to give that a try.

4:46 AM Permalink
November 12, 2010

The Fifth Group of Blend Modes

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 first

The first image illustrates the leaf layer with it's blend mode set to Difference. The second illustration shows the result of Exclusion, then Subtract and Divide.

5:31 AM Permalink
November 11, 2010

The Fourth Group of Blend Modes

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 first illustration

The first image illustrates the leaf layer with it's blend mode set to Overlay. The second illustration shows the result of Soft Light, then Hard Light and Vivid Light.

The first illustration

The first image illustrates the leaf layer with it's blend mode set to Linear Light, then Pin Light and finally Hard Mix

One common use of the Soft Light blend mode is to dodge and burn. Instead of using the dodge and burn tools, you can achieve more natural and flexible effects by adding a new (blank) layer on top of the image that you want to dodge or burn. Set the blend mode for the layer to Soft Light. Then, paint with a brush with white in the areas that you want to dodge, or black in the areas that you want to burn. I would try setting the opacity of the paint brush to 5-10% and painting multiple strokes to slowly build up the dodge or burn, this will help to achieve more subtle effects. This is also a good way to remove harsh shadows from portraits as can be seen in the illustration above. A common use of the Overlay blend mode is to add a texture over an image. In the illustration below a scan of fiber-textured paper was placed on a layer above the landscape and set to Overlay. For a less dramatic effect, try setting the blend mode of the texture to Soft Light.

5:15 AM Permalink
November 10, 2010

The Third Group of Blend Modes

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.

The first

The first image illustrates the leaf layer with it's blend mode set to Lighten. The second illustration shows the result of Screen, then Color Dodge, Linear Dodge (Add) and finally, Lighter Color.

One common use of the Screen Blend mode is to build up or reduce density in an image. To lighten a very dense image like the boy on the left, add a levels or curves adjustment layer, but don’t make any changes in the Adjustment panel. There won’t be any visible change at first, but changing the blend mode of the adjustment layer (in the Layers panel) to Screen will lighten the density of the image. You can also try soft light for a more subtle effect (but again, I'm getting ahead of myself). If you need to lighten the image even more, you can duplicate the adjustment layer. If the image lightens too much, decrease the opacity of the adjustment layer or paint in the adjustment layer's mask to selectively hide the adjustment. If you’re image is too light (like the girl on the right, you can follow the same steps found above to add an adjustment layer, but set it's blend mode to Multiply to increase the density.

5:55 AM Permalink