GRAPHICS PRO

October '20

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G R A P H I C S - P R O. C O M 2 0 2 0 O C T O B E R G R A P H I C S P R O 8 5 PAINTING Painting with blend modes is a little dif- ferent. When a painting or editing tool is selected, the blending mode specified in the Options bar (Figure 2) controls how pixels in the image are affected. When a blend mode is assigned to a brush, the image's color is affected by the blend color to produce a resulting color on the pixels that the brush touches with the for- mula (Figure 3). It's helpful to think in terms of the fol- lowing colors when visualizing a blending mode's effect: The base color is the origi- nal color of the image. The blend color is the color being applied with the paint- ing or editing tool such as the foreground color. The result color is the color result- ing from the blend. BLENDING PRINCIPLES The basic principle behind blend modes— whether applied by a paint or editing tool, layer styles, or directly on layers—is that a mathematical formula called an algo- rithm affects the area the brush touches or on aligned pixels. When the algorithm is applied, the colors of the two layers are mixed together in unique ways. Depending on the mode, opposite col- ors like reds and greens may cancel each other and produce areas of dark gray or black. Colors that are closer to each other on the color wheel, like reds and yellows, may produce richer, more saturated or- anges. With 27 blend modes to choose from in Photoshop, 16 in Illustrator, and 21 in Corel PaintShop Pro, you can imagine the many possibilities no matter what software you're using. COLOR VOODOO Sometimes the colors achieved with a blend mode are not at all what you might expect. Here a few of examples of commonly uti- lized blend modes used to darken, lighten, enhance contrast or produce radically dif- ferent effects: Multiply—Looks at the color informa- tion in each channel and multiplies the base color by the blend color. The resulting color is always a darker color.Multiplying any color with black produces black. Multi- plying any color with white leaves the color unchanged. When you're painting with a color other than black or white, successive strokes with a painting tool produces pro- gressively darker colors. The effect is simi- lar to drawing on the image with multiple marking pens. Screen—Looks at each channel's color in- formation and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple photographic slides on top of each other. Figure 2. When a painting or ed- iting tool is se- lected, the blend mode specified in the Options bar controls how pixels in the im- age are affected. Figure 3. When a blend mode is assigned to a brush, the image's color is affected by the blend color to pro- duce resulting color on the pixels that the brush touches.

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