How To Merge A Multiply Layer With A Normal Layer
Merge visible to this new layer. Hold down Option/Alt and choose 'Merge Visible' from the Layer Panel menu. Command/Ctrl-click the Layer thumbnail for layer 2 to load that layer's contents as a selection. Click the New Mask icon at the bottom of the Layer Panel. You can then turn off visibility for layer 2 and you'll have the same appearance. 'Normal' just means that the layer is not blending at all with the layers below it. And useful blend modes you'll want to try are Multiply, Screen and Overlay. Combining the blend mode with a lower opacity produces a less intense effect.
Hey, does anyone know if there is a way in Photoshop to merge two layers but maintain the blending modes that those layers might have applied. For example merging a layer with 'multiply' with another layer with 'overlay'.
Blending modes for layers control how each layer blends with or interacts with layers beneath it. Blending modes for layers in After Effects (formerly referred to as layer modes and sometimes called transfer modes) are identical to blending modes in Adobe Photoshop.Most blending modes modify only color values of the source layer, not the alpha channel. The Alpha Add blending mode affects the alpha channel of the source layer, and the silhouette and stencil blending modes affect the alpha channels of layers beneath them.You can’t directly animate blending modes by using keyframes. To change a blending mode at a specific time, split the layer at that time and apply the new blending mode to the part of the layer that continues. You can also use the Compound Arithmetic effect, the results of which are similar to the results of blending modes but can change over time.Each layer has a blending mode, even if that blending mode is the default Normal blending mode.
How To Merge A Multiply Layer With A Normal Layer Picture
The following descriptions use these terms:. The source color is the color of the layer or paint stroke to which the blending mode is applied. The underlying color is the color of the composited layers below the source layer or paint stroke in the layer stacking order in the Timeline panel. The result color is the output of the blending operation; the color of the composite.All blending modes described in this section are available for blending between layers. Some of these options are available for paint strokes, layer styles, and effects.For in-depth information about the concepts and algorithms behind these blending modes as implemented in several Adobe applications, see section 7.2.4 of version 1.7 of the on the Adobe website.The blending mode menu is subdivided into eight categories based on similarities between the results of the blending modes.
The category names do not appear in the interface; the categories are simply separated by dividing lines in the menu. Options include Stencil Alpha, Stencil Luma, Silhouette Alpha, and Silhouette Luma.
These blending modes essentially convert the source layer into a matte for all underlying layers.The stencil and silhouette blending modes use either the alpha channel or luma values of a layer to affect the alpha channel of all layers beneath the layer. Using these blending modes differs from using a track matte, which affects only one layer.
Stencil modes cut through all layers, so that you can, for example, show multiple layers through the alpha channel of the stencil layer. Silhouette modes block out all layers below the layer with the blending mode applied, so you can cut a hole through several layers at once.
To keep the silhouette and stencil blending modes from cutting through or blocking all layers underneath, precompose the layers that you want to affect and nest them in your composition. For each color channel, multiplies source color channel valuewith underlying color channel value and divides by maximum valuefor 8-bpc, 16-bpc, or 32-bpc pixels, depending on the color depthof the project. The result color is never brighter than the original.If either input color is black, the result color is black. If eitherinput color is white, the result color is the other input color.This blending mode simulates drawing with multiple marking penson paper or placing multiple gels in front of a light. When blendingwith a color other than black or white, each layer or paint strokewith this blending mode results in a darker color. Darkens or lightens the color channel values of the underlyinglayer, depending on the source color.
Lego rogue one x wing. The result is similar to shininga diffused spotlight on the underlying layer. For each color channelvalue, if the source color is lighter than 50% gray, the resultcolor is lighter than the underlying color, as if dodged. If thesource color is darker than 50% gray, the result color is darkerthan the underlying color, as if burned. A layer with pure blackor white becomes markedly darker or lighter, but does not becomepure black or white. Note:Sometimes, when layers are aligned edge-to-edge, seams can appear between the layers.
This is especially an issue with 3D layers that are joined to one another at the edges to build a 3D object. When the edges of a layer are anti-aliased, there's some partial transparency at the edges. When two areas of 50% transparency overlap, the result is not 100% opacity but 75% opacity, because the default operation is multiplication. (50% of the light gets through one layer, and then 50% of the remainder gets through the next layer, so 25% gets through the system.) This is like partial transparency in the real world. But, in some cases, you don't want this default blending. You want the two 50% opacity areas to combine to make a seamless, opaque join. You want the alpha values to be added.
In these cases, use the Alpha Add blending mode. In addition to the layer styles that add visual elements—likea drop shadow or a color overlay—each layer’s Layer Styles propertygroup contains a Blending Options property group. You can use theBlending Options settings for powerful and flexible control overblending operations.Though layer styles are referred to as effects inPhotoshop, they behave more like blending modes in After Effects.Layer styles follow transformations in the standard render order,whereas effects precede transformations. Another difference is thateach layer style blends directly with the underlying layers in the composition,whereas an effect is rendered on the layer to which it’s applied,the result of which then interacts with the underlying layers asa whole.When you import a Photoshop file that includes layers as a composition,you can retain editable layer styles or merge layer styles intofootage. When you import only one layer that includes layer styles,you can choose to ignore the layer styles or merge layer stylesinto footage. At any time, you can convert merged layer styles intoeditable layer styles for each After Effects layer based on a Photoshop footageitem.After Effects can preserve all layer styles in imported Photoshopfiles, but you can only add and modify some layer styles and controlswithin After Effects.
When a layer style is applied to a vector layer—such as a text layer, a shape layer, or a layer based on an Illustrator footage item—visual elements that apply to the edges of the contents of the layer apply to the outlines of the vector objects, such as text characters or shapes. When a layer style is applied to a layer based on a non-vector footage item, the layer style applies to the edges of the layer’s bounds or masks.You can apply a layer style to a 3D layer, but a layer with a layer style can’t intersect with other 3D layers or interact with other 3D layers for casting and receiving shadows.
3D layers on either side of a layer with a layer style can’t intersect one another or cast shadows on one another.When you use the Layer Convert To Editable Text command on a text layer from a Photoshop file, any layer styles on that layer are also converted to editable layer styles. Each layer style has its own blending mode,which determines how it interacts with underlying layers.
The underlyinglayer in this context may or may not include the layer to whichthe layer style is applied. For example, a drop shadow does notblend with the layer to which it’s applied, because the shadow falls behindthe layer; whereas an inner shadow does blend with the layer towhich it’s applied.Layer styles can be categorized as interiorlayer styles or exterior layer styles. Interior layer styles affectthe opaque pixels of the layer to which they’re applied. Interiorlayer styles include Inner Glow, Inner Shadow, Color Overlay, Gradient Overlay,Satin, and Bevel And Emboss. Exterior layer styles do not blendwith the pixels of the layer to which they’re applied, but onlyinteract with the underlying layers. Exterior layer styles includeOuter Glow and Drop Shadow.If Blend Interior Styles As Groupis set to On, interior layer styles use the blending mode of thelayer.If you modify the Opacity property of a layer, theopacity of the contents of the layer and the opacity of the layerstyles are all affected. If, however, you modify the Fill Opacityproperty in the Blending Options property group, the opacity of thelayer styles is unaffected.
For example, if a text layer has theDrop Shadow layer style applied, decreasing the Fill Opacity to0 makes the text disappear, but the drop shadow remains visible.Usethe Blend Ranges From Source option to use the advanced blendingoptions set for the Photoshop file that determine what blendingoperations to perform based on the color characteristics of theinput layer.