9

VertexPaint Paintbox 947
layers above, below, or in the current paint layer.
The following modes are supported per paint layer:
•
Normal—The layer color completely ov erwrites
thebasecolor.
•
Overlay—The color cast is shif ted towards the
layer color and contrast might be incr eased.
It’s useful when you want to make an object
appear a different color but in the same lighting
conditions. A fully bright or dark channel is
never affected however, s o 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 lea st as bright (never darker)
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 b ase, 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 "dodg ing"
acolorprintinadarkroom;theresultisatleast
as bright (never darker) than the original.
For each RGB channel, if the layer is at ful l va lue
in that channel, the output channel will be at
full value. Even if the layer value is less then full
value, the output is still 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 dark (never brighter) than the original.
For each RGB channel, if the layer is zero in
that channel, the output channel will 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 Light modes essentially offer
compromises b etween the destructive effect of
Normal Mode and the toning effect of Overlay
mode. Try using medium-value desaturated la yer
colors, since the light modes can be too destructive
with bright, vivid layer colors. A neutral grey layer
color is tr ansparent in any of the light modes.
•
Soft light—Ve r y s i m i l a r t o O ver l ay, b u t e ve 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. I t is
fairly destructive like Normal mode, e specially
with bright layer colors.
•
V ivid light—Bright er 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 percen t bright in that
channel,theoutputwillbebrightened,and
if the layer is less then 50 percent bright, the
output wi ll b e 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.