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Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. Now we're just two days away from Valentine's Day with all of its romance and bitter disappointment, and who can think of a better way to celebrate Valentine's Day than to create a sextet of you and your loved one rendered as classic Andy Warhol-like silkscreen/serigraph variations, and we'll be doing so in Photoshop. So we'll take last week's effect and we'll create two variations on it. First of all, we'll start with these classic Marilyn colors and this out of register hair, and then we'll pull off something Warhol never dreamed of with these radiant highlights inside the woman's face.
Here, let me show you exactly how it works. All right, I'll start things off with this establishing shot of all the variations, which I just find to be helpful at the outset. We're going to start with this one at the bottom, which is this one here. I'll call it variation 1c. And it's the one that features the yellow hair out of registration with the other colors. So we'll start things off with the variation that we created in a previous movie, and notice that I have this collection of colors on the swatches layer, and these are the colors I will use in the image.
Now this turns out to be the most time consuming part of creating one of these Warhol effects, is choosing the colors in the first place, because it involves a lot of experimentation. But I can offer you this advice, keep your palette garish, high contrast and small. Notice I have just five colors at work here. So what I am going to do here in order to apply these colors is twirl open the color fills group down here at the bottom of the stack and then click on the eyes layer to make it active. Start things off by tapping the D key in order to establish the default colors and then press Ctrl+Shift+Backspace or Command+Option+Delete on a Mac in order to fill the eyes with the background color, which is white.
Now I'll press the I key to switch to the Eye Dropper tool, which you can also get at this location inside of the toolbox, make sure that Sample is set this time to All Layers as by default, and then click on this shade of red, the very first color swatch, in order to lift it. Now, click on the eyelids layer in order to make it active and press Shift+Alt+Backspace or Shift+Option+Delete on a Mac in order to fill the eyelids with red, then do the very same thing with the lips layer. Select the layer and then press Shift+Alt+Backspace or Shift+Option+Delete.
Now click on the shirt layer to make it active and then click in a shade of green to lift it and press Shift+Alt+Backspace or Shift+Option+Delete on a Mac. Now go ahead and scroll down to the face layer to make it active, click on this hot pink, and press Shift+Alt+Backspace or Shift+Option+Delete to fill the face with this garish color. Now click on the background to make it active, click in the dark blue swatch to make it the foreground color, and this time you don't have to press the Shift key because we're not respecting any transparency associated with this layer, because it doesn't have any, so just press Alt+Backspace or Option+Delete on Mac in order to fill the entire background with that blue.
Now select the hair layer and we want to make it that classic Marilyn hair Warhol yellow. So click in the yellow color swatch to lift it and then press Shift+Alt+Backspace or Shift+Option+Delete to make the hair yellow. Never mind the fact that it makes no sense that these dark shadows would be associated with blonde hair. That kind of ironic contrast was typical of Warhol's work. But we do want to offset these colors so they appear out of registration, also of course indicative of his artwork. So go ahead and press the Ctrl+Shift keys or Command+Shift on the Mac and with those keys down press the right arrow key three times in a row and press the up arrow key once.
Now if you wanted to save off this effect, most likely what you'd do is scroll back up the list, turn off the Swatches panel, and then save out this variation not using the Save command, but rather by choosing Save As so you don't ruin your original image. Now let's check out the next variation which I'll call 1a. It features these colorized shadows as well as these radiant highlights. I'll go ahead and switch over to the base image, this time I've applied the colors in advance, because I figure you get the idea where that's concerned by now.
If you are working along with me, make sure the woman layer is selected. And then what I want to do is I want to fill that layer with the same color that I am using for the hair, which is this guy right there. So I'll go ahead and click inside that second to last swatch, and I'll check out the HSB values here inside the Color panel, there is 0, 50, and 75 respectively. With that in mind, I'll drop down to the fx icon at the bottom of the panel and choose Color Overlay. That goes ahead and fills in the entire layer with red by default, so I'll go ahead and click on the color swatch.
And I'll dial in those values I lifted a moment ago, which are 0 for the Hue value, 50 for Saturation, and then 75 for Brightness, and now I'll click OK. We want to use this color in order to brighten up the darkest shadows inside of this layer. So go ahead and change the Blend Mode from Normal to Screen. That ends up brightening up not only the layer that we're working on, but all of the clipped layers as well, and that includes the black and white and levels adjustment layers, as well as that texture layer.
What that means is when all of those layers are combined together, we end up getting this over-brightening effect. If you want to drop that out, go ahead and click on Blending Options here on the left side of the dialog box and turn on this check box, Blend Interior Effects as Group, and that's going to settle down everything outside of the shadows. Now you may wonder, well, why is it that this shade of red which is assigned to the hair when assigned to the shadows ends up producing a darker color? And that's because we have the Blend Mode set to Multiply, so it's actually burning into itself.
If I were to change the Blend Mode to Darken, we'd end up getting that flat color right against the hair, which is actually a pretty cool effect, which is why I am showing it to you, but not the one that I'm looking for. So I'll go ahead and switch back to Multiply, I actually want to darken up this effect, so I'll switch back to Color Overlay, click on this red color swatch, and I'll dial in a darker Brightness, 50% this time around. I want it to be infused with a little more color so I'll take the saturation value up to 100%, then I'll click OK to accept the color and I'll click OK inside the Layer Style dialog box to accept the effect.
Now to create those luminance and highlights, we're going to lift those from the base image using the Calculations command. The first thing you need to do is Alt-click or Option-click on the eyeball in front of the photographic layer and then turn off the effects as well so that we end up seeing that base image. Also Shift-click on the layer mask thumbnail to turn it off. Now go up to the Image menu and choose the Calculations command, which allows you to blend two channels together. You want both of these layer options to be set to Merged so that you're lifting your mask from the merged version of the composition, then change the second Channel option here to Blue and turn on the Invert checkbox.
And then finally, change the Blending setting, which is the Blend Mode to Difference, in order to create this psychedelic effect here. Now click OK and what you've done is you've created a new channel here inside the Channels panel, so go ahead and switch over to the panel, scroll down the list, and you can go ahead and rename this channel highlights if you like, because that's what it's going to be. Doesn't look like it so far, but it will as soon as you press Ctrl+I or Command+I on a Mac in order to invert the image. Next, press Ctrl+L or Command+L on a Mac to bring up the Levels dialog box and change that black point value, the first value under the histogram to 100, and that's it, then click OK.
Now we need to convert these highlights to a layer and you do that by pressing the Ctrl key or the Command key on the Mac and clicking on the highlights channel, and that goes ahead and converts what's white in the channel to a selection and what's black to de-selection. Now click on the very top item here, RGB, to switch back to the composite image, return to Layers panel, Alt-click or Option-click on the eye in front of the photographic layer in order to turn on all of the layers in the image, then turn on the Effects and Shift-click on the layer mask to turn it back on.
Now I want you to twirl open the color fills group right here and go ahead and click on the eyes layer at the top of the stack in order to make it active and then press Ctrl+Shift+N or Command+Shift+N in order to bring up the New Layer dialog box. Let's go ahead and call this layer highlights and click OK. And I want to fill the selection with the background color, so I'll go ahead and click with my Eye Dropper tool, either in the background or in that final color swatch as I am doing here in order to lift that pale yellow.
And then press Alt+Backspace or Option+Delete to fill the selection with that color. And now press Ctrl+D or Command+D on a Mac to deselect the image. I don't want to see the highlights in front of the hair, so I'll go ahead and grab the hair layer and move it to the top of the group by pressing Ctrl+Shift+Right bracket or Command+Shift+Right bracket on the Mac, or if your layer thumbnails aren't this large and you can see more layers at a time, you can just go ahead and drag it up to the top of this group. Then finally, we don't need those wide eyes this time around, so just go ahead and turn off the eyes layer.
And then I'll go ahead and turn off the swatches layer as well and press the F key a couple of times in order to switch to the full screen mode and zoom on in as well. And here is the final version of this particular variation with the colorized shadows and the radiant almost metallic highlights. Now, Warhol himself would have never stopped at two variations, he would have created at least six, that way he'd make more money. He said so himself many, many times, which after all is what makes him the consummate American artist, which is why if you're a member of the lynda.com online training library--speaking of money--we'll take this guy also captured by Olly of the Fotolia Image Library and we'll make not just one, not just two, check this one out, I just love this one, but three different Warhol inspired variations.
If you're waiting for next week's free movie, I'll show you how to combine all of your variations, whether Warhol inspired or otherwise into a single document so every image is precisely aligned. Deke's Techniques, each and every week, keep watching.
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