Know what
changes the image.

Bevel & Emboss

Give lettering a raised or engraved edge.

Try on the headline; adjust depth, lighting and highlight/shadow colors.

A 2D layer style, separate from Luma’s editable 3D lettering.

Stroke

Outline text or a cutout.

A thin contrasting stroke keeps the headline readable over busy imagery.

Inside, outside and center placement; color, gradient and pattern fills.

Inner Shadow

Shade the inside edge of a layer.

Use a small offset for inset lettering or a paper-cut impression.

Works from the layer’s silhouette; it does not infer scene geometry.

Inner Glow

Add light inside a silhouette.

Try a restrained highlight on the character or title.

Supports edge/center source and softer/precise falloff.

Satin

Add overlapping, shaded ripples inside a layer.

Explore on large lettering where the contour is easy to see.

A graphic shading treatment; it does not simulate fabric.

Color Overlay

Cover a layer’s visible content with a color treatment.

Try a colored motif and compare the effect’s own blend modes.

An overlay is different from selecting and replacing particular source colors.

Gradient Overlay

Apply a gradient within a layer.

Give the title a two-color finish, then change gradient direction.

Linear, radial, angle, reflected and diamond gradients.

Pattern Overlay

Fill the silhouette with a repeated pattern.

Try dots or stripes on the headline.

The current style offers checker, stripes and dots; custom image brushes are a separate tool.

Bloom

Spread a glow from bright source pixels.

Try low opacity on the light wash or a bright image.

Threshold controls which highlights contribute; dark layers may show little change.

Relief

Shade according to the layer’s image detail.

Try on the fabric motif for a pressed texture.

Image-based 2D shading, without editable geometric depth.

Outer Glow

Add a halo beyond the layer edge.

Try behind the headline against a dark scene.

Its appearance depends on the silhouette and contrast with the background.

Drop Shadow

Offset a soft silhouette behind a layer.

Start here for readable type and separated collage panels.

The current below-content effect does not offer backdrop blend-mode control.

Long Shadow

Extend the silhouette along an offset.

Use on a short headline for a bold graphic direction.

A stepped 2D extrusion effect.

Contact Shadow

Add localized darkening around the layer’s contact region.

Compare at low opacity on an overlapping image.

A compositing treatment; it does not calculate physical contact with 3D geometry.

Backdrop Blur

Blur the layers behind the selected silhouette.

Try on the collage or headline above a detailed scene.

Needs visible content underneath. It blurs the backdrop, not the selected layer’s own pixels.

Refraction

Distort the backdrop around the selected silhouette’s alpha edges.

Use above the scene for a glass-like edge treatment.

A 2D alpha-driven approximation, not physically accurate glass.

Reflection

Mirror the backdrop inside the selected layer’s silhouette.

Adjust offset and blur to explore what appears inside the shape.

Reflects the backdrop around the layer center; it is not an automatic floor reflection of the object.

Gaussian Blur

Soften detail and separate a busy background from the subject.

Start with 2–4 px; the Gaussian-style blur uses a three-pass box approximation.

Motion Blur

Smear detail along a chosen direction.

Use modest radius and angle for an intentional motion study.

Surface Blur

Smooth neighboring colors while retaining stronger edges.

Radius and threshold trade texture against edge preservation.

Unsharp Mask

Increase edge contrast with Unsharp Mask.

Inspect at full size; too much amount creates halos.

High Pass

Isolate edge detail around middle gray.

Pair with Overlay or Soft Light; Normal intentionally looks gray.

Median

Replace isolated pixel values with neighborhood medians.

Useful for a small cleanup study; large values remove detail.

Dust & Scratches

Replace sufficiently different pixels with a neighborhood median.

Threshold and radius need close inspection on the actual source.

Reduce Noise

Smooth luminance and color noise with separate controls.

Compare texture before and after; this is a local denoise filter.

Lens Blur

Use an aperture-shaped blur with highlight bloom.

Blades, rotation and highlights change the look; it does not infer a depth map.

Displace

Ripple pixels using an adjustable wave.

The current filter is procedural-wave displacement, not an uploaded displacement-map workflow.

Maximum

Expand brighter image regions.

A morphology-style effect; can make fine artwork look heavier or lighter depending on polarity.

Minimum

Expand darker image regions.

Compare with Maximum on the motif to understand the difference.

Invert

Reverse RGB colors.

Useful for a negative treatment or dramatic blend experiment.

Desaturate

Reduce image color toward grayscale.

Adjust the amount or filter opacity to retain some color.

Hue Rotate

Rotate hue across the layer.

White and gray contain little hue; use targeted Recolor for the white-shirt lesson.

Normal

Normal stacks pixels directly; Dissolve distributes partial opacity as a stippled pattern.

• Normal
• Dissolve

Darken

Favor darker values. Start with Multiply for ink and texture.

• Darken
• Multiply
• Color Burn
• Linear Burn
• Darker Color

Lighten

Favor lighter values. Start with Screen for light, fog and glow.

• Lighten
• Screen
• Color Dodge
• Linear Dodge (Add)
• Lighter Color

Contrast

Combine darkening and lightening. Start with Soft Light, then compare Overlay.

• Overlay
• Soft Light
• Hard Light
• Vivid Light
• Linear Light
• Pin Light
• Hard Mix

Inversion

Create differences, negatives and strong graphic interactions. Useful for experimentation and image comparison.

• Difference
• Exclusion
• Subtract
• Divide

Component

Take hue, saturation, color or luminosity from a layer while combining the remaining components with its backdrop.

• Hue
• Saturation
• Color
• Luminosity