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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.
In this movie, we are going to take on some advanced Warhol variations, specifically those that are applied to the male model. So we'll start off with this guy up here, and you can see that all the variations on the male portrait include these specialized backgrounds in large part because compositionally he takes up a smaller area of the square. And then we'll move along to this lower left guy in which we have got some textual variations, and then finally, we'll take on the lower right guy in which the colorized shadows don't interact in the least with the rest of the colors.
Let's go ahead and switch over to this guy, this is the first of the variations, it's just shows are large so you can see what's going on. I'll go ahead and switch over to the base version of this composition. You can see that I've gone ahead and created some swatches, just so you can get a sense for the Color Palette, but of course I have already assigned those swatches in advance. Now what I could do is take this final swatch, this dull shade of green and apply it uniformly to the background by pressing the I key to switch to the Eye Dropper tool and then clicking in that shade of green and then I'll press Alt+Backspace or Option+Delete on the Mac in order to fill the background with that color.
You can see that that leaves us with a pretty weak composition overall. So I am going to press Ctrl+Z or Command+Z on the Mac in order to undo that change. What I want is a more textured background like this one right here. I created it by painting with Wacom tablet both with the Brush tool and with the Eraser tool. Let me show you how that can look if you don't have a pressure sensitive stylus. You can still end up getting some pretty decent results. So I'll go ahead and turn off this layer and create a new one by pressing Ctrl+Shift+N or Command+Shift+N on the Mac and I'll just call this painterly back or something like that and click OK.
Now grab the Brush tool, which you can get by pressing the B key, and I am just going to dial in bright red by changing Hue value to 0 degrees and the other two values to 100%. I'll right-click inside the image window in order to bring up my Brush panel and notice this guy right here, Round Fan Stiff Thin Brussels. That's the brush that I used, so go ahead and click on it in order to select it. It's one of the bristle brushes that came along recently inside Photoshop, and then you want to bring up the Brush panel which you can also get by choosing brush from the Window menu.
These are the values that I dialed in. You can see them all listed inside this flat fan layer, but I changed Bristles to 20%, then I took Length up to 100%, I changed the Thickness value to 30%, increased the Stiffness value to 100%, and left the Angle value set to zero, and you can see that you get this little preview here. Now you can hide the Brushes panel, increase the size of your brush just by pressing the Right Bracket key a few times, and then brush inside the image window like so.
We are not trying to create anything. Obviously, we are not even trying to get gestural inside of this image. All you are trying to do is just fill in most of the areas with brush strokes and leave a bunch of holes as well, not too big of holes, typically because you don't want to call attention to them necessarily. You just want to provide some painterly texture inside of this background. And then if you care to, you can get expressive as well. But if you decide to get expressive, you should do so with the Eraser tool, that is you should erase expressive holes inside your painted layer.
So to get a sense of what I mean, go ahead and select the Eraser tool and I'll right-click inside the image window, and notice that the Hardness value is set to 100%, that's what you want, and I've got my Size value cranked down to 6 pixels. If you were working with a pressure sensitive tablet, you would want a higher value, but because I'm not, I'm going with this value here and then I'll just go ahead and paint some fairly awkward looking brushstrokes because it's hard to do anything decent with a mouse, but we're just looking for some gestural stuff here and there. And we want some variation, too, so you probably want to press Left Bracket key a few times in order to reduce the size of the brush and then paint in a few thinner holes as well.
And the nice thing about working with holes like this as opposed to painting with red and then painting with white is now I can change the color to anything I like. So if I press the I key to switch back to the Eye Dropper tool and click inside that dull green color swatch, and then I can press Shift+Alt+Backspace or Shift+Option+Delete to fill this layer complete with all of its holes with green. Anyway, I don't want to use that layer because I created it using a mouse. I'll go ahead and turn on this layer that I created with a pressure sensitive tablet instead, which looks a heck of a lot better.
I'll select the layer and then I'll press Shift+Alt+Backspace or Shift+Option+Delete on the Mac to fill it with green. I also decided to colorize the shadows in this image. So I'll go ahead and click on the portrait layer, which is called man. Then I'll drop down to the fx icon and I'll choose Color Overlay, go ahead and click on the Color Swatch and dial in Hue value of 260, Saturation value of 100%, and then the Brightness of 50%, click OK, and change the Blend Mode to Screen so that you're brightening up those shadows.
Switch to Blending Options over here in the left-hand list, and we want to get rid of those extra highlights outside of the shadows and you can do that by turning on Blend Interior Effects as Group, then click OK to accept the effect. You may be saying to me we already saw that in the previous movie, if you watched the previous movie, but the reason I am showing it to you again--albeit under different circumstances-- is because I forgot to apply the color to the frame effect, which means that we've got a black frame combined with this dark blue ink, if you will, and if this were actually silk screen or a lithograph, then all of this stuff would be on the same plate.
And so it would have gotten inked the same way, which means what I need to do is right-click on this fx icon, associate it with the man layer, and choose Copy Layer Style. That will get both the effect, and the fact that I turned on that Blend Interior Effects checkbox. Now I'll right-click on the frame layer, and because I'm working with the small screen, I get this two-column menu. I'll go ahead and choose Paste Layer Style in order to paste the blue onto the frame so that we have better continuity where this composition is concerned. So that's that effect. I'll go ahead and switch over to the next one in which we have this wonderful textural interaction going on, as well as these red paint strokes coming into the guy's face.
Here is how I achieved this effect. We'll start inside of this version of the composition here. This time around, my color palette includes just four swatches as you see here. So here is how I achieved the texture effect. First thing I did was scroll up to the frame layer here, click on it to select it and press Ctrl+J or Command+J on the Mac to make a copy of it. Now I want to move it to the bottom of the stack, so I'll press Ctrl+Shift+Left bracket key or Command+Shift+Left bracket on the Mac to move it behind the background. Then I'll Shift-click on the Layer mask thumbnail in order to turn it off and I'll click on the Flat Fan layer to make it active and then I'll go ahead and change its Blend Mode to Multiply, so I end up with this interaction here.
I decided I wanted to infuse this background frame with some color, so I clicked on it to make it active, then click on the fx icon and choose Color Overlay once again. I'll click on the red color swatch to bring up the Color Picker dialog box, and then I'll reduce the Saturation value to 50% and take the Brightness value down to 75%, click OK, and now I'll change the Blend Mode from Normal to Overlay just to get a sense of how things would look. That wasn't quite the effect I was looking for, so I tried out Hard Light instead and ended up with this much better effect here. Now I'll click OK.
So the idea is that by starting with this painterly background, you can blend it with any kind of textural effect you like. Then I start playing around with my other color fills and I came across an unexpected effect here. We'll go ahead and twirl open the Color Fills group, click on the face layer, and changed the Blend Mode from Normal to Overlay, and I ended up with what I have to admit is this happy accident here. The final effect is this one here in which we create these highly saturated shadows that don't interact at all with the other colors, and I'll show you exactly how that works in the very next movie.
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