Illustrator CS4 One-on-One: Advanced

Creating a sepia effect


Illustrator CS4 One-on-One: Advanced

with Deke McClelland

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Video: Creating a sepia effect

In this exercise, I'm going to show you how to achieve a really sophisticated sepia tone effect using a combination of two gradient map layers working together. It's going to give us unprecedented control over the luminance information inside of this image. So I have gone ahead and saved my progress so far as Free woman.psd. I'm going to bring up my Adjustments palette right here by expanding it, just by clicking in this area to the right of the Masks tab. You can also go up to the Window menu and choose the Adjustments command if you like, brings up the whopping big Adjustments palette here inside Photoshop CS4, which gives us access to adjustment layers.
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  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time

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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

Viewers: in countries Watching now:

Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Deke McClelland

Creating a sepia effect

In this exercise, I'm going to show you how to achieve a really sophisticated sepia tone effect using a combination of two gradient map layers working together. It's going to give us unprecedented control over the luminance information inside of this image. So I have gone ahead and saved my progress so far as Free woman.psd. I'm going to bring up my Adjustments palette right here by expanding it, just by clicking in this area to the right of the Masks tab. You can also go up to the Window menu and choose the Adjustments command if you like, brings up the whopping big Adjustments palette here inside Photoshop CS4, which gives us access to adjustment layers.

One of those adjustment layers is this guy right there, Gradient Map. And what a Gradient Map allows you to do is assign colors to various luminance levels inside of an image from Black to White, so all the brightness values and you can assign pin-pointed colors using a gradient and it's a great colorization method because you have much more control than any other colorization method that's available to you in virtually any product out there. I don't think there is a program that keeps up with Photoshop. So, press the Alt key with the Option key on a Mac and click on this little icon right there, the second icon from the bottom right, go ahead and Alt or Option-click. That brings up the New Layer dialog box and I want you to call this guy Sepia #1, like so and click OK. What Photoshop has now done is it is mapped Black to the left most color inside the gradient and it's mapped White to the right most color.

So, our blacks are now black and our whites are now white, wow! Fancy that, and everything in between is a shade of grey, so we have what is effectively a grey scale image. That's not what I want. I want Sepia. So, go ahead and click in that gradient and that brings up the Gradient Editor dialog box. You will see a bunch of gradients by default. You won't see all the ones I'm seeing right here. A lot of them are left over for my Photoshop CS4 101 series. Don't worry about that. Click the Load bottom. Worry free click it and then go to the 20_images folder inside your Exercise Files folder. Therein you will find a file called Sepia gradients.grd. I want you to select it and click Load. In order to load two little gradients, one of which is called Sepia #1 and one of which is called Sepia #2. Click on Sepia #1 and just like that you are mapping Black to this Dark Brown and White to this Lightish Brown right there and the mid -tones to something else in between.

So this gradient is creating this effect, a nice Sepia tone effect. I'll click OK. Now, it's a little over the top because I'm muting the image so very, very much. We don't have anything resembling White and that means we are clouding up the eyes, which I would like to highlight a little bit and I would also like to highlight this highlight on her lips, so I want to relegate this effect to just everything outside the whites of the eyes and everything outside the highlight. So most of the image is going to be affected by this Gradient Map, but some stuff is going to get left out.

All right, so I'm going to go ahead and collapse my Adjustments palette once again, just so that I have more room to work here inside the Layers palette. I'm going to go over to Paths this time. So it's Layers, Channels, Paths by default right in a row. Go over to Paths. You can also choose Paths from the Window menu if you prefer. Notice right there is some path outlines. Click on them. Now these are vector based path outlines, just like in Illustrator. In fact you could have drawn them in Illustrator, copied them and then come over to Photoshop and pasted them in the place if you wanted to, and that's a perfectly acceptable way to work. You can copy and paste paths back and forth between Illustrator and Photoshop because even though Illustrator has some problems with embedded pixels, Photoshop really has no problems with embedded vectors.

Vectors are inherently little guys that don't take up much room and Photoshop deals with them pretty well although not nearly as expertly as Illustrator does of course. All right, so what we have done, what I have done in advance is I have traced around the highlights on her lip with a path and you can't really see those paths very well, but they are there and then I traced around the eyes as well and the irises, so that I can leave the irises out and keep the eyes. So, with this path selected right there I'm going to go over to the Layers palette and I'm going to press the Ctrl key, very important, or the Command key on a Mac, so Ctrl on a PC, Command on a mac, drop down to this little Add Layer Mask icon down there.

By the way, make sure your Sepia #1 is selected. That's very important. Drop down to the Add Layer Mask icon, press and hold the Ctrl key or the Command key on the Mac and click on it, and you will go ahead and add those path outlines as a vector mask to this Adjustment layer. Now, what I have done is I have gone ahead and applied this Sepia to the whites of the eyes and to the highlight on the lips. That's exactly the opposite of the effect I want. So, I need to do a little bit of manual work. Not too much, just a little bit. I'm going to go grab my Black Arrow tool. Hey! We got a Black Arrow tool here inside of Photoshop and if you don't see it there you can click and hold and choose Path Selection tool. Adobe also it that same silly thing it calls it in Illustrator. All right so grab the Black Arrow tool and I'm going to go ahead and marquee around the lips in order to select those highlights, and then I'm going to Shift-click on one of the eyes and Shift-click on the other in order to select both of the eye shapes here inside of the illustration.

Now, go up to the Options bar, as it's known inside of Photoshop, and notice that right now the Path mode is set to add to shape area and what I want you to do is think about compound shapes. These paths inside of Photoshop here behave just like compound shapes inside of Illustrator, except that instead of going over to the Pathfinder palette to make your changes, whether it's Add or Subtract or we have got right there, we have got Intersect and we also have Exclude. So very familiar shape mode from the Pathfinder palette. Instead they are found up here in the Options bar.

So I want you to switch these selected shapes, so everything but the two iris shapes, to subtract from shape area and you will get this effect right there. Much better. Now the irises also want to be filled with this Sepia color, so click on one of the irises in order to select it, then Shift-click on the other one in order to select it too, so just the irises are selected now and you need to switch it's mode from Subtract, which is how it's set right now, to Add to shape area and you will get this effect, nice. Now then in order to make those paths disappear because they don't print; they are just there to show you what's going on. Just go ahead and click on the vector mask thumbnail in order to hide the path outlines and this is the effect we have so far. Now, what we are doing of course is a brilliant job of highlighting how bloodshot her eyes are. We need to convert the eyes to Sepia as well. We don't want them to just sit there being kind of a combination of blue and red. That's not good at all. And we are going to do just that by applying a second layer of gradient map in the next exercise.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .

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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
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