Photoshop Layer Mode detailed

Detailed 1.Normal mode

Because in Photoshop the wink is treated as light (rather than as a physical pigment), the subtraction attribute of the wink is not used in the synthesis or coloring works formed in normal mode. For example, in normal mode, the 50% opaque blue selection above in 100% opaque red selection produces a lavender, rather than a dark purple that is expected when the physical pigments are mixed. When the opacity of the blue selection is increased, the resulting color becomes bluer and less red until the 100% opacity turns blue into the color of the combined color. Using the paintbrush I with 50% opacity to paint the blue color on the red area results are the same; the more strokes on the red area, the more blue foreground colors become the final color in the area. Thus, in normal mode, it is never possible to get a darker blend color than the darkest of the two color components of a blend.

2.Dissolve mode

The dissolve pattern, when defined as a layer's blending mode, produces a result that cannot be expected. Therefore, this pattern is best used in conjunction with the shader application tools in Photoshop. The U1ssqlve mode uses 100% opaque foreground colors (or sampled pixels, when used with the rubber Stamp tool), alternating with the underlying original color to create a similar diffusion jitter effect. The lower the opacity of a color or image sample that is commonly used in dissolve mode, the lower the frequency of the color or the pixel of the original image. If you stroke a path with an opacity less than or equal to 50%, the dissolve pattern creates a stripe around the edge of the image. This effect is important to simulate the edge of the damaged paper or the "splash" type of the original image.

3.Behind mode

This blending mode is available in the Shader application tool, but not for the properties of the composite layer. In behind mode, only transparent and partially transparent areas on the layer are shaded, and completely opaque pixels are unaffected in this mode. In behind mode, the effect of gaps in the content of the fill layer can be achieved, or the foreground color (or the sampled image using the rubber stamp i) is applied to the back of a piece of acetic acid fiber medium.
4.Clear mode

The clear pattern resembles the effect of an opaque area on the erase layer. This pattern cannot be applied to a layer, only the stroke command, the Fill command, and the paint bucket tool can erase pixels on one layer. Users may never have to access the clear mode at all, because the eraser tool and many of the Photoshop mask functions can perform equivalent editing (with more predictable results).

5.MuItiply mode

This pattern can be used to color and act as a pattern for an image layer. The muitiply mode subtracts the brightness value of the source material from the background image (whether it is colored on the layer or on the layer) to obtain the final synthetic pixel color. Applying a lighter color in muitiply mode has no effect on the final pixel color of the image. Muitiply model Simulation Shadow is very good. Shadows in the real world never depict a lighter color or tonal feature than the source material (shadow) or background (the area that gets the shadow). Users will use the Muitiply mode in this chapter to add a drop shadow to Lee in the restored image.

6.Screen Mode

The screen mode is an muliiply of the reverse mode. Whether you use a color with the shading tool in screen mode or a layer on the screen mode, the result of merging the source image with the background is always the same synthetic color or a lighter color. This screen pattern is useful for creating a neon glow effect in an image. If you apply white (or any light color) around the edge of the background object on the layer, and then specify the layer screen mode, you can get a full or thin glow effect by adjusting the opacity setting of the layer.

7.Overlay mode

This pattern mixes the colors placed or applied to a layer in a way that is not artistically logical, but it can get interesting results. Pure black or pure white areas in the background image cannot display overlay shading or image areas on the layer in overlay mode. The brightness values between black and white in the background area are mixed with the color of the 0ver1ay material to produce the final synthetic color. To make the background image look like it was taken with design or text, overlay can be used to draw a design or text on the background image.

8.Soft Light Mode

The Soft light mode uses colors to darken or highlight background images, depending on the color tones in the background. For example, if you apply a 50% black to the background image, which is a gradient from black to white, the darker area of the gradient becomes darker, and the lighter area shows a brighter hue.

9.Hard Light Mode

This pattern is essentially the same as the soft Lishi pattern, except that the background color is multiple or masked depending on the colors in the context. It works more strongly than the soft light mode, which, like overlay, can simulate patterns or text on the surface of a background object.

10.Color Dodge Mode

In addition to specifying a sharper edge area on the layer of this pattern, and a stroke that is shaded in this mode, the Color Dodge pattern is similar to the effect of the screen mode creation. Also, whenever you define a color dodge pattern mixed foreground and background pixels, the dark areas on the background image will disappear.

11.Color Burn Mode

This colo,burn pattern creates effects similar to those created by the muitiply pattern, except that the lighter areas on the background disappear and the image area renders sharp edge features.

12.Darken mode

In this mode, only the tones on the layers whose layer color (or coloring applied in darken mode) are darker than the background color. This pattern causes the color lighter than the background color to be removed from the composite image.

13.Lighten Mode

In the opposite mode of the darken mode, the lighter color regions are the dominant in the composite image. The darker area on the layer, or the coloring used in lighten mode, does not appear in the composite image.

14.Difference mode

The difference mode uses a layer of midtones or midtones that is best. This pattern creates the opposite color of the background color. For example, in difference mode, when you apply blue to a green background, you will produce a cyan combination color. This mode is useful for simulating the original design of the negatives, and is especially useful for generating a highlight in an image whose background color changes from one area to another.

15.Exclusion mode

This pattern produces a softer, brighter effect than the d1fference pattern. Both the difference and the exclusion modes make the image of a person or natural landscape more authentic or more appealing.

16.Hue mode

In this mode, the color value of the layer or the color of the coloring will replace the color of the underlying background image. It is helpful to think of the hue,saturation,brightness (HSB) color mode when using this mode. The hue mode replaces the basic color component forcing does not affect 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 by the shading tool) and emphasizes the color on the background image based on the color intensity. For example, when applying pure blue to a gloomy background image, the original solid color is shown in the background, but the blue is not added to the composite image. If you choose a neutral color (a color that does not show the mainstream chroma), no changes occur to the background image. The saturation pattern can be used to show the color intensity of an image that has been dimmed by years.