Detailed explanation of photoshop layer mode

Detailed explanation of photoshop layer mode
1.Normal mode
Because eye color is treated as light (rather than physical paint) in PhotoShop, it will not be used in composition or coloring works formed in Normal mode To the subtractive property of wink. For example, in Normal mode, a 50% opaque blue selection above a 100% opaque
bright red selection produces a lavender color rather than the deep purple you would expect when mixing physical pigments. As you increase the opacity of the blue selection, the resulting color becomes more blue and less red, until at 100% opacity blue becomes the color of the combined color. Applying blue to the red area with the Paintbrush I tool at 50% opacity has the same result; the more you paint over the red area, the more of the blue foreground color becomes the final color in the area. Therefore, in Normal mode, it is never possible to obtain a mixed color darker than the darkest of the two mixed color components.

2.Dissolve mode

When Dissolve mode is defined as the blending mode of a layer, it will produce unpredictable results. Therefore, this mode is best used with the Shading application tool in Photoshop. U1ssQlve mode takes a 100% opaque foreground color (or sampled pixels, when used with the Rubber Stamp tool), alternating with the underlying original color to create a diffuse dither-like effect. The lower the opacity of the color or image sample typically used in Dissolve mode, the less frequently the color or image will disperse from the original image pixels. If you trace a path with an opacity less than or equal to 50%, Dissolve mode creates a stripe around the edge of the image. This effect is important for simulating the edges of torn paper or the "splash" type of artwork.

3.Behind mode

This blending mode is available in the shading application tool, but is not used for the properties of the composition layer. In Behind mode, only transparent and partially transparent areas on the layer can be colored, fully opaque pixels are unaffected in this mode. In Behind mode, you can achieve the effect of filling gaps in layer content, or apply a foreground color (or a sample image when using a Rubber stamp tool) to the back of a piece of acetate media.

4.Clear mode

Clear mode is similar to the effect of erasing opaque areas on a layer. This mode cannot be applied to a layer. Only the Stroke command, Fill command, and Paint Bucket tool can clear pixels on a layer. There may never be a need for users to access Clear mode, as the equivalent editing work (with more predictable results) can be performed using the Eraser tool and Photoshop's many masking features.

5.MuItiply mode

This mode can be used for coloring and as an image layer mode. MuItiply mode subtracts the brightness value of the source material (whether colored or placed on a layer) from the background image to obtain the final composite pixel color. Applying lighter colors in MuItiply mode has no effect on the final pixel color of the image. The MuItiply mode is very popular for simulating shadows. Realistic shadows never depict a character that is a lighter color or tone than the source material (the shadow) or the background (the area from which the shadow is obtained). In this chapter, you will use MuItiply mode to add a drop-down shadow to Lee in the recovered image.

6.Screen mode

Screen mode is Muliiply’s anti-pattern. Regardless of whether you use a color tool in Screen mode to apply a color, or you assign a layer to Screen mode, the result of merging the source image with the background is always the same composite color or a lighter color. This screen mode is useful for creating neon glow effects in images. If you paint a layer with white (or any light color) around the edges of the background object, and then assign the layer Screen mode, you can get a full or thin glow effect by adjusting the layer's opacity setting.

7. Overlay Mode

This mode mixes the color placed or applied to a layer with the background color in a non-artistically logical way, however, it can produce interesting effects. Solid black or solid white areas in the background image cannot display overlay shading or image areas on the layer in Overlay mode. Luminance values ​​in the background area that fall between black and white are mixed with the color of the 0ver1ay material to produce the final composite color. In order to make the background image appear as if it was shot together with the design or text, Overlay can be used to draw a design or text on the background image.

8.Soft Light Mode

Soft Light mode uses color to darken or brighten the background image according to the color tone in the background. For example, if you paint a background image 50% black, which is a gradient from black to white, the darker areas of the gradient become darker while the lighter areas take on a lighter hue.

9. Hard Light Mode

This mode is essentially the same as the Soft Lishi mode, except that the background color is multiple or masked according to the color in the background. Its effect is stronger than Soft Light mode. Like Overlay, this mode can also simulate patterns or text on the surface of background objects.

10.Color Dodge Mode

Color Dodge mode is similar to the effect created by Screen mode, except that edge areas on layers specified in this mode are sharper, and strokes are colored in this mode. Additionally, whenever you define color Dodge mode to blend foreground and background pixels, the dark areas on the background image will disappear.

11.Color Burn Mode

This colo, Burn mode creates an effect similar to that created by MuItiply, except that the lighter areas on the background disappear and image areas take on sharp edge properties The effect created by the pattern.

12.Darken Mode

In this mode, only the tones on those layers whose on-layer color (or tinting applied in Darken mode) is darker than the background color are adopted. This mode causes colors that are lighter than the background color to be removed from the composite image.

13.Lighten Mode

In this mode, which is the opposite of Darken mode, lighter color areas dominate the composite image. Darker areas on layers, or shading applied in Lighten mode, do not appear in the composite image.

14.Difference Mode

Difference mode is best for using mid-tone or mid-tone coloring on a layer. This mode creates the opposite color of the background color. For example, in Difference mode, applying blue to a green background will produce a combined turquoise color. This mode is suitable for negatives that simulate original designs, and is especially useful for creating a popping effect in images where the background color changes from one area to another.

15.Exclusion mode

This mode produces a softer and brighter effect than D1fference mode. Both Difference and Exclusion modes can produce more realistic or attractive image synthesis of people or natural scenery images.

16.Hue Mode

In this mode, the color value or tinted color of the layer will replace the color of the underlying background image. It is helpful to think of Hue, Saturation, and Brightness (HS color modes) when using this mode. Hue mode replaces the basic color components without affecting the saturation or brightness of the background image.

17.Saturation Mode

This mode uses the intensity (color purity) of the color on the layer (or the color used with the shading tool) and emphasizes the color on the background image according to the color intensity. For example, when applying a pure blue to a dark gray. In the background image, the original solid color in the background appears, but the blue is not added to the composite image. If you choose a neutral color (one that does not show the dominant chroma), this does not happen for the background image. Any changes. Saturation mode can be used to show the underlying colors in the image that have become darker in color intensity over time

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