8

930 Chapter 8: Modifiers
layers above, b elow, or in the current paint layer.
The following modes are supported per paint layer:
•
Normal—The layer color completely overwrites
thebasecolor.
•
Overlay—The color cast is shifted towards the
layer color and contrast might be increased.
It’s useful when you want to ma ke an object
appear a different color but in the same lig hting
conditions. A fully bright or dark channel is
never affected however, so if Red=100% and
Green=0% in the base color, then neither the
red nor green channels can be affected by the
layer color.
•
Screen—Each RGB channel is moved towards
full brightness, depending on the layer color.
The result is at least as bright (never dar ker)
than the original. Black is transparent in this
mode.
•
Multiply—Each RGB channel is moved towards
zero, depending on the layer color. The result
is at least as dark (never brighter) than the
original. White is transparent in this mode.
•
Lighten—Whichever color is brighter, the layer
or the base, is used as the output. It operates on
the whole color, and
not channel-by-channel.
•
Dar ken—Whichever color is darker, the layer or
the base, is used as the output. It operates on
the whole color, and
not channel-by-channel.
•
Co lor dodge—Emulates the effect of "dodging"
acolorprintinadarkroom;theresultisatleast
as bright (never darker) t han the original.
For each RGB channel, if the layer is at full value
in that channel, the output channel will be at
full value. Even if the layer value is less then full
value, the output is sti ll strongly brig htened in
that channel. For example, a medium-red layer
color will add a significant red brightness to the
output.
•
Co lor burn—Emulates the effect of "burning"
a color print in a darkroom; the result is at
least as d ark (never brighter) than the original.
For each RGB channel, if the layer is zero in
that channel, the output channel w i ll be zero.
Even if the layer value is above zero, the output
is still be strongly darkened in that channel.
For example, a medium red layer color will
significantly reduce blue and green brightness
in the output.
The next four Lig ht modes essentially offer
compromises between the destructive effect of
Normal Mode and the toning effect of O verlay
mode. Try using medium-value desaturated layer
colors, since the light modes can be too destructive
with bright, vivid layer colors. A neutral grey layer
color is transparent in any of the light modes.
•
Soft light—Ve r y s i m i l a r to O ve r l ay, bu t e v e n
more gentle, and it does not tend to increase
contrast as much.
•
Hard light—More like Normal mode than
Overlay, it will change color cast somewhat. It is
fairly destruc tive like Normal mo de, especially
with bright layer colors.
•
V ivid light—Brighter layer colors produce a
Color Dodge effect, while darker layer colors
pro duce a Color Burn effect, although the effect
is generally weaker than Dodge or Burn.
•
Linear light—For each RGB channel, if the layer
color is more than 50 percent bright in that
channel,theoutputwillbebrightened,and
if the layer is less then 50 percent bright, the
output will be darkened. As an example, if
you want the top of your image to be twice as
bright,andthebottomtobehalfasbright,use
a gradient from 75 percent gray to 25 percent
gray, top to bottom.
The next four modes are used to control the HSV
channel values of the image instead of using RGB
channel value.