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Deke's Techniques
Illustration by John Hersey

194 Creating a Warhol-style silkscreen effect


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Deke's Techniques

with Deke McClelland

Video: 194 Creating a Warhol-style silkscreen effect

Hey, gang, this is Deke McClelland. Welcome to Deke's Techniques. This week begins a look at the work of Andy Warhol. Specifically, we'll be creating these Warhol-like silkscreen/serigraph variations, and we'll be doing so in Photoshop. Now there are all kinds of websites and apps out there that allow you to automatically convert images into Warhol effects...they're no good. Even though Warhol fervently believed in automation-- his studio was called the factory after all--and apparently in his last couple of years he used a Commodore Amiga, which for you youngsters was a precursor to the Mac.
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  1. 27m 43s
    1. 334 Straightening and “uncropping” a photo
      16m 17s
    2. 335 Restoring a missing photograph detail
      11m 26s
  2. 10h 11m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
55h 43m Intermediate Jan 11, 2011 Updated Jul 22, 2014

Viewers: in countries Watching now:

This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

194 Creating a Warhol-style silkscreen effect

Hey, gang, this is Deke McClelland. Welcome to Deke's Techniques. This week begins a look at the work of Andy Warhol. Specifically, we'll be creating these Warhol-like silkscreen/serigraph variations, and we'll be doing so in Photoshop. Now there are all kinds of websites and apps out there that allow you to automatically convert images into Warhol effects...they're no good. Even though Warhol fervently believed in automation-- his studio was called the factory after all--and apparently in his last couple of years he used a Commodore Amiga, which for you youngsters was a precursor to the Mac.

He was still a human being and so we're going to use our human skills to convert this portrait photo from Olly of the Fotolia image library into this Warhol treatment right here, complete with canvas texture in the midtones. Here, let me show you exactly how it works. All right, here is the basic Warhol effect that we're going for. It's extremely high contrast with all kinds of clipped shadows and highlights. Notice also that we've got this kind of irregular canvas texture going on inside of the midtones.

It's called Portrait shot #1b.psd because in the final variations image here, she is 1a, she is 1b, and she is 1c for what it's worth. Anyway, I am going to switch over to the base image, which is a portrait shot from the Fotolia image library, about which you can learn more at fotolia.com/deke. Let's go ahead and then convert this to a high contrast black and white image by pressing the Alt key or the Option key on a Mac and then you want to click on this black and white circle at the bottom of the Layers panel and choose the Black and White command.

And go ahead and name the layer B&W or something like that and turn on this checkbox, use previous layer to create a clipping mask so that you're affecting the photograph independently of the rest the image, then click OK. The whole idea behind the Warhol factory was we're producing automated artwork. So let's just work with a preset here and the preset that works best for this image is High Contrast Red Filter and we end up with this effect here. Next, press the Alt or Option key again, click the black/white icon at the bottom of the Layers panel and choose the Levels command which will allow us to increase the contrast of the image.

Go ahead and call this layer contrast, and once again turn on the checkbox and then click OK. This time around you want to increase the black point value underneath the histogram to 40. Tab your way over to the white point value-- which is the third one--and change it to 160 and then press Shift+Tab to go back to the midtones value and change it to 2 to dramatically expand the midtones inside the image. So we're clipping the heck out of the highlights, clipping the shadows as well, and then breathing some life into the remaining midtones. Now go ahead and hide the Properties panel.

The next step is to add some texture to those midtones, and I've already included a texture layer inside this image, once again from the Fotolia image library. You can go ahead and turn it on, back out from the image a little bit because we're going to want to transform this texture. And the idea is right now it's too linear. If you zoom in on it you can see that we've got a bunch of perpendicular lines. That's not what you're going to see in a real stretched canvas. It's going to kind of wave around. Again, I am going to zoom out, and just so I can change my mind later on if I want to, I am going to convert this guy to a Smart Object by bringing up the fly-out menu and choosing the Convert to Smart Object Command.

Then go up to the Edit menu and choose Free Transform, or you can press Ctrl+T or Command+T on the Mac. And we'll start things off by switching over to the Warp Mode, which you can get by clicking on this little Warp up here in the Control panel and then change the Warp setting to Arch. And we end up with this effect here. I really want it to go at a different angle. So what I did was I switched out of the Warp Mode for a moment and then I dragged inside the image window in order to rotate the image like so, so I am dragging outside the bounding box.

And I'm ultimately looking for an angle of about 94 degrees, so something along these lines is going to work out just fine. That ends up with a layer that's a little too high, so I'll go ahead and drag it down so that it covers at least most of the image, and then I'll switch back to the Warp Mode by clicking in the Warp icon once again, and now notice this handle that allows you to change the bend of the warp. I'm going to drag it over to the left until my Bend value is close to -27% up here in the Control panel, and I've got -26.7. That's going to work out just fine.

Then you want to switch back out of the Warp Mode again because we need to move this layer around a little bit. So, click on the Warp icon and then just drag inside of the bounding box to move the layer to a better location so that it covers up all of the image, and then press the Enter key or the Return key on a Mac in order to apply that transformation and warp. Now we want to go ahead and clip this texture layer inside the photograph. So press the Alt key or the Option key on the Mac and click on the horizontal line between the texture layer and the contrast layer, and you'll end up with this slight clipping here and then you want to change the Blend Mode from Normal here in the top left corner of Layers panel to Overlay in order to produce this effect.

And now if I go ahead and zoom in, you can see that we have this wonderful canvas texturing going on inside the midtones of her face. And now you want to paint a bunch of vivid colors on independent layers. And in the name of expediency I've done that in advance. So I'll go ahead and twirl open this color fills group right there, and you can see at the top of the stack I have this layer called eyes, and I just went ahead and painted it directly on top of the layer. That is it's on an independent layer, as you can see, but I'm painting over of the contents of the layers below just so I can keep track of what's going on.

And the eyes are actually bigger than her eyes, so it's not only permissible to go outside the outlines, it's preferable. That's what you want for a classic Warhol effect. Next I'll turn on the eyelids layer, and you can see that we've got these vivid green eyelids here. I've got these pink lips as well on the lips layer. And if I zoom out a little bit so that we can see the shirt, I've got this shirt layer right there, that's painting it a dark purple. I'll go ahead and scroll down the list to this face layer and turn it on, and I want you to see something about the face.

This is a color that I just went ahead and lifted from her face for this specific effect, by the way. But I'll go ahead and zoom in here and you can see that I've got all these lumps around my brushstrokes, and this is all brushwork that I applied using the Brush Tool. But if I were to press the B key to switch to the Brush Tool and then right-click inside the image, I want you to notice that the Hardness value has cranked up to 100%. I am using one of the standard circular brushes here. I'll go ahead and press the Escape key to hide that panel. The reason we're getting the lumps is because of the Spacing value.

And you get to the Spacing value by going up to the Window menu and choosing the Brush command, and it's this guy right here. By default it's cranked up to 25%, which gives you these lumps all over the place. If you don't want the lumps, which you don't, then you reduce the Spacing value to about 10% works out nicely. And what's happening here is Photoshop is laying down a bunch of blobs of paint. The lower you go with the Spacing value, the more processor-intensive the operation is, so the brushstrokes might start slowing down, but not at 10.

They are going to work just fine. So go ahead and close that panel. Now I'm not terribly concerned by the lumps because I've got another layer here. And I painted this one using a pressure sensitive tablet. I'll go ahead and turn it on, it's the hair layer, and so I just went ahead and painted in some very thick snake-like hair patterns using a pressure sensitive tablet once again, a Wacom Intuos as it just so happens. And in order to smooth things out in the face, I dragged the hair layer on top of the face layer in order to produce this effect here.

Now let's go ahead and mix these colors along with the original image, and you do that by--in this case--twirling closed this color fills group so that we can better see the layers below. And you want to initially paint these layers in front of the image. That's the easiest way to work, but when all is said and done, these layers need to go to the back of the stack. And the easiest way to move the group to the back of the stack is to press a keyboard shortcut, which is Ctrl+Shift+Left Bracket, that's Command+Shift+Left Bracket on the Mac. You could also drag the group down the stack, but my layer thumbnails are so large that that's difficult to do.

Anyway, notice that moves the entire group just above the background and below the layer with the photograph. I'll now click on the layer with the photograph in order to select it and I'll change the Blend Mode for that layer to Multiply, which will go ahead and drop out the whites and merge the blacks and the midtones and so forth into the colors below. I want the Background to have a color as well, so I'll go ahead and click on that Background to make it active. And then I'll go to the Color panel-- notice I'm working with my HSB values. To get to them, you go to the fly- out menu and choose HSB Sliders.

And I wanted a kind of vivid magenta, so the values I came up with were 300 for the Hue value, a Saturation of 50, and a Brightness value of 65. And then I'll press Alt+Backspace or Option+Delete on a Mac in order to fill the background with that color. Now at this point it struck me that the hair shouldn't be blonde. I want it to be blue like her eyes. And it's a very easy matter once you've established your base color layers to change your colors anytime you like. So I'll go ahead and twirl open this color fills group once again, and because I want to lift the color from the eyes layer, I'll go ahead and click on it to make it active and then I'll press the eye key to switch to the Eye Dropper Tool.

You can also get to it from the Toolbox. Now by default, you're going to lift the merged version of a color, which means you may not get the pure color of the eyes depending on where you click. So go up to the Control panel and change the Sample option to Current Layer and then you can click anywhere inside the eye, even in the pupil in order to lift that shade of blue. Then go ahead and scroll down a list of the hair layer, click on it to make it active, and press the keyboard shortcut Shift+Alt+Backspace or Shift+Option+Backspace on a Mac in order to fill the hair with that blue.

And by virtue of the fact you have the Alt or the Option key down, you're filling with the foreground color. By virtue of the fact that you have the Shift key down, you're respecting the layer's transparency, so you're only filling in the brushstrokes and nothing more. Now at this point you can stop if you want to, this is the base effect. However, in researching Warhol paintings, I found that most of them include some borders around the sides, which are borders left over from the screen printing process. They are essentially happy accidents. If you scroll up the list, go ahead and twirl closed the color fills group and go all the way at the top of the stack, you'll see this layer called frame, which is another image from the Fotolia image library.

I am going to go ahead and click on that frame layer to make it active and change its Blend Mode from Normal to Multiply. And notice I also have this layer mask that I've created in advance. And what that does is it just gets rids of some of the garbage on the interior. But before I apply it, I want to clip the base photograph, that is the model herself, so that she fits exclusively inside the frame. So I'll go ahead and click on the woman layer to make it active. I'll switch to the Lasso Tool, which you can get by pressing the L key. And you want to press the Alt key or the Option key on the Mac and keep that key down so that you can create a polygonal selection outline and click in the bottom right corner and then click in the top right corner like so, click over here in the top left corner.

You don't have to be all that careful up here at the top of the image, but you do have to be pretty careful down here at the bottom. So click in the bottom left corner and then go ahead and click right about over here someplace and release the Alt or Option key in order to complete the selection outline. Then with the woman layer selected, drop down to the Add Layer icon at the bottom of the Layers panel and click on it. And that will clip her inside of that frame. Now let's go back to that frame layer and turn the layer mask on by Shift-clicking on the layer mask thumbnail.

And you can see I've done a fair amount of work in terms of masking away the interior of this layer, but it's not tough work. If you Alt-click or Option-click on the layer mask to view it by itself, you can see that it's just a bunch of sloppy brushwork that I applied here. So I'll Alt-click or Option-click again in order to restore that layer mask. Now the fill layer should not exceed outside the frame either, that is the purple color of her shirt. So I'll go ahead and zoom in on this bottom right corner.

And I'll zoom pretty far in and then I'll scroll down the list, twirl back open that color fills layer, scroll all the way down to the shirt layer to make it active. You could apply a layer mask if you want to, to mask this area away, but it's not really tough stuff, so why not just go ahead and erase it using the Eraser Tool? I'll right-click inside the Image window so you can see once again the Hardness is cranked up to 100%, the size is 45 pixels in my case--you can go your own way, of course. And if I bring back the Brushes panel, I've reduced the Spacing value to 10%, which is definitely going to help us out.

Now I'll go ahead and hide that panel and I'll click right about there and then I'll Shift-click lower down and I'll Shift-click again. And by virtue of the fact that I'm Shift-clicking, I am connecting my click points with straight segments. All right, now I'll click there and Shift- click right about there, and I am going to have to do a fair amount of Shift-clicking to make my way all the way over, because after all, I'm zoomed way in. Something you want to note here is notice that I'm not clicking around here because that would make a big mess of things. I'm positioning my circular brush cursor right next to the frame outline.

Now I'll press Ctrl+0 or Command+0 on a Mac in order to zoom out for my image and I'll press the F key a couple of times in order to switch to the full screen mode and zoom on in and you can see this high saturation, high contrast Warhol effect, more automated than ever, thanks to the multi-layer power of Photoshop. All right, so it's all very well and good to come up with one treatment. But Warhol himself would have never stopped there. He would have created two or perhaps three different treatments, or more likely than not he would have also created treatments four, five and six.

And that's exactly what we'll be doing next week, I'll show you how to create all six of these treatments inside of Photoshop. Deke's Techniques, each and every week, keep watching.

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