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Multiply Mode

then in this menu, the next thing we have is an entire section of blending modes right here. Ah, and the top Most one is darkened. I'm gonna call that grouping the darkened modes because each and every one of them can only darken your picture. That's kind of why they're group together and to show you how they work. I'm going to create a new layer here, and I'm gonna put something simple in that layer. I'll grab the Grady Int tool and I'm going to make a Grady int across our image, just dragging from left to right. So that is on the layer above. And let's take a look at how some of those modes work. The mode that I find to be easiest understanding there is the one called Multiply Mode. Now I don't like its name, but it's easy to understand. Once somebody describes it, multiply mode acts like ink in. So imagine that you already had this picture right here, printed on a sheet of paper. And you sent that sheet of paper with this image already printed through a printer a second time. And on...

the second pass, you printed what's on this layer. Think about what that would do. Well, how do you print white When you go and use a printer and you print white, it just leaves the paper alone. So that means that area of the image where you see white should be unchanged when we end up using multiply mode. Then, if you want to make something just a little bit dark, you'd put just a little bit of ink on the sheet of paper. When you print, you want to make it a lot darker. You had a lot of ink, and thats all its going to do is just add that to the image that's underneath. But the area that's white should just disappear. So you see what's underneath because the way you print white is to leave the paper alone. So let's change this menu to the choice called Multiply. And that's what it looks like is if we're printing with ink and we printed the contents of this layer on top of what's underneath that's multiply. So what could we use multiply mode for? There's all sorts of things we can use multiply mode for Ah, let's say I came in here and well here. I have a tattoo. Let's give my wife, Karen, who was in the other picture, a tattoo. This is my arm, it says, walking on the wild side. And it's a ego holding a wacom pen. This if he had a graphics tablet. I got that when I was at teaching at a conference called Photo Shop World. It's actually a ballpoint pen tattoo, so it was only there for a short time. I'm gonna make a selection around this just to get rid of anything that it doesn't really contribute to the tap to. I'm using the lasso tool so I can make a free form shape and I just go like that. I'm gonna copy, and then I'm gonna go back to that image of my wife, Karen, and I'm gonna paste. In case you're unaware to change. Which document? Your viewing. There's keyboard shortcut. It's controlled tab on Mac or windows. So I think it's the same on both. And so controlled tab means go to the next document. In shift controlled tab means go to the previous and so that's how I suddenly switch to the other document. Not that critical, but all right, so now the next thing I want to do is if I were to use multiply mode right now, then it's gonna print what's on this layer as if it was ink on the image underneath. Well, how would you print the color of skin? Wouldn't you put down a bunch of magenta and yellow ink to do that so it would end up shifting the color of what's underneath? I can show you just change the mode to multiply, and you can see that color of skin being printed on top. We don't want that, so I'm gonna set it back to normal. What I really need is to get the area that's surrounding the tattoo to be white, because white is the one color that disappears in multiply mode in. So all I'm going to do is adjust this layer in the an attempt to make the surroundings white. To simplify things, I might first come in here and choose image adjustments de saturate de saturated pull all the color out so he won't have the color of skin in there that does. The exact same thing is going and applying a human saturation adjustment layer in lowering the saturation all the way down. It's just a short cut for it now. I'm going to adjust this image to attempt to get the background around it. White and I can use many different adjustments. I'll use levels because many people are comfortable with that one. It's easier to understand that some of the others in the upper right that slider forces areas to white. So I'll bring it in until I start getting white around the left side of the tattoo. When it comes to the right side. I think if I go far enough that this area over here becomes white, I'm gonna lose too much of the tattoo here. Let's find out. I'll just keep moving this over and tell the whole background turns white, which is about there, and I see I'm losing too much. So I'm only going to do this until the left side of the tattoo becomes white. Click OK, then, to get the rest of it, I'm gonna go down here to one of my tools. There's a tool we haven't used in the classes yet. That's right here. It looks like a Popsicle, and thats well if you click and hold on. It has more than one in its slot, but it's called the Dodge Tool, and what it does is it brightens things. So I'm gonna take the Dodge Tool with a soft edged brush, and I'm just gonna paint over here where my arm was a little bit darker in an attempt to get closer to white. And then I'll paint one more time, and I think I'm getting close to getting that toe white. So now if we were to print that with ink on an inkjet printer, think about how we go about doing it. Wouldn't leave the white areas alone, where it wouldn't touch the paper and then Onley where the tattoo is is where would put some ink down. So let's change this menu now to the choice called Multiply Mode. And then it's kind of a big tattoo, because if I move it around, you can see it in there. I want to just put that on her shoulder there, so I'm gonna choose edit free transform. That's how you scale and rotate things. When I choose free transform Aiken, grab these corners, pull it in towards the middle to scale it down and click somewhere within the image to move it around to rotate. I move my mouse outside of those handles, and if you look at my mouse, you'll see it looks like a curve with some arrows on the end. That's indicating your rotating. As long as you're outside, you can do that. And I'm just gonna rotated 180 degrees because Karen shoulders are upside down and maybe scale us down to get it so it would fit within the area. I would like zoom up with Command Plus Control Plus and Windows, and now you can see how she's starting to get a bit of a tattoo. Now there is a little cleanup I need to do, and all have to do is either grab the eraser tool war, grab the paint, brush and paint with white, and I can paint around any areas either eraser or painting with white with a normal brush tool to clean it out. I'm not going to spend too much time cleaning it up, though. I think I could have done better using the, um, the Dodge Tool just needed a paint, probably one more time, but you get the idea that it's multiply mode that it's allowing this to print onto Karen skin here. If I were to set it back to normal, you'll see it just has a white background. Well, not everybody has to do these kinds of things with a tattoo every day, but you might want to sign your pictures with your signature. So why not just sign your name on a white sheet of paper, take a photograph of it or scan it in, put it on a layer and sent it to multiply mode. The only other thing you'd have to do is adjust it. So make sure that the background surrounding your signature is truly white instead of a shade of gray because it's on Lee White that disappears in multiply mode. In fact, that is a common quality of all of the blending modes that are found in that same category. The same section of the blending mode menu, with all of those white disappears in any color that disappears in a particular blending mode is what's known as being neutral neutral, meaning they'll have a neutral effect on what's underneath. Nothing will happen. Eso with any of those white will simply disappear So then, any time you're going to use one of those modes, like multiply mode, you might as well try the other modes that are found in there. Here's darkened mode. There's color, burn mode, linear burn mode and darker color, so I might use linear burn. And if anything ends up having to large of an effect on your image, feel free to lower the opacity of layer. I just go to the top of my layers panel. Click on the word opacity and drag to the left toe. Lower it. So there we go. You could also use multiply mode. If you ever have a shadow in the picture and you want the shadow to print on to something else. Let's say you had a white background, just a white sheet of paper. You put a coffee mug on that sheet of paper and you took a photograph of it. Well, you could select the coffee mug in the photograph and put it on its own layer, so it's just the mug and not the sheet of paper it was sitting on. Then, if you have that sheet of paper it was sitting on, it would have the shadow for the mug sitting there well, said it to multiply mode, and suddenly it'll print on whatever's underneath. So I would have the mug on its own layer. And then the background that was originally shot on a separate layer said, It's a multiply mode and it'll print on top like this. Then we can use that for transplanting things between images as well. Let's see if I can take this tree in easily put it in another picture. I'm gonna make a selection here that just gets rid of my wife, Karen. Sorry, Karen just don't want you to be transplanted. And I'm using the lasso tool right now selected that I'll go to the edit menu and choose copy. Then let's switch to a different document. I can close this one, and I'm gonna put it on that wall that's there. So I'm going to do is choose paste. Here it is, and I might transform it so it's in a size that might look appropriate. Put it so end right where that board at the top hits somewhere in there. And if I choose edit free transform, I can scale it up or down. I want to make it so it ends right where the top of the of that table begins, and then I might move it over so it's somewhere right in there. Wanted to look like that shadow was falling onto that wall. Well, we have a couple choices we could try here if you think the background surrounding the shadow that's there is brighter than what's behind this picture right now, you could choose a mode called darkened mode in dark, and moded compares the layer you're currently working on. Two. Whatever is behind it in on Lee, the most areas that are darker than what's behind it can show up, so anything that is the same or brighter than what's behind it will simply disappear. And so I could try darkened mode. And then, if any parts of the surroundings air showing up, just adjust that layer. Maybe goto levels in levels. Pull in that upper right slider, which will force more and more areas toe white. It just is gonna brighten it, starting with the brightest portion and then click. OK, so we somewhat transplanted here. That's not quite the same as multiply mode. Darkened node is going to leave the shadow is dark, as it was previously in on Lee. The areas that are darker than what's underneath show up in multiply mode. It always combines the brightness. Or, I should say, the darkness of the layer we're currently working on with the darkness of what's underneath, because it's like printing with ink, and there just happens to already be some ink on the sheet of paper. There happens to be, however, much is underneath, so multiply mode would make this darker and in multiply mode, that background has to be completely white. Otherwise, any little hint of darkness in it will be translated here. So that's why dark and mode was more useful in this particular instance. Then, if I don't want it to print on top of this radio, I would add a layer mask. We have a session as part of the complete guide that talks about layer masks. It's awaited to temporarily hide the contents of layer, and I could come in here and paint with black and get it off of the radio, so you get the idea. There are many other uses for the other choices that are in that section with the main thing to keep in mind is that white disappears. So if you ever do anything and a lot of white shows up in the end result, you want to get rid of the white. But keep whatever is left over than those particular modes could be. Useful on instance of that might be to use a filter. Certain filters will produce an awful lot of white on. If you want to see an example of that, I suppose we can use the same image here. I'm going to duplicate the layer that contains this image. One way of duplicating us a type command J that means jumped to a new layer. Control Jame Windows, Uh, and then I'll run a filter. The filter I'm going to try here is filter style eyes find edges and with find edges. Look at how much white you get. It's like the majority of the images white well, in all of these first ah section of those dark and blending modes, white is neutral, meaning it disappears. So if I go over here to darken, you're gonna find the white stuff right away, disappears and then I contrives an ultra tive multiply mode I can try color burn mode, court the darker color. It's a personal choice as to which one you like. And if it's too much with any of those, you could just lower the opacity of the layer. And if you don't want it to apply to the entire image again at a layer, mask him paint with black, read, don't want it to apply. All right, then let's take a look at some of the other modes, the sections that air here. So again, I'm gonna create a simple layer, which would be a Grady INTs across this image. And you remember when we went in here and used multiply mode, I said that that acts like ink in with ink. Ah, this white area here I would leave the paper alone, so that's gonna leave the image alone. And then, as it gets darker and darker, it's just going to add more and more ink to the image