IntroductionWelcome| 00:04 | Hi, I am Nigel French.
| | 00:05 | Welcome to Photoshop for Designers COLOR.
| | 00:09 | This course is aimed to helping
designers and indeed anyone who uses Photoshop
| | 00:13 | to get the most out of working with color.
| | 00:16 | We begin with an overview of
important color concepts related, but not
| | 00:21 | limited to Photoshop.
| | 00:22 | Then we'll look at the nuts and bolts
as well as the aesthetics of choosing,
| | 00:27 | managing, and applying colors to our designs.
| | 00:30 | After we've covered Photoshop's
conventions for describing and representing
| | 00:35 | color, we'll move on to important
techniques for working with color, like color
| | 00:40 | correction, working with spot colors,
colorizing black-and-white images and some
| | 00:46 | core recipes for working
with limited color palettes.
| | 00:49 | We'll also be using essential
features like layer masks, adjustment
| | 00:53 | layers, Smart Objects.
| | 00:56 | So let's get started with
Photoshop for Designers COLOR.
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| Using the exercise files| 00:00 | Exercise Files are available to
premium subscribers of Lynda.com.
| | 00:05 | Simply download the Exercise Files
to your computer and place them on the
| | 00:09 | Desktop for ease of access.
| | 00:11 | The Exercise Files are
organized by chapter number.
| | 00:18 | Whenever an Exercise File is available
for a video, you'll see a yellow overlay
| | 00:22 | at the bottom of the screen that indicates
the location and name of the exercise file.
| | 00:29 | Working with the Exercise Files can add
great value to the training, however, if
| | 00:33 | you don't have access to the Exercise
Files you can still follow along with the
| | 00:37 | videos and maybe use files of your own.
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1. Color ConceptsDefining color terms| 00:00 | The Graphic Arts in general, in the
field of color in particular, has many
| | 00:04 | specialist terms and its fair share of jargons.
| | 00:07 | Now before we begin working with color
let's define some of those terms that
| | 00:10 | I'll be using frequently.
| | 00:12 | I am going to limit myself to the color
terms that Photoshop uses, the first of
| | 00:16 | which is Hue, which is synonymous with
color, when we use terms like red, green,
| | 00:21 | yellow, we are describing the Hue.
| | 00:24 | Together with Saturation and
Brightness the Hue is one of the three distinct
| | 00:28 | attributes that makes up
the qualities of a color.
| | 00:32 | If we look at the Color Picker, the Hue
can be adjusted by moving the vertical
| | 00:37 | color slider up and down and you can
see that the numbers here are changing and
| | 00:43 | they are changing to reflect the
colors' angle around the color wheel.
| | 00:48 | The second of our triumvirate of Hue,
Saturation and Brightness is Saturation,
| | 00:53 | which together with Hue and
Brightness describes a color.
| | 00:57 | Specifically, this relates to the purity
of the color and how much white content
| | 01:02 | there is in the color.
| | 01:04 | If we look at the color picker, I'll
put my color right there in the middle of
| | 01:08 | the color field and if I move to the
right I am increasing the Saturation, we
| | 01:13 | have less white content and if I
move to the left, I am decreasing the
| | 01:17 | Saturation, we have more white content.
| | 01:20 | This is also referred to as the tint of a color.
| | 01:24 | The next term is the
Brightness, synonymous with luminance.
| | 01:27 | Sometimes the HSB color model is
referred to as the HSL, Hue, Saturation and
| | 01:34 | Luminance color model, and this is the
perceived intensity of light or dark in the color.
| | 01:40 | The brightness is related to how much
black content there is in the color, and
| | 01:44 | back to the Color Picker, if I move up,
I am making the color brighter, and if I
| | 01:50 | move down, I am making the color darker.
| | 01:54 | Value is the gray value of a color
when the color is desaturated or when the
| | 01:59 | image is converted to the Grayscale Color Mode.
| | 02:01 | We'll see that Red and Green have
the same value, as do Cyan and Yellow.
| | 02:09 | If I come to the Info panel, I currently
have my second color to read gray values.
| | 02:14 | The gray value of the red is 69
%, the same as that of the green.
| | 02:20 | If I move over what was formerly
of the Cyan, its gray value is 48%;
| | 02:26 | likewise, the great value of the Yellow is 48%.
| | 02:29 | So those are the terms that I'll be
using frequently throughout this course;
| | 02:33 | Hue, Saturation, Brightness and Value.
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| Understanding the color wheel| 00:00 | The Color Wheel is a simple yet
powerful tool for understanding how color works
| | 00:04 | and how colors relate to each other.
| | 00:07 | We are going to create our
own Color Wheel in Photoshop.
| | 00:10 | We are going to use Blending Modes and
we are also going to use a gradient to
| | 00:13 | give us our tint and shades of the colors.
| | 00:16 | Here is where we begin.
| | 00:18 | I am going to change the
Transparency option, so that we don't see a
| | 00:22 | checkerboard, but rather we
see a solid white background.
| | 00:26 | That's going to be less distracting.
| | 00:29 | So we have our three additive
primaries red, green and blue.
| | 00:35 | So this is not a Color Wheel based
upon subtractive primaries of red, blue
| | 00:40 | and yellow, the colors that we would use to
mix paint, but rather we are mixing light.
| | 00:45 | I have a Vector Smart Object layer that has
the angles of the color around the circle.
| | 00:50 | I am going to begin by coming to
Layer 1 and I am going to duplicate it,
| | 00:55 | Command+J or Ctrl+J. And then I am
going to rotate that duplicate, Command+T or
| | 01:01 | Ctrl+T, takes me to my Free Transform
and I want to rotate this through 60?.
| | 01:11 | And I'll click on the tick
to accept that transformation.
| | 01:16 | Remember we are working
with the colors of light.
| | 01:19 | So if I change the Blending Mode of
this top layer to Lighten, then we see
| | 01:24 | now our subtractive primaries or our
secondary colors are Cyan and Magenta and a Yellow.
| | 01:31 | I am now going to merge these two
lawyers into one, Command+E or Ctrl+E. And I
| | 01:36 | am going to do what I did before, I am
going to copy the layer, Command+J or
| | 01:40 | Ctrl+J and this time because we have
six colors already and we want to get 12,
| | 01:46 | what we want to do is we want to blend
our primaries with our secondaries to get
| | 01:50 | our tertiary colors.
| | 01:52 | I am going to rotate the
copy layer through 30?.
| | 01:59 | Then to blend the top layer with the
layer beneath, I am going to change the
| | 02:02 | Opacity to 50% just by pressing 5.
| | 02:06 | So we now have our primaries, our
secondaries and our tertiary colors.
| | 02:11 | With Red at angles 0 or 360,
opposite we have Cyan at 180.
| | 02:18 | Then at 120? increments, we have
Green, at angle of 240 we have Blue.
| | 02:24 | What I now want to do is merge these
two layers together, Command+E or Ctrl+E
| | 02:30 | and my next step is to apply a Gradient
Overlay to this and the Gradient Overlay
| | 02:35 | is going to create concentric rings
which will divide our colors into tint and
| | 02:41 | shade, tints being the lighter
versions with a greater white value and shade
| | 02:46 | being the darker versions of the
hue with a greater black value.
| | 02:52 | Gradient Overlay, now we
need to do a few tricks here.
| | 02:56 | I am going to change the
Gradient Style to Radio.
| | 03:01 | I am going to reverse the Gradient, so
it goes from light to dark and then I
| | 03:08 | need a specific kind of Gradient.
| | 03:10 | So I am going to click on the Gradient Swatch.
| | 03:14 | And from my drop-down menu, I am
going to choose Special Effects and append
| | 03:19 | those to my gradients.
| | 03:22 | The one that I'm after is Gray Value Stripes.
| | 03:27 | Choose that and then change the
Blend Mode of the Gradient to Hard Light.
| | 03:32 | So now when I go to my Info panel, and
I am just going to press to choose my
| | 03:37 | eyedropper tool, we see that for the
most part, if I change my second color
| | 03:43 | readouts to HSB Color, Hue, Saturation
and Brightness, we see that the Color
| | 03:49 | Angle remains consistent, no
matter what piece of the slice I am on.
| | 03:54 | But what is changing, as I move
towards the outside and towards the center of
| | 03:58 | the circle is the Saturation
and the Brightness of that color.
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| Understanding color relationships| 00:00 | Now that we have our color wheel
built, we can use it to help understand
| | 00:07 | color-harmony rules.
| | 00:07 | Color-harmony rules are one way of making
informed choices about the colors that you use.
| | 00:12 | I am going to demonstrate four
commonly used color-harmony rules and they are
| | 00:17 | Analogous, Monochromatic,
Complementary and Triad.
| | 00:22 | Analogous colors are those that are
adjacent to each other on the Color Wheel.
| | 00:26 | Complementary colors are those that are
diagonally opposite each other on the Color Wheel.
| | 00:31 | Monochromatic colors are colors of
the same hue, but different tints and
| | 00:36 | shades of that hue.
| | 00:38 | And for a Color Triad, imagine an
equilateral triangle, the three points of that
| | 00:43 | triangle make up your color triad.
| | 00:45 | Color-harmony rules are the only way of
making color relationships, but they are
| | 00:49 | as good a way as any.
| | 00:51 | In the next movie, we'll see how we
can use Kuler which is a tool that comes
| | 00:55 | with Photoshop, with InDesign and
with Illustrator and that will help us
| | 01:00 | generate color palettes based upon
color-harmony rules and then add those
| | 01:05 | colors to our swatches.
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| Using Kuler to understand color harmony rules and create color palettes| 00:00 | Here we are going to see how we can use
Kuler to generate some color themes all
| | 00:04 | derived from one base color and
those color themes will be Complementary,
| | 00:08 | Monochromatic, Triad and Analogous.
| | 00:13 | And we'll then apply those color
themes to our artwork and see what
| | 00:17 | different results we get.
| | 00:18 | And in fact I've already done
that, let's preview those results.
| | 00:21 | But before I do that, let me mention
that this artwork that we are working
| | 00:25 | with is an homage to Herbert Matter and
Alexey Brodovitch's cover for the June
| | 00:31 | 40 Harper's Bazaar.
| | 00:34 | So I've already gone and applied
the different color themes to the
| | 00:38 | different versions, this is a
Complementary color scheme, Monochromatic,
| | 00:43 | Triad and Analogous.
| | 00:45 | I'd like to re-create the Color
Triad, so here's how I achieve that.
| | 00:51 | I am going to go back to my
starting point, which is this.
| | 00:57 | Let me just point out that the
different artwork is on separate layers and we
| | 01:01 | are applying the color through the
usage of Color Fill layers and layer masks.
| | 01:06 | I am going to go to Kuler and a quick
overview of how Kuler works, when you are
| | 01:17 | clicked on to create you select your
color harmony rule, you will get five
| | 01:22 | circles on your color wheel, all in
relation to your base color, the base color
| | 01:29 | represented by the larger of those five circles.
| | 01:33 | You can drag your base color around to
anywhere you like on the color wheel.
| | 01:37 | You can change your color-harmony rule.
| | 01:40 | When you come out with a color theme
that you like, you can add that theme to
| | 01:43 | your Swatches panel.
| | 01:45 | What I am going to do now is turn on this layer.
| | 01:49 | It's called base color.
| | 01:51 | And I am just doing this so that I
can reliably sample this color again.
| | 01:56 | This was originally sampled
from the model skin color.
| | 01:59 | So I am going to click on that color
to make that color my foreground color.
| | 02:04 | Then on the Kuler panel, I will click
on this button, Add current foreground
| | 02:09 | color as base color, and there is my
Color Triad which I'm not going to add to
| | 02:15 | my Swatches by clicking on
Add this theme to swatches.
| | 02:20 | I can now close Kuler.
| | 02:22 | I can now turn off that base color layer.
| | 02:25 | If I want to concentrate just on these
five colors without the distraction of
| | 02:29 | all the other colors on my Swatches panel,
I can come to my Preset Manager to my
| | 02:36 | Swatches and select all of the
unwanted colors and delete them.
| | 02:44 | So now I'm going to apply the colors to my
artwork, starting with the background layer.
| | 02:49 | I am going to sample the green
from the Swatches panel and then press
| | 02:54 | Option+Backspace or Alt+Delete key, to
fill my background layer with that color.
| | 03:01 | Next, I am going to go to the lips
layer, I'll turn on its visibility.
| | 03:05 | I'll double-click on that solid color
adjustment layer, I'll try and move that
| | 03:11 | out of the way as best I can and
then come and click on this color on my
| | 03:16 | swatches panel to use that color.
| | 03:19 | Then to the butterfly, turn on its visibility.
| | 03:23 | Double-click on the solid color
adjustment layer, sample the color, click OK.
| | 03:30 | Now I have two type layers, I am
going to use the same color for both.
| | 03:33 | Sample the blue, Option+Backspace or Alt
+Delete key to fill with that color and
| | 03:43 | then select the other type
layer and do the same thing.
| | 03:48 | So there we see an approach to using
Kuler, sampling a color from your artwork,
| | 03:53 | deriving a color theme from that base
color and then applying those colors to
| | 03:59 | the different elements of your artwork.
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| Using the Kuler web site| 00:02 | I am on the Kuler website, kuler.
adobe.com and here we can create color
| | 00:06 | palettes much in the same way as we
create them in Photoshop or indeed within
| | 00:10 | InDesign or Illustrator.
| | 00:12 | You set your base color and you can do
that either using these sliders or you
| | 00:16 | can do it numerically based upon HSV,
I use V for Value as supposed to B for
| | 00:24 | Brightness, but it's the same thing
as HSB in Photoshop, RGB CMYK or Lab.
| | 00:31 | Or you can just move your color around
the color wheel and then you select your
| | 00:35 | rule, Analogous, Monochromatic, etcetera.
| | 00:39 | And then when you like the color palette,
you give it a title, then you click on Save.
| | 00:45 | And then you have the option of
downloading it from the website and then using
| | 00:49 | it in Photoshop or Illustrator or InDesign.
| | 00:53 | You download it as an ASE,
an Adobe Swatch Exchange file.
| | 00:58 | In order to be able to do that, you
must have an Adobe ID, takes just a few
| | 01:02 | minutes and it's free to set up,
so definitely worthwhile doing.
| | 01:07 | Well, you may be thinking that's great,
but there is nothing here that we can't
| | 01:11 | already do from within Photoshop
itself, except there is this one very
| | 01:15 | important and very cool thing that we
can do here, and that's create a color
| | 01:20 | palette from an image.
| | 01:22 | And here we have an image that I've
uploaded, happen to particularly like this
| | 01:26 | image and like the colors in it.
| | 01:28 | I want to use the colors;
| | 01:30 | maybe because I need to combine other
elements and I want those elements to have
| | 01:34 | colors suggested from the colors in the image.
| | 01:37 | And I can choose one of these
different Moods that it gives me to get
| | 01:42 | slightly different results.
| | 01:43 | And if none of these are really
ticking the boxes that I want them to tick,
| | 01:47 | then I can just move these sample points
around, and I'm creating a custom color theme.
| | 01:55 | I give the theme a Title, I am going to
call it fish market and let's say I'll
| | 02:01 | just refine that a little bit, okay,
and give it some tags if I want, make it
| | 02:06 | easier to find in a search.
| | 02:08 | I am not going to worry about that now;
| | 02:09 | I am just going to click on the Save.
| | 02:14 | And then we are taken to the screen where there
is a list of other themes that I have created.
| | 02:19 | I am now going to download this theme, so
that I can use it in one of my projects.
| | 02:24 | And to do that, I click on this second
button, Download this theme as an Adobe
| | 02:29 | Swatch Exchange file.
| | 02:31 | I'm going to save it into my Chapter 01
folder, but you would save it presumably
| | 02:38 | in your relevant project folder.
| | 02:41 | And now in any of my created suite
products, I can come to the Swatches panel,
| | 02:49 | choose Load Swatches, and the colors
are added to my Swatches panel, and I can
| | 02:58 | now apply those colors to
any of my selected items.
| | 03:01 | So that's something that we can do
within Kuler, upload an image and have the
| | 03:06 | Kuler website generate a color theme for us.
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| Colors on screen and on paper| 00:00 | Here is a picture I recently took of the sunset.
| | 00:02 | It was an amazing sunset.
| | 00:04 | You had to be there and that's the key
point, you had to be there, this picture
| | 00:08 | does not capture it.
| | 00:10 | And in the same way as the picture does
not capture the event, when I print this
| | 00:15 | on paper, the paper version is not
going to capture the vividness of the colors
| | 00:19 | and saturation that I currently
see on screen. So why is that?
| | 00:23 | Part of the reason is that, when we
look at colors on screen, we are looking at
| | 00:27 | RGB colors, the colors of light.
| | 00:29 | So when we print, we have to print
with ink or pigment, we can't print with
| | 00:34 | light, so that colors are converted.
| | 00:36 | Even though, we might print them as an
RGB image to our desktop inkjet printer,
| | 00:41 | they are still being converted to ink colors.
| | 00:45 | And there are fewer ink colors
than there are colors of light.
| | 00:48 | So some colors are lost.
| | 00:49 | That's part of the problem.
| | 00:51 | The other part of the problem is that
when we're looking at ink on paper, the
| | 00:55 | light is refracted from the paper.
| | 00:58 | It's bouncing around all over the place.
| | 01:00 | We don't know what sort of
lighting conditions we're working with.
| | 01:03 | We don't know what sort of
paper stock we're printing on.
| | 01:06 | There are a tremendous number of variables.
| | 01:08 | So, to most certain extent, it's a
question of recalibrating our expectations.
| | 01:13 | Things are never going to look quite
as good in print, as they do on screen.
| | 01:18 | But that doesn't mean we have
to settle for bad looking prints.
| | 01:21 | So as long as we are using a color
managed workflow, and I'll be addressing that
| | 01:25 | topic in an upcoming movie, then we
should be able to make sure that our color
| | 01:29 | is consistent, from screen to print.
| | 01:32 | Of course, the type of printer that
we are printing on, and the quality of
| | 01:36 | paper that we're working with have a
massive impact on the quality of the print
| | 01:40 | that we get.
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| Color as a signifier| 00:00 | We all know the red means stop and
green means go, but red and green and all
| | 00:05 | other colors can mean
different things to different people.
| | 00:08 | Maybe you have a sunny
disposition, maybe you get the blues.
| | 00:11 | We all see red sometimes.
| | 00:13 | Perhaps you wear a pink ribbon to
promote awareness of breast cancer or tie a
| | 00:18 | yellow ribbon for troops serving overseas.
| | 00:21 | Maybe you are an Arsenal fan and red is
your color. Maybe you support the Blues.
| | 00:25 | Orange might mean Halloween to you or
Dutch football, or the San Francisco
| | 00:29 | Giants, or all of these things, or none of them.
| | 00:33 | Red and green might make you think of
Christmas or maybe something hotter.
| | 00:37 | Colors carry all sorts of
messages, some of them contradictory.
| | 00:41 | Colors can signify sports teams,
political parties and ideologies, even religion.
| | 00:47 | For every positive, there is a negative.
| | 00:49 | These are not reasons to avoid colors,
just considerations to be aware of.
| | 00:53 | There are no right or wrong colors.
| | 00:56 | We frequently use color to navigate our way
in an airport, on a motorway, or freeway.
| | 01:04 | Perhaps you live in a metropolitan area
where the underground bus or light rail
| | 01:09 | has color-coded lines.
| | 01:11 | This is the Washington, DC Metrorail,
here is the granddaddy of them all, the
| | 01:16 | London Underground, which has used the
color coding in its diagram as the basis
| | 01:20 | for its branding for the best part of a century.
| | 01:23 | Just think about how
important color is to branding.
| | 01:25 | I am sure you can instantly match
the color to the appropriate logo.
| | 01:30 | Another important consideration
with color is that color is relative.
| | 01:34 | This example is adapted from Josef
Albers' book 'The Interaction of Color.'
| | 01:40 | These two orange rectangles are exactly
of the same color, but because the one
| | 01:45 | on the right is against a field of
bright color, it too seems a lot brighter.
| | 01:50 | There is no such thing as an
absolute color, only a relative color.
| | 01:56 | Colors of course are very prone to trends.
| | 02:00 | These are the colors of the year as
defined by Pantone, which every year and
| | 02:05 | it's coming up real soon December 2011;
| | 02:07 | they will announce the
color of the year for 2012.
| | 02:12 | And of course the popularity of
colors can be parodied in a funny way.
| | 02:16 | Here is an interesting website by a
guy called Christophe Courtois, he makes
| | 02:20 | these amazing collages of movie
posters, which hint at the popularity of
| | 02:25 | colors for certain movies.
| | 02:28 | In dependent movies, it seems need to
have posters with yellow backgrounds.
| | 02:33 | Nature movies are commonly
advertised with blue backgrounds.
| | 02:38 | And this one is particularly funny.
| | 02:42 | So when you have an action movie you
need to have your protagonist at a slant,
| | 02:46 | running down a blue road.
| | 02:48 | What then can we say about
different colors and what they signify?
| | 02:53 | Colors have connotations.
| | 02:55 | Many of these connotations are culturally
specific, some of these we take for granted.
| | 03:01 | There's no such thing as an absolute color,
only color in the context of other colors.
| | 03:07 | And finally, colors are very subject to
fashion trends, except of course black,
| | 03:11 | which never goes out of style.
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| Color inspirations| 00:00 | Color inspiration is everywhere and
if you're looking to create some color
| | 00:03 | palettes then why not start with the
great masters as your inspiration, artists
| | 00:09 | that are famed for their use of color.
| | 00:12 | So I am going to come over to my Layers panel.
| | 00:14 | Now you'll have to find your own
versions of these images or other images.
| | 00:17 | I can't distribute these to you.
| | 00:19 | But I'm going to now tear off my
Layers panel, so we can see what's going on
| | 00:24 | here and then expand it.
| | 00:27 | So starting out with, for me its girl
with the pearl earring, if I want to
| | 00:31 | create a color palette inspired by
this I can do it on case-by-case basis, of
| | 00:35 | course, using the Eyedropper tool and
then just clicking on the color and then
| | 00:39 | going over to Swatches and adding
that color to my Swatches panel.
| | 00:42 | That's a bit laborious, it works.
| | 00:45 | But, here is another approach.
| | 00:47 | I have applied smart filters to each
of these and if we turn on the smart
| | 00:52 | filter, we can see that I have
applied a Mosaic filter and this Mosaic
| | 00:57 | essentially boils it down
to the essential colors.
| | 01:01 | So here I can really get an idea of
what the color scheme is in this image.
| | 01:05 | I am now going to make my Swatches
panel a bit bigger and then I can come over
| | 01:10 | and I can just decide, well, I want
that blue and I want that blue, and just on
| | 01:18 | and on, building up a color
palette of the essential colors.
| | 01:22 | Now if I don't want to have to click
OK to acknowledge the name of the new
| | 01:27 | color, I can hold down the Option or
Alt key when I click on my Swatches panel.
| | 01:32 | Okay, and then I've got Van Gogh or
Van Gogh depending on which side of the
| | 01:42 | Atlantic you are, or Van Gogh if you are Dutch.
| | 01:46 | Klimt, Rodchenko, so I am
just picking my favorites here.
| | 01:52 | This is a great starting
point for any color based project.
| | 01:58 | And of course color inspiration can
come from more pedestrian sources as well.
| | 02:03 | Make sure you carry a camera or a camera phone.
| | 02:05 | Whenever you see something that
looks interesting, take a picture of it.
| | 02:08 | Here I was out for a Lebanese meal and I
thought that's a good color combination;
| | 02:13 | let's take a picture of it.
| | 02:15 | If you have an iPhone, you might
consider this for a useful app, myPANTONE,
| | 02:19 | which will analyze the colors in a
picture that you've taken with your camera
| | 02:23 | phone and it will give you the
color palette in Pantone colors.
| | 02:28 | A useful tool to carry around in your pocket.
| | 02:31 | The message of the movie is that
color inspiration is everywhere.
| | 02:34 | So make sure that you are always
open to receiving the inspiration.
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| Color and accessibility| 00:00 | Color is subjective, but beyond
the subjectivity we actually see
| | 00:03 | colors differently.
| | 00:05 | Many of us are colorblind;
| | 00:06 | as many as one in 10 men in the US
have some form of color blindness.
| | 00:11 | There are two types of colorblindness,
Protanopia which is a blindness to red
| | 00:16 | and Deuteranopia which is a blindness to green.
| | 00:19 | Photoshop let's us proof our colors
simulating these forms of colorblindness.
| | 00:24 | So here I have a design with the text in
red and a color wheel and when I change
| | 00:29 | my Proof Setup to Protanopia, the red
practically disappears and the colors in
| | 00:37 | the color wheel, we can
see shift quite dramatically.
| | 00:41 | The other type of colorblindness,
Deuteranopia is a blindness to green.
| | 00:51 | Color Universal Design or CUD is a
design methodology by which we design for as
| | 00:56 | wide an audience as possible.
| | 00:58 | So we need to proof our colors
for these different types of vision.
| | 01:02 | Also, and this is more a
commonsense thing than anything else.
| | 01:06 | If you are creating web design, say for
example, you are mocking up a website in
| | 01:11 | Photoshop and that design obviously
includes text, you need to make sure that
| | 01:15 | the text has sufficient
contrast against this background color.
| | 01:19 | Now things have improved
dramatically since the 1990s.
| | 01:23 | And we don't have so many shocking text
and background color combinations as we
| | 01:28 | used to, as a much heightened
awareness of the problem of color contrast.
| | 01:33 | But this is a very useful tool
and there are several like this.
| | 01:37 | If you type in Color Contrast Check
into your browser, then you will come out
| | 01:43 | with tools like this that will help
you evaluate whether your intended text
| | 01:48 | color and your background color has
sufficient contrast to pass the Web Content
| | 01:53 | Accessibility guidelines.
| | 01:55 | So you can adjust these sliders to
change your intended foreground color, and
| | 02:01 | your intended background color, and it
tells you whether that combination has
| | 02:07 | sufficient contrast and the contrast ratio.
| | 02:10 | Really, we want to be going with a
contrast ratio of at least seven.
| | 02:16 | So if I were to switch my Foreground
color to Black and my Background color to
| | 02:23 | White, completely compliant a
Contrast Ratio of 21, doesn't get much more
| | 02:29 | contrasty than that;
| | 02:30 | it's a hard combination to beat in
terms of readability, black on white.
| | 02:36 | But you can now experiment with
changing your background color and potentially
| | 02:40 | your foreground color and
seeing what contrast ratio you have.
| | 02:43 | Just make sure that
whatever combination you use;
| | 02:46 | you end up with a compliant
color contrast combination.
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|
|
2. Working with ColorDemystifying the Color Picker| 00:00 | Mission control for choosing our colors
in Photoshop is the Color Picker which
| | 00:04 | we get to by clicking on
the Foreground Color swatch.
| | 00:07 | And here we can change our Hue
by using this vertical slider;
| | 00:12 | we can change our Saturation by
moving to the right or to the left.
| | 00:16 | And we can change our Brightness by
moving up and down, every time I do this, we
| | 00:21 | see the color represented using the
HSBC Hue, Saturation, Brightness, Color
| | 00:25 | model, as well as RGB, LAB,
CMYK and its hexadecimal value.
| | 00:33 | We can also if we wish, limit our
colors to the 216 colors of the website
| | 00:38 | palette, but there is no real reason to do
that anymore this is after all the 21st century.
| | 00:44 | So I'm not going to have that turn on.
| | 00:47 | Other pieces of useful information
that we get in the color picker is whether
| | 00:50 | the color is going to be out of gamut, should
we choose to print it using CMYK color model.
| | 00:56 | And the color that I have got chosen
here is out gamut, meaning that it's going
| | 01:01 | to be clicked to its closest equivalent.
| | 01:03 | Now there is going to be a slight color shift.
| | 01:06 | The cube means that it's not a website color.
| | 01:08 | As well as choosing our colors here, if
I were to click OK, then this color will
| | 01:13 | become my foreground and that's the
color that I can then paint with or can fill
| | 01:19 | my selections all my layers with.
| | 01:21 | As well as that we can also Add the
color to our Swatches so that we can use it
| | 01:25 | consistently and repeatedly.
| | 01:28 | When I do that it asks me to Name the
color which I am going to bypass just by
| | 01:33 | clicking OK and that color is
then added to my Swatches panel.
| | 01:38 | We can also specify colors using
Color Libraries, if I click on the Color
| | 01:41 | Libraries button, we can use any of
these Color Libraries, I am going to use
| | 01:46 | PANTONE solid coated.
| | 01:48 | And I can scroll through using this
vertical slider, but more efficiently than
| | 01:53 | that I can specify my color
by number just by typing in.
| | 01:57 | And then you click OK to return to my
photo and then use that as my foreground
| | 02:04 | color or if I wish to see the CMYK or
RGB breakdown off this particular color, I
| | 02:10 | can click on the Picker and that color
is represented as my current Foreground
| | 02:16 | Color and we see all of the color
numbers that will describe this PANTONE color
| | 02:22 | in the different color models.
| | 02:24 | So a tremendous amount of
information here in the Color Picker, but most
| | 02:29 | importantly it's based on the three
properties, Hue, as represented by the angle
| | 02:37 | of the color, its position on the
color wheel, Saturation represented as a
| | 02:41 | percentage and Brightness
also represented as a percentage.
| | 02:45 | Hue, we change by using the vertical
slider, Saturation, we change by moving
| | 02:51 | left and right, and Brightness,
we change by moving up and down.
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| Understanding the role of foreground and background colors| 00:00 | Crucial to working with color in
Photoshop is understanding the role of the
| | 00:03 | foreground and background colors.
| | 00:05 | These are the foreground and
background color right here, at the moment they
| | 00:08 | are black and white.
| | 00:10 | These are the default values.
| | 00:12 | It's the foreground color that you
paint with when you're using one of
| | 00:15 | your painting tools.
| | 00:16 | I'm currently in my Brush tool.
| | 00:18 | so when I paint, I get black.
| | 00:20 | If I want to switch my
foreground and background color.
| | 00:23 | I can press the X key, I am now painting white.
| | 00:27 | I can also click this two headed arrow to
switch my foreground and background colors.
| | 00:33 | The default values for foreground and
background colors are black-and-white, if
| | 00:37 | you want to change the colors, come and
sample a color from the Swatches panel,
| | 00:41 | then that's the color that you paint with.
| | 00:44 | And if you want to restore your
foreground or background colors to their
| | 00:47 | default values, you can come and click on the
two small squares or you can press the D key.
| | 00:53 | The background color is the color that
you erase to, when you use the Eraser tool.
| | 00:57 | So currently my background color is
white, when I use my Eraser tool and when
| | 01:01 | I'm working on a background layer,
that's the color that I am left with.
| | 01:07 | That's not particularly useful, but if I
were to unlock my background layer, I'm
| | 01:13 | doing that just by double-
clicking on it and clicking OK.
| | 01:15 | Now I want to use the eraser I am not
erasing to the background color, but
| | 01:19 | rather I am erasing to transparency.
| | 01:22 | Photoshop represent
transparency as a checkerboard.
| | 01:28 | Sometimes the foreground and background
colors work in conjunction with each other.
| | 01:31 | For example, when you are making a
gradient, if I choose my Gradient tool and I
| | 01:36 | am now going to choose a different
foreground and background color, I am going
| | 01:39 | to choose a Red as my foreground
color and a Yellow as my background color.
| | 01:44 | To choose your background color, hold
down the Command key and click on the one
| | 01:48 | the colors on the Swatches panel.
| | 01:50 | I can now do a red to yellow or a
foreground to background gradient, like so,
| | 01:57 | because I drew the gradient over my one
layer, the colors of the gradient have
| | 02:01 | replaced that layer, so I am going to
undo that, create a new layer and then
| | 02:05 | swipe with my gradient to create the
gradient above my existing layer, and then
| | 02:10 | I can change my Blend Mode to something
other than normal and that gives me an
| | 02:15 | interaction between the gradient
colors and the colors of the layer beneath.
| | 02:22 | There are some very useful keyboard
shortcuts for working with your foreground
| | 02:25 | and background colors.
| | 02:26 | I am just going to undo couple of times,
so I can get back to my empty Layer
| | 02:32 | 1, and then I am going to choose my
Polygonal Lasso tool to make a selection
| | 02:37 | of this garage door.
| | 02:39 | And I would like to fill this
selection with a different color.
| | 02:42 | I would like to fill it with yellow, so
I am going to make yellow my foreground
| | 02:46 | color, currently yellow is my background
color, so I am going to press the X key
| | 02:50 | to switch it to the foreground color,
and then I could if I like doing things
| | 02:54 | the long way around come and choose my
Paint Bucket tool to fill that selection
| | 02:58 | with that yellow or I could go
to my Edit menu and choose Fill.
| | 03:03 | That would also work, but what I am
going to do is press Option or Alt and the
| | 03:08 | Backspace Delete key and that will fill
my selection with my foreground color.
| | 03:13 | If I wanted to fill my selection with
my background color, then I would press
| | 03:16 | the Command or Ctrl and
the Backspace Delete key.
| | 03:20 | So it's Option or Alt Delete to fill
with foreground color, Command or Ctrl
| | 03:24 | Delete, to fill with the background color.
| | 03:27 | I did just want to mention one more
thing about the foreground and background
| | 03:30 | colors, and that is that they behave
very differently when you are working in
| | 03:34 | the context of masks.
| | 03:35 | What I am going to do now is I am
going to press my Q key, which is going to
| | 03:39 | take me to Quick Mask Mode.
| | 03:41 | Quick Mask Mode is one
way we can make a selection.
| | 03:44 | We can actually paint in the
selection with our Selection tool.
| | 03:47 | So if I choose my Brush tool, I'm now
painting in the selection or actually I
| | 03:53 | would be painting in the area that is
going to be masked i.e. not selected.
| | 03:57 | And what I mean this masking mode and
in other masking contexts, my foreground
| | 04:03 | and background colors are always going
to be black or white, or I can't change
| | 04:08 | the opacity, so that I am painting
shades of gray, but there is no such concept
| | 04:12 | of color, while working with masks.
| | 04:15 | So what I am going to do here
is just paint over this area.
| | 04:20 | And you will be thinking, wait a minute,
didn't you just say there is no such
| | 04:22 | thing as color on a mask,
and he is painting in red?
| | 04:25 | Well, that red is really no red.
| | 04:28 | That's just the color that the mask uses
and I can change that color if I want to.
| | 04:33 | But this is just a way of showing me what
part of my image is not going to be selected.
| | 04:39 | So when I now press the Q key, we
return back to standard editing mode and we
| | 04:44 | see the marching ants which represent
areas that are selected and not selected.
| | 04:51 | And I actually have everything in this
image now selected, with the exception of
| | 04:56 | this window here in the center, and if
I press Command+Shift+I, I could inverse
| | 05:02 | that, so that that's now the selected area.
| | 05:04 | But the important thing I just want to
point out there and if this syncs like
| | 05:08 | it's a bit of tangent, just remember,
when you are working in a mask or when you
| | 05:13 | are working on a mask, you're not
going to be able to choose a color, you are
| | 05:17 | only going to be at a paint Black or White.
| | 05:21 | Black is going to mask;
| | 05:23 | white is going to reveal.
| | 05:24 | So you are going to get a very
different behavior from your foreground
| | 05:27 | and background colors.
| | 05:29 | In every other context, it's the
foreground color that you paint in, and less
| | 05:34 | importantly, it's the background
color that you sometimes erase too.
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| Choosing colors| 00:00 | This movie is a summary of the
different ways to choose your colors in
| | 00:03 | Photoshop, in no particular order,
let's begin with the Swatches panel.
| | 00:08 | If I have my Swatches panel open I can
choose my foreground color by clicking on
| | 00:12 | the color that I like, and to choose
the background color, I hold down the
| | 00:16 | Command or the Ctrl key and click.
| | 00:18 | I can also Load pre-saved Swatches or
I can work from any of these predefined
| | 00:25 | color matching systems.
| | 00:28 | I can also use the Color panel and on
the Color panel I can mix my colors by
| | 00:34 | adjusting these sliders, and we have
sliders that correspond to Photoshop's
| | 00:42 | different color models.
| | 00:43 | I am going to switch to RGB now, and
they are mixing my colors and I am seeing a
| | 00:51 | scale of 255, 0-255 for each
of my three primary colors.
| | 00:59 | These two swatches here represent
the foreground and background colors,
| | 01:02 | duplicating what we have down here at
the bottom of Tool panel, foreground
| | 01:06 | and background colors.
| | 01:07 | I can also, if I wish, just move my
eyedropper along the flattened color wheel
| | 01:12 | that appears at the bottom of the
color panel, and you can see as I am doing
| | 01:17 | that the sliders are moving.
| | 01:20 | If I wanted to set my foreground or
background colors to white or black, I can
| | 01:24 | come to the end of this color bar and click
on those two small squares for white or black.
| | 01:32 | Because most of the time we are
beginning with an image, the biggest source of
| | 01:35 | inspiration in terms of choosing
colors is going to be the image itself.
| | 01:39 | We can sample colors from an image and
we do not using the eyedropper tool, or
| | 01:44 | if I am in one of my painting tools, I
can hold down my Alt key to temporarily
| | 01:49 | toggle to the eyedropper.
| | 01:51 | So when I do this and I click, what I
see is my sampling ring, my sampling ring
| | 01:59 | is divided into an inner
circle and an outer circle.
| | 02:04 | The inner circle at the top, we have
the currently chosen foreground color, and
| | 02:09 | the bottom half of that is what was my
previous foreground color, outside of
| | 02:14 | that is a ring of neutral gray, this
just makes it easier to evaluate the color
| | 02:19 | that you are choosing, when we see it
against a outer circle of neutral gray.
| | 02:25 | Other options that relate to the
eyedropper are the sample size.
| | 02:30 | And the most appropriate sample size
would depend upon how many Pixels there are
| | 02:35 | in your image, the bigger the number,
the larger the sample size, typically, I
| | 02:39 | would like to work with
either a 3 x 3 or 5 x 5 average.
| | 02:44 | Since this is a relatively small image,
I am going to go with a 3 x 3 average.
| | 02:49 | We can change what layer we are
sampling, since I have only one layer in this
| | 02:53 | image, I am going to leave that on
current layer and there is the option to
| | 02:57 | see the sampling ring.
| | 02:58 | As well as being able to sample colors
from your current image, you can also
| | 03:04 | sample colors from any image you have
open in Photoshop or indeed from anywhere
| | 03:10 | on your desktop, anywhere
in your desktop interface.
| | 03:13 | What I am going to do now is now is
switch to this image, let's say that I want
| | 03:16 | to sample some colors from this, and I
think I'm going to split my screen into
| | 03:22 | two, into a 2 up horizontal view,
or a 2 up vertical view rather.
| | 03:27 | And then I will move over to the
deck chair image, and let's say I want
| | 03:30 | to sample some color from there and then
that's going to become my foreground color.
| | 03:36 | So that now when I move back to my big
sur image, it's that color sampled from
| | 03:43 | the other image that I can now paint in.
| | 03:47 | Switching my view back to a
Consolidated view, so we see just the one image as
| | 03:52 | well as the eyedropper, we also have
the heads up display, which I warn you is
| | 03:57 | quite a handful, but let's
take a look at how we use this.
| | 04:01 | Rather than having to break the
fluidity of your work by going to the color
| | 04:08 | picker itself, where we have color field
allowing us to change the Saturation by
| | 04:15 | moving horizontally, or the
Brightness by moving vertically, and the Hue by
| | 04:20 | using the vertical slider.
| | 04:22 | Rather than doing that we can stay in
the image itself and hold down these
| | 04:27 | keyboard shortcuts, Ctrl+Alt+Command+Click.
| | 04:32 | And you'll see we have an interface just
like the one that we have in the color picker.
| | 04:37 | Now what we do here is we move around
on the color field to choose the kind
| | 04:41 | of shape that we are after, shaping the
combined term for the Saturation and the Brightness.
| | 04:48 | So I am going to go for about there.
| | 04:51 | And now and this is where it gets
tricky, I am going to let go of my keyboard
| | 04:57 | modifier keys, and I am going to hold
down the Spacebar, which is going to allow
| | 05:02 | me to move over into the vertical Hue slider.
| | 05:06 | I am now going to reengage those
Modifier keys, Ctrl+Option+Command, or if
| | 05:12 | you are working on a PC, it's Shift+
Alt+Righ+Click and you can now move the
| | 05:19 | Hue slider up and down.
| | 05:21 | When you get to the color that you want,
and I am going to go with something
| | 05:24 | like that purple, release, and
that becomes your foreground color.
| | 05:27 | As well as working with the Hue
strip, we can change our Preferences.
| | 05:34 | It's in our General Preferences, for PC
users your Preferences will the bottom
| | 05:39 | of your Edit menu, in the General
Preferences we can change the HUD Heads Up
| | 05:45 | Display color picker, to a color wheel.
| | 05:48 | And when we do that, keyboard
shortcut, Ctrl+Option+Command or
| | 05:55 | Right-Click+Shift+Alt and then we can
move around within the color field, we let
| | 06:02 | go off the left-hand side of the
keyboard, hold down the Spacebar, which is
| | 06:07 | going to allow us to jump over into
the outer color wheel, and then re-engage
| | 06:14 | those three modifier keys, where we
can move around the color wheel to get to
| | 06:20 | the right hue that we want, let go and
then that becomes our foreground color.
| | 06:26 | So different ways of choosing our
foreground and background colors, which
| | 06:32 | methods you use, depends largely upon
your preference, but there's no reason why
| | 06:37 | you can't mix-and-match all of these techniques.
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| Managing swatches| 00:00 | The Swatches panel is where we store
our colors and I want to in this case make
| | 00:06 | a Swatch panel that uses only sampled
colors from this image and then not have
| | 00:12 | the distraction of
seeing all these other colors.
| | 00:15 | What we currently looking at are all
the colors of the default swatches, and
| | 00:19 | they are not relevant for what I want
to do, I want to limit the colors I'm
| | 00:23 | looking with, to the colors
that are already in this image.
| | 00:26 | So firstly, I need to add colors to my
Swatches panel, adding colors is as simple as this.
| | 00:32 | We move our cursor over the
color that we want to sample;
| | 00:35 | I am in my eyedropper tool as I do this.
| | 00:39 | Click, that makes it the foreground
color, to add that foreground color to
| | 00:43 | Swatches panel, move over an empty
spice on the Swatches panel and click.
| | 00:49 | When you do that you are asked to Name
the color, I am just going to leave it
| | 00:52 | called Swatch 1 by clicking OK.
| | 00:56 | I'm going to do that five more times so
that I get a color palette of six colors.
| | 01:00 | This time though, rather than having
to bypass the naming of the color, I am
| | 01:06 | just going to hold down the Option or
Alt key and Click, and that's going to add
| | 01:10 | the color directly to the Swatches panel.
| | 01:17 | So I have added the colors to my
Swatches panel, and I would now like to
| | 01:20 | see only those colors.
| | 01:22 | So if I wanted to delete swatches, I
can move over the color that I want to
| | 01:28 | delete, hold down the Option or
Alt key and Click, and it's deleted.
| | 01:34 | Now that would be a rather tedious
thing to have to do, if I had to do that one
| | 01:38 | by one for all of these colors.
| | 01:40 | So to speed up this process, I am going
to go to the Preset Manager, under the
| | 01:45 | Edit menu I will come down to Preset
Manager, which is where we can manage more
| | 01:51 | efficiently our swatches.
| | 01:54 | I am going to come to Swatches and what
we can do here that we can't do on the
| | 01:58 | Swatches panel itself, is make a
multiple selection of our Swatches.
| | 02:03 | So I am going to select that first of
the colors that I don't want, hold down
| | 02:08 | Shift key and select the last of the
colors that I don't want, and then Delete them.
| | 02:13 | I can always restore those default
swatches at any times, so there is no danger
| | 02:17 | in permanently deleting them.
| | 02:20 | Now what I am going to do is I am
going to save the six remaining colors as a
| | 02:25 | color palette, and I am going to
select them, select the first one, hold down
| | 02:29 | the Shift key, select the last
one and then click on Save Set.
| | 02:34 | I am going to save these in my Chapter 02
folder, and I am going to call them dahlia.
| | 02:41 | They are going to become a .
aco file an Adobe Color File.
| | 02:46 | So when I click Save, and then Done, we
see that we have now only those swatches
| | 02:55 | on my swatches panel.
| | 02:57 | Now if am working on a job that
requires the use of these colors I can come to
| | 03:02 | the Swatches panel menu and I can
choose Replace Swatches, which will replace
| | 03:09 | whatever colors are there with the
incoming colors or Load Swatches, which will
| | 03:14 | append the swatches to the
colors that are already there.
| | 03:18 | Let's see what I mean by that.
| | 03:19 | I am going to imagine now that we are
starting this project, so I am going to
| | 03:23 | sort of backwards engineer it a bit,
I'm going to Reset my Swatches and I
| | 03:30 | don't want to append the new swatches to
what's already there, so I am going to click OK.
| | 03:36 | and that's going to replace them,
we are now back where we started.
| | 03:40 | But what I want to do now is bring in
my saved color palette and replace the
| | 03:44 | swatches that are already here.
| | 03:46 | So from the Swatches panel menu I
will choose Replace Swatches, navigate to
| | 03:52 | where I have my Adobe color file saved,
click Open, and those swatches replace
| | 03:59 | what's already there.
| | 04:00 | Let's take this a step further and
imagine that I want to share these swatches
| | 04:05 | across the creative suite, I want to
use them in Illustrator and I also want to
| | 04:09 | use them in InDesign.
| | 04:10 | Now if I were to try and load a .aco file
into Illustrator or InDesign, it wouldn't work.
| | 04:17 | What I need to do is I need to
Save the Swatches for Exchange.
| | 04:23 | So when I do that Save for Exchange
and I am going to use the same name.
| | 04:28 | It's going to have a different extension.
| | 04:30 | The extension is going to be a .
ase an Adobe Swatch Exchange file.
| | 04:35 | I can click Save and then here I am
in Illustrator, where I can from the
| | 04:41 | Swatches panel menu, come to Load Swatches.
| | 04:45 | I don't see Load Swatches, but what I
do see is Open Swatch library, and then I
| | 04:53 | would choose Other library, and now I
can navigate to the ASE file that I just
| | 05:01 | saved, and then I click Open, and
then that comes in as a color library.
| | 05:08 | While we are here in Illustrator, I
did just want to point this out to you,
| | 05:12 | Illustrators ships with some very useful
color libraries, which you can use as a
| | 05:19 | starting point for your designs in Photoshop.
| | 05:21 | From the Swatches panel in Illustrator,
if you come to the leftmost icon at the
| | 05:26 | bottom of the Swatches panel, you'll
see here are all the predefined Swatch
| | 05:32 | libraries, and we have these
Art History, Celebration etcetera.
| | 05:36 | Some of these are really quite interesting.
| | 05:38 | I am going to go to Russian Poster Art,
which is a bit of favorite of mine.
| | 05:42 | And let's say I want to use
this one, so I can click on that.
| | 05:47 | That's going to add that to my Swatches panel.
| | 05:50 | I am in Illustrator now, remember.
| | 05:52 | It's going to add it as a color group.
| | 05:56 | And now what I'd need to do here is
I would need to save the group as a
| | 06:01 | Swatch Exchange File.
| | 06:03 | So I would come down to here, Save
Swatch Library as ASE, but, where I had to do
| | 06:11 | that, I would get all these
other swatches, which I don't want.
| | 06:15 | So before I do that, I would need to
select everything else, I can't select
| | 06:22 | everything, because it won't let me
delete those first few, that the None and
| | 06:25 | Registration, can't get rid of those.
| | 06:28 | Delete the swatches leaves me with
just the ones that I use from the Russian
| | 06:33 | Poster Art color library.
| | 06:36 | I can now Save that Swatch library as
an ASE and I am just going to call it
| | 06:43 | Russian and I will come and Save that
in my Chapter 02 folder as an ASE file.
| | 06:52 | I will get this warning about not
being able to save gradients or patterns.
| | 06:57 | That's okay, there aren't any.
| | 06:59 | Now I can switch back to Photoshop
where from the Swatches panel menu I can
| | 07:04 | choose Replace Swatches, because I
don't want to see the current swatches and I
| | 07:11 | will click on the russian.ase, click
Open and then those are the colors that I
| | 07:16 | now have on my Swatches panel.
| | 07:19 | So there we have an overview of adding to,
deleting from, loading, replacing and
| | 07:24 | managing colors, using the Preset
Manager in Photoshop, as well as a suggestion
| | 07:30 | to explore, perhaps, the color
libraries that you already have in Adobe
| | 07:35 | Illustrator and use those
in your Photoshop Artwork.
| | Collapse this transcript |
| Transparency| 00:00 | To distinguish between pixels that are
transparent and pixels that are opaque,
| | 00:05 | Photoshop uses the convention of
displaying transparency as a checkerboard.
| | 00:10 | What we have here is an image of St.
| | 00:12 | Paul's Cathedral in London;
| | 00:14 | it is a two layered document with the
first layer being the original image and
| | 00:18 | the second layer being the sky image.
| | 00:21 | I would like to mask the sky of the
original image, so that we reveal the sky
| | 00:26 | off the layer beneath.
| | 00:28 | In order to do this we need to use transparency.
| | 00:32 | On my channels panel, I have a pre-
saved alpha channel or pre-saved selection,
| | 00:38 | if you're interested in how I did that,
and I am going to do it very quickly and
| | 00:42 | very roughly again here, I used the
Quick Selection tool and then I refined that
| | 00:52 | selection using the Refined Edge command.
| | 00:57 | So having done that and having
saved that alpha channel, I can now load
| | 01:02 | that alpha channel.
| | 01:03 | And to do that I am going
to go to the Channels panel.
| | 01:06 | I am going to hold down the Command key or
the Ctrl key and click on the alpha channel.
| | 01:12 | Now I can return to my Layers panel,
and I can make that selection into a layer
| | 01:18 | mask, by clicking on the Add Layer Mask
icon at the bottom of the layers panel.
| | 01:24 | When I do so, we reveal the layer beneath.
| | 01:28 | Now if I were to turn the
layer beneath off, we would reveal
| | 01:33 | transparency, checkerboard.
| | 01:36 | In Photoshop terms, transparency is
actually a color, if you're preparing an
| | 01:40 | image for use in InDesign or
Illustrator, you need to use the Photoshop, that
| | 01:45 | .psd or the tiff file format
to retain your transparency.
| | 01:50 | Here is what I mean by that.
| | 01:51 | If we go to the File menu and choose
Save As, it's very important that we have
| | 01:58 | Layers checked and that we save in the
Photoshop file format or the tiff file
| | 02:04 | format, there is no advantage to saving in
the tiff file format, but it will be as good.
| | 02:09 | And then click Save, now when you save
in tiff and you have an image that has
| | 02:14 | transparency in it, you very
importantly need to check this check box, Save
| | 02:20 | Transparency I am just going to Cancel that.
| | 02:24 | The JPEG file format does not support
transparency, so if I go to the File menu
| | 02:28 | and choose Save As, and I change my
format to JPEG, you'll see that because
| | 02:34 | there are the option of saving layers,
is not a valuable to me, my resulting
| | 02:40 | image would be flattened and the
area that we currently see as being a
| | 02:44 | checkerboard, transparent, would end
up being flat white, a solid white.
| | 02:52 | So importantly you need to save it as
a psd or a tiff, if you want to retain
| | 02:57 | your transparency and you are
working with a document intended for print.
| | 03:01 | Or if you have an image that is
intended for screen, I am now going to go to
| | 03:07 | Save for Web & Devices, and I would need
to reduce the size of this, because the
| | 03:14 | size of it is too large, if we are
going to need to go on a webpage, I am going
| | 03:17 | to make it 400 pixels high.
| | 03:19 | And I am going to change the file format
to a png 8 bit, and I need to make sure
| | 03:27 | I have the Transparency option checked.
| | 03:30 | Now just going to back out of there,
let me now save this image, I am going to
| | 03:37 | leave Layer1 turned off, I am going to
save it as a psd file, I am just going
| | 03:42 | to append the numeral 1 after its current
file name, saving it in the Chapter 02 folder.
| | 03:51 | I'm now going to switch to InDesign,
where I have this document open.
| | 03:54 | It's called trans.indd, and we have a
two column textframe, and we have an empty
| | 04:02 | picture frame, which is right there, and
in that empty picture frame, I am going
| | 04:07 | to put my transparent image.
| | 04:10 | So I am going to select that frame, go
to the File menu and choose Place, and
| | 04:15 | then come to my Exercise files, choose
the file that I just saved, and you'll
| | 04:25 | see that that goes into that frame.
| | 04:28 | And importantly, we see that the pixels
that we saw represented as checkerboard
| | 04:35 | in Photoshop are transparent, so that
we are seeing through to the background
| | 04:41 | color that is on the InDesign page.
| | 04:44 | We could take this one step further,
because since we have a layer mask or
| | 04:50 | alpha channel applied to this, we can
leverage that alpha channel or layer
| | 04:54 | mask, using the Text Wrap command in
InDesign, and the third Text Wrap option
| | 05:02 | to wrap around the object shape.
| | 05:05 | And then in addition to that I would
need to change the cultural Contour Options
| | 05:10 | so that the type is changed to Alpha channel.
| | 05:14 | And then we see the text, wrap
around the shape of the object.
| | 05:19 | Just to finish that off I am going to
add a little bit of offset to push the
| | 05:22 | text away from the edge of the image
and then press my W key to preview that.
| | 05:29 | Now that works, because we prepared
the transparency in Photoshop, and I'm
| | 05:35 | now back in Photoshop, and I just
wanted to make a couple of other
| | 05:39 | observations about transparency.
| | 05:42 | Whenever of you have transparency on a
layer, you can lock that transparency
| | 05:48 | which is going to enable you to paint only
on the pixels that are already on the layer.
| | 05:54 | Here is what I mean by that.
| | 05:55 | When I check this option to lock the
transparency, let's say I am going to
| | 06:00 | choose a red color and I am going
to press B to choose my Brush tool.
| | 06:04 | Now when I paint in my foreground
color of red, you see that I'm only able
| | 06:10 | to paint where there are already pixels on that
layer, because I have locked the transparency.
| | 06:16 | I am going to undo that.
| | 06:19 | Another thing I would like to mention
about transparency is that while most of
| | 06:24 | the time it's useful to see it
represented as a checkerboard, every once in a
| | 06:29 | while that can be distracting, and you
do have the option of changing the way
| | 06:35 | that you see transparency, and these are
in our preferences, if you are on a PC,
| | 06:41 | your preferences are the very
last item on to your Edit menu.
| | 06:45 | And the particular preference we want
is Transparency & Gamut, so I'm currently
| | 06:52 | seeing my transparency as a Medium-Size
Grid, I can change the Size of the Grid
| | 06:56 | or I can choose None, where we see
the transparency represented as a solid
| | 07:02 | white, this is not the same thing as a
white color, we are just not saying the
| | 07:08 | checkerboard in this case, because for
whatever we're doing, the checkerboard
| | 07:12 | maybe visually distracting.
| | 07:13 | So you have that option.
| | 07:16 | Transparency is a concept integral to
Photoshop and especially working with
| | 07:20 | Photoshop layers, in fact, if you
have just a single layer, I am going to
| | 07:26 | Delete that layer mask, so that we
get back to where we began and then I am
| | 07:33 | going to flatten this image, and
Discard my hidden layers so that now I have
| | 07:42 | just a background layer.
| | 07:44 | And if I were to try and do what I did
before, activate that selection, come to
| | 07:50 | my Layers panel, I don't have the
option of making that selection into a layer
| | 07:55 | mask and this is because it's an
important Photoshop convention that a
| | 07:59 | background layout does not support transparency.
| | 08:02 | Which is really not a big deal
because all you need to do to make it into
| | 08:06 | a layer that does support
transparency is double-click on the layer Name
| | 08:11 | or thumbnail and now it's no
longer a background layer, and it does
| | 08:16 | support transparency.
| | 08:18 | And there is the transparency.
| | 08:20 | Just to conclude, I would like to
point out that transparency is achieved
| | 08:25 | through masking, and if we have a look
at the thumbnail of the layer mask here,
| | 08:30 | we can see that black represents the
masked potions and white represents the
| | 08:36 | selected or revealed portions.
| | 08:39 | So we think of masking in
terms of black and white.
| | 08:43 | I am just holding down my Alt or Option
key and clicking on the layer mask there
| | 08:48 | to go it, but actually we need to
think of our masking in terms of gray.
| | 08:54 | In terms of masking, black
represents a fully transparent pixel, white a
| | 09:01 | fully revealed pixel and a 50% gray would be
a pixel that is half masked and half revealed.
| | 09:12 | So we actually have 256 shades of gray when
masking on a layer mask or as an alpha channel.
| | 09:23 | But the most important thing to get
out from this video is the fact that
| | 09:28 | Photoshop is going to show you
transparency as a checkerboard and to retain that
| | 09:33 | transparency we need to save it as a
psd or tiff or if it's going be a Web
| | 09:39 | image, as a png file.
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| Color channels| 00:00 | Okay, we are going to talk about
color channels and that's why I have the
| | 00:03 | Channels panel open.
| | 00:05 | This is an RGB image, so we have
three channels Red, Green, Blue.
| | 00:10 | Were this a CMYK image, we would have,
you guessed it, four channels, Cyan,
| | 00:17 | Magenta, Yellow and Black, and of
course, we have the composite channel which
| | 00:22 | shows us the image with all of those
color channels superimposed on each other,
| | 00:26 | all of them turned on.
| | 00:28 | I am going to undo that and
revert it back to an RGB image.
| | 00:33 | If it were a grayscale image, it would
have just one channel likewise with an
| | 00:37 | Indexed Color image,
likewise with the Bitmap image.
| | 00:41 | LAB Color has three channels,
lightness, the A channel and the B channel.
| | 00:47 | But whatever color mode you are
working with, you are working with channels
| | 00:52 | and I am going to stay in RGB to explain
this, I prefer working in the RGB color mode.
| | 00:58 | That color channels store the
information about the color of each pixel in your
| | 01:04 | image, by which I mean this.
| | 01:05 | I am going to take a sample of a point
in my image, I am in my eyedropper tool
| | 01:10 | and to lock a sample point onto the image, I
am going to hold down the Shift key and Click.
| | 01:17 | This brings up my Info panel and
my sample point is right there.
| | 01:21 | Now that particular color, that sort of
pinky color is made up of a combination
| | 01:27 | of Red at level 199, Green at
level 75 and Blue a level 125.
| | 01:35 | If I wanted to see what that would be in
CMYK without even needing to convert to
| | 01:40 | CMYK, switch that there, and it
would be Cyan 4, Magenta 86, Yellow 23.
| | 01:51 | In RGB our Brightness values are on the
scale of 0 to 255 for each of our color channels.
| | 02:01 | So 0 is Black, 255 is White, the higher
the number, the brighter the value and
| | 02:09 | when we add all these together,
we get the resulting color.
| | 02:13 | If I move this sample around, that
particular yellow right there is made up of
| | 02:19 | 235 Black, 163 green.
| | 02:22 | You may have heard of
the notion of 24-bit color.
| | 02:26 | Each all that color channels is made
up of 8 bits, 256, 2 to the power 8.
| | 02:32 | 8 bits times 3 is 24 bits,
that's where 24-bit color comes from.
| | 02:41 | You'll notice that when we look at
the color channels, we are seeing them
| | 02:45 | represented as grayscale values.
| | 02:48 | And it's actually the grayscale values,
the brightness values that are more
| | 02:53 | useful to us, than seeing the
channels themselves in color.
| | 02:58 | But conceptually it may be
easier to see them in color.
| | 03:01 | First let's see them in black-and-white
how they look, and we can evaluate the
| | 03:06 | channels individually by clicking on
them or by using the keyboard shortcuts,
| | 03:11 | and they are indicated right here.
| | 03:13 | Command+3 for Red, Command+4 for Green,
Command+5 for Blue, and we can see in
| | 03:20 | this image that the red values are
brighter, remember the colors in this image?
| | 03:25 | It's a sort of pinky red. Isn't it?
| | 03:26 | So that's why the red values are brighter.
| | 03:32 | There is Red, there is Green, and there is Blue.
| | 03:35 | If we turn Green and Blue on together, we
see what image would look like without any Red.
| | 03:40 | Red and Green together, show how
the image would look without any Blue.
| | 03:43 | I am going to go back to
my Composite channel now.
| | 03:46 | Let's view the Color channels in color.
| | 03:49 | I am going to come to my Preference,
Interface and turn on this option, Show
| | 03:54 | Color channels in Color.
| | 03:56 | And then we actually see the Red in Red
and the Green in Green and the Blue in Blue.
| | 04:02 | That's useful for understanding how
they work, but actually we're more
| | 04:08 | interested in a practical way
with the gray values in the channel.
| | 04:12 | So I am now going to turn that
Preference back to how it was, so I'll press
| | 04:16 | Command+K or Ctrl+K and then click on
Interface, uncheck Show Color Channels in color.
| | 04:23 | Now as well as that color channels,
where there are two other types of channel
| | 04:28 | that I am just going to mention very
briefly, the second type is an alpha
| | 04:31 | channel and that's what we have here.
| | 04:33 | An alpha channel is nothing more than a
saved selection, there are numerous ways
| | 04:38 | to get a save selection, presumably
you would start off using your Selection
| | 04:43 | tools and then come and click on this
icon down here, or from the Select menu
| | 04:48 | Save the Selection and that's an alpha channel.
| | 04:51 | An alpha channel has only gray values in it.
| | 04:56 | The third type of channel and the one
that's seldom used and the one that I will
| | 05:00 | be discussing in a later movie is I
Spot Color channel, where in addition to a
| | 05:07 | typical printing inks, Cyan, Magenta,
Yellow and Black, or just Black, we can
| | 05:13 | use Spot Colors chosen
from a color matching system.
| | 05:16 | And this will expand our
range of printing possibilities.
| | 05:21 | But the most important thing to take
away from this is that it's the color
| | 05:26 | channels, the combination of the Red,
the Green and the Blue, or if you are
| | 05:30 | working with CMYK, the combination to
Cyan, the Magenta, the Yellow and the
| | 05:34 | Black, that give us the appearance
of color and that's how our Composite
| | 05:40 | channel shows us our image.
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|
|
3. Color ModesUnderstanding additive and subtractive color| 00:00 | Here, I am going to be talking about
Photoshop's color modes, listed here under
| | 00:03 | the Mode fly-out menu, under the Image menu.
| | 00:07 | We are going to start off with the
discussion of additive and subtractive color.
| | 00:11 | Now, here's an interesting trick that
we can use to really sort of understand
| | 00:16 | how additive and subtractive color work.
| | 00:19 | So, by additive, I am talking about RGB,
Red, Green, Blue, the color of light.
| | 00:27 | Here, I have three shape layers.
| | 00:30 | One red circle, one green
circle, one blue circle.
| | 00:34 | If I change the blending mode of
these different layers to Lighten which
| | 00:40 | simulates how they would work with lights,
adding one to the next, do that for both.
| | 00:50 | Then, where the colors overlap, where
the different primaries red, green, blue
| | 00:54 | overlap, we get our subtractive primaries;
| | 00:58 | cyan, magenta, and yellow.
| | 01:01 | So the point I want to make here is that
as subtractive primaries which are used
| | 01:07 | in the CMYK Color Mode are in many
ways the canvas of our additive primaries,
| | 01:16 | whereas cyan, magenta, and yellow, the
more you add, the darker things get, with
| | 01:21 | red, green, blue, the more you add, the
lighter things get, which is why where
| | 01:26 | all three primary colors
overlap in the middle, we have white.
| | 01:30 | Now, here is something interesting.
| | 01:32 | Look what happens when I invert all the values.
| | 01:35 | Now, I am going to do that by just
adding an Invert adjustment layer above
| | 01:39 | all of these layers.
| | 01:42 | Look at that, we have the
complete opposite of red, green, blue.
| | 01:46 | We have the CMY subtractive color model,
where cyan and magenta overlap, we have
| | 01:52 | blue, magenta, and yellow, we have
red, yellow, and cyan, we have green.
| | 01:57 | Because this is a subtractive color
model, as we add more, things get darker,
| | 02:03 | which is why where they overlap we have black.
| | 02:06 | In practice, with offset printing,
because of ink impurities, you don't get a
| | 02:11 | black but you get a muddy brown which
is why we have a fourth color channel,
| | 02:16 | which is the black, which is our key channel.
| | 02:19 | Some people say that the K is used for
black, because the B was already taken
| | 02:24 | for blue, but that's not actually true.
| | 02:26 | The K stands for Key, your key color.
| | 02:29 | It's the color that gives you
contrast in your CMYK images.
| | 02:33 | So in the next movies, I am going to be
talking about each of these color modes
| | 02:37 | one-by-one and their individual properties.
| | 02:41 | But, this useful diagram, I am sure
you've seen diagrams like this before
| | 02:46 | explains the essential difference
between red, green, blue, and CMY.
| | 02:52 | RGB is additive, CMY is subtractive.
| | Collapse this transcript |
| RGB mode| 00:00 | In these next few movies, we'll be seeing
the same image in different color modes.
| | 00:04 | Here, we have the RGB version.
| | 00:07 | I am just going to talk about the
characteristics of this image as an RGB image.
| | 00:12 | RGB is the color space in
which all our images begin.
| | 00:16 | It's the color space of our monitors;
| | 00:18 | it's the color space of our
digital cameras and of our scanners.
| | 00:22 | It's also the color space of the web.
| | 00:24 | If you're creating an image for the
web, it's going to be an RGB image.
| | 00:27 | If you're creating an image for print,
it is at some point going to need to
| | 00:31 | end up as a CMYK image.
| | 00:33 | At what point is open to debate, and I will
talk about that when we look at the CMYK version.
| | 00:38 | But, for now, the RGB version,
it has three color channels;
| | 00:43 | Red, Green, Blue and we have the Composite
which shows all three superimposed on each other.
| | 00:50 | Each of these three color channels is
made up of brightness levels on a scale of
| | 00:55 | 0 to 255, with 0 being black, 255 being white.
| | 01:02 | If I come and choose my Color Sampler
tool which lives beneath my Eyedropper
| | 01:06 | tool, and then take a sample of a very
dark area, we can see that on the Info
| | 01:13 | panel, I have low value numbers.
| | 01:16 | If I now take a sample of a very
bright area, we can see that I have very
| | 01:22 | high value numbers.
| | 01:24 | So the more light we add, the higher
the number, the brighter things get.
| | 01:31 | In practical terms, in terms of
editing an RGB image, using a curves
| | 01:37 | adjustment, this means that if we move
the curve up, we are adding more lights,
| | 01:43 | and things are getting brighter, we
move the curve down, we're removing light,
| | 01:47 | things are getting darker.
| | 01:49 | The opposite is true as we'll see when we
work with a CMYK image in the next movie.
| | Collapse this transcript |
| CMYK mode| 00:00 | So here we're looking at the CMYK version
of the image, or we will be in a moment.
| | 00:05 | This is actually a still and RGB image,
and I can tell because it tells me right
| | 00:09 | there in the title area.
| | 00:11 | But, I want to see how this image gets
to be CMYK because your images are not
| | 00:15 | going to start out as CMYK, and at what
point they get converted to CMYK is very
| | 00:22 | much up for debate, depending on
the kind of workflow that you choose.
| | 00:27 | I will be talking about that in
the movie on color management.
| | 00:30 | But, for now, suffice to say that
this needs to get converted to CMYK, and
| | 00:36 | this is how we do it.
| | 00:37 | It's one way we do it.
| | 00:38 | There is another slightly more involved
way, but for now, this is the easiest way.
| | 00:43 | I am going to click OK, and you might
have noticed a slight shift in colors.
| | 00:48 | This is a destructive process.
| | 00:50 | It's a one-way process.
| | 00:52 | There is no going back on this.
| | 00:53 | If we were to convert this back to RGB, we
wouldn't regain anything that we had lost.
| | 00:59 | But, if we now look at the channels, we
have four channels as opposed to three.
| | 01:05 | Because CMYK has a smaller color gamut, i
.e. because there are fewer CMYK colors
| | 01:12 | than there are RGB colors, your colors
may look a little bit more dull than they
| | 01:17 | did when you were working with RGB colors.
| | 01:20 | Because we have four channels as
opposed to three, your file size will be a
| | 01:26 | little bit bigger than it was.
| | 01:27 | I am just going to press
Ctrl or Command+Z to undo that.
| | 01:31 | We go from 3.12 MB to 4.16 MB in file size.
| | 01:37 | Another characteristic of CMYK images
is that some of your filters will not
| | 01:43 | be available for you.
| | 01:45 | Some of these filters only work in RGB images.
| | 01:51 | Another characteristic of CMYK images
is that when we edit them, and I'm going
| | 01:55 | to apply a curves adjustment to this as I
did to the RGB version in the previous movie.
| | 02:01 | Here, when we move the curve up, because
this is a subtractive color space, when
| | 02:08 | we move the curve up, we are
adding ink, and things get darker.
| | 02:13 | When we move the curve down, we are
removing ink, and things get lighter.
| | 02:17 | Our color channels for a CMYK image are
measured not on a scale of 0 to 255, but
| | 02:26 | with ink percentages of 0 to 100.
| | 02:30 | If I come and mouse over the image, we
can see that in the lighter areas, the
| | 02:36 | values are less and in the
darker areas, the values are more.
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| Lab mode| 00:00 | We are now going to work with the
Lab Color version of the same image.
| | 00:04 | I am going to convert this RGB
image to Lab Color, using the Mode menu.
| | 00:09 | When I do so, the file size will not change.
| | 00:13 | We still have three channels as
we did when with the RGB image.
| | 00:17 | They are now called Lightness, a, and b.
Lab Color is a device independent color space.
| | 00:25 | Unlike RGB, unlike CMYK, the
properties of the color are not tied to specific
| | 00:33 | color profiles, which describe the
range of colors that can be displayed or
| | 00:38 | describe the properties of the output
device that the file is being sent to.
| | 00:44 | If we just go and have a look at the
color profile right here, regardless of how
| | 00:49 | this started out, when you convert to
Lab Color, that's the color profile that
| | 00:54 | you are going to have.
| | 00:56 | So what are the implications of this?
| | 00:58 | What does Lab Color mean for us?
| | 01:01 | Unlike a mode conversion between RGB
and CMYK, or the opposite, converting to
| | 01:08 | Lab Color is not destructive.
| | 01:10 | So we can go to Lab Color and then
we can go back to RGB or to CMYK, we
| | 01:15 | don't lose anything.
| | 01:16 | Not all of our filters will be available to us.
| | 01:19 | You will see that we don't have the
Filter Gallery, Lens Correction, Vanishing
| | 01:23 | Point, the Sketch Filters,
none of those can you use in lab.
| | 01:28 | Let's have a look at the
qualities of the different channels.
| | 01:32 | The Lightness channel is
very easy to understand.
| | 01:34 | This is just a grayscale version of the image.
| | 01:38 | And before the Black & White adjustment
which is right there, or also exists as
| | 01:46 | an adjustment layer, before the
advent of the Black & White adjustment,
| | 01:50 | converting to lab, and then discarding
the a and the b channels was perhaps the
| | 01:55 | best way to get good quality
grayscale from a color image.
| | 01:59 | So the lightness is easy enough to understand.
| | 02:02 | The a and b channels however are a
little bit more tricky to understand.
| | 02:07 | The a channel if I turn that on, is on
a magenta to green scale and if I now
| | 02:13 | turn on the b channel, that
is on a yellow to blue scale.
| | 02:17 | I'm now going to turn on all of my
channels in terms of editing a lab image.
| | 02:23 | Because it is device independent,
because it has the biggest color gamut of all
| | 02:29 | the color spaces, indeed all the other
color spaces are essentially subsets of
| | 02:34 | lab, some people prefer
to do their editing in lab.
| | 02:38 | I am not one of those people because I
think it's a very difficult color space
| | 02:43 | to get your head around.
| | 02:46 | Lightness as I said easy enough.
| | 02:47 | This is on a scale of 0 to 100, and
when we come to a curves adjustment for a
| | 02:54 | lab image, you're editing
the channels one-by-one.
| | 02:57 | There is no option to edit them as a
composite as you would have in RGB, and with CMYK.
| | 03:05 | So if I move the curve up, things get
brighter, move it down, things get darker.
| | 03:10 | If I go to the a, if I move up, then
things get more magenta, move down,
| | 03:16 | things get more green.
| | 03:19 | And the b, move the curve up, things get
more yellow, move down, things get more blue.
| | 03:25 | So, if you're fearless and want to
edit your images in lab, the advantage of
| | 03:29 | working in the lab color space is that
you're working with the maximum number of
| | 03:32 | colors available in your image, and you
would then need to convert the image to
| | 03:37 | a CMYK image if you are going to be
printing it on an offset printing press or
| | 03:42 | to an RGB image if you're printing it on
a desktop inkjet printer, or if you are
| | 03:47 | going to be making a screen image.
| | Collapse this transcript |
| Indexed mode| 00:00 | Our last color space is the least
capable color space is the Indexed Color, and
| | 00:07 | we can get to it by making a mode
conversion right here, although in practical
| | 00:11 | terms we would rarely do this.
| | 00:14 | If you're making an indexed color image
you're making an image that is going to
| | 00:18 | go on a website and it's probably not
an image like the one we're looking at
| | 00:21 | here which has a great range of
colors and lots of tonal gradations in it.
| | 00:26 | Indexed Color is really only appropriate
for working with logos or illustrations
| | 00:32 | that include type where want to retain
the crispness of the type, and basically
| | 00:37 | made up of flat colors rather
than lots of gradated colors.
| | 00:42 | And if that were the case you would
far more likely go to Save for Web &
| | 00:47 | Devices, where you get a 2-Up or 4-Up
comparison of the same image versus its
| | 00:56 | original state and you can compare
the different file formats and different
| | 01:01 | amounts of compression
that are applied to the image.
| | 01:05 | I'm going to get out of here for now
though and take you back to the Indexed
| | 01:10 | Color Mode by using the Mode menu.
| | 01:14 | And when we do that I'm just going to
go with the Local (Perceptual) Palette,
| | 01:18 | we're using the maximum number of colors
256 and we have Diffusion Dithering on.
| | 01:25 | So when I click OK, we can see we
get a very undesirable mottled effect
| | 01:31 | where the colors in the original image far
exceed the colors in the Indexed Color channel.
| | 01:38 | The one channel that we get as a
result and they are simulated with this
| | 01:42 | Diffusion Dithering effect.
| | 01:44 | Other things to note about Indexed Color
are that it is 1/3rd the size of an RGB
| | 01:50 | or a lab image, because it has only one
channel, and that there is very little
| | 01:55 | that you can do with it in terms of
filters, in fact, there is nothing that you
| | 01:58 | can do with it in term of filters.
| | 02:01 | So it's a very specific file format
and you would only use it when you're
| | 02:06 | saving in the GIF or the PNG file
format when saving logos or illustrations
| | 02:12 | with flat color for screen.
| | Collapse this transcript |
| Grayscale mode| 00:00 | We are now going to look at the
Grayscale Color Mode which we access from under
| | 00:04 | the Image menu, Mode > Grayscale.
| | 00:07 | Now let me just say that if you're
converting a color image to grayscale, this
| | 00:12 | is not the best way to do it.
| | 00:13 | The best way to do it to my mind would
be actually to retain the image as an RGB
| | 00:18 | image and just apply a black-and-white
adjustment layer to it so that it has the
| | 00:23 | appearance of a grayscale
image or a black-and-white image.
| | 00:27 | And then you can mix the different
colors that go into the grayscale to adjust
| | 00:32 | the contrast of the image.
| | 00:35 | That way you always have the option of
going back to the original color image
| | 00:38 | should you choose to do so, and you can
introduce some interesting color tints
| | 00:43 | into the image by clicking on the Tint checkbox.
| | 00:47 | But I'm not going to do it that way;
| | 00:49 | I'm going to do it by actually
converting it to an official grayscale
| | 00:55 | image which -- it's going to mean that we
have a single channel in our resulting image.
| | 01:01 | We get this warning message here,
suggesting to do what I just did is to use a
| | 01:06 | Black & White adjustment layer, but
I'm going to ignore this advice and click
| | 01:10 | Discard so that I now have a single
channel image and so that my image is now
| | 01:16 | 1/3rd the size of its former file size.
| | 01:20 | So as a Grayscale image we have a
direct path to the Bitmap color mode which is
| | 01:26 | going to put all that pixels to pure
black or pure white, you might use this for
| | 01:30 | line art or you might rarely use this
to create some sort of special effect.
| | 01:37 | More interestingly we have the Duotone
color space, where we get the advantage
| | 01:44 | of retaining our image as a single
channel image which is very economical in
| | 01:49 | terms of its file size but printing it
in two, three, or four inks - Duotone,
| | 01:56 | Tritone, or Quadtone.
| | 01:58 | I'm going to use one of the presets
to start with, we have got a number of
| | 02:01 | presets to work with and then we have a
duotone made up of Black and PANTONE 485.
| | 02:09 | We have two ink colors but we
still only have one channel.
| | 02:14 | We can affect the amount of ink by
clicking on the curve, and these curves
| | 02:20 | operate in a similar but slightly
different way to the curves that you are used
| | 02:24 | to from the Curves adjustment
layer or the Curves adjustment.
| | 02:27 | Rather than pull them around you
specify numerically how much of the color you
| | 02:34 | want at any point in the scale.
| | 02:36 | So at the moment the 50% point is right
there, there is only 15% of the red at
| | 02:43 | the 50% point which is why the curve is
much reduced and it's the shape that it is.
| | 02:49 | I'm going to increase that to 25% and we
should see that the image gets a little
| | 02:54 | bit redder as a result, and then at
the 100% mark I'm going to say I want 75%
| | 03:01 | red and that makes a little redder still.
| | 03:06 | So I could now go ahead and print my
image like this and it's going to print in
| | 03:10 | two inks or perhaps I want to add a
third ink as well as choosing the presets
| | 03:15 | you can just click on a color swatch.
| | 03:19 | I'll need to convert that to a
Tritone if I want to add a color.
| | 03:22 | Click on that Color Swatch and you
can add any color that you like as the
| | 03:26 | third color ink and you can come in
and affect the amount of that color by
| | 03:31 | working on its curve.
| | 03:32 | I'm going to reduce the amount of that
color of the 50% mark to about 40% and
| | 03:38 | 100% will take down to about 80.
| | 03:41 | So the yellow is not quite as
strong as it once was, but we now have an
| | 03:46 | interesting sort of sepia
effect applied to this image.
| | 03:50 | Now you may be thinking that's an
awful lot work to get a sepia effect and I
| | 03:54 | would agree with you, and if all you
want is the sepia effect then you might as
| | 03:58 | well retain your image as an RGB image
and apply some color effect to it, while
| | 04:04 | it's still an RGB image.
| | 04:06 | The reason duotones were used and
they were used more frequently than they
| | 04:10 | are today is that they are an economical
way of working with a limited color palette.
| | 04:19 | Today because of digital printing it
doesn't cost much more to print in full
| | 04:23 | color than it does to print in two or
three colors, so the economic imperative
| | 04:30 | to use Duotones, Tritones or Quadtones
is no longer there in the same way as it
| | 04:36 | was back in the 1990s.
| | 04:39 | But if you like the effect of duotones
by all means you can get to them like
| | 04:42 | this, should you make a duotone you will
need to retain it in the Photoshop file
| | 04:47 | format, don't save as a TIFF
and you cannot save it as a JPEG.
| | 04:54 | I'll be talking more about
duotones in the chapter on working with a
| | 04:58 | limited color palette.
| | Collapse this transcript |
| Color management| 00:00 | Here we are going to talk about Color
Management, never was there a more thorny
| | 00:04 | topic in Photoshop than
that of Color Management.
| | 00:07 | It's a very, very competent topic and
one that I can't really do full justice
| | 00:12 | to in a single movie.
| | 00:14 | I'm going to point you in the direction
of Chris Murphy's excellent title on the
| | 00:18 | lynda.com Training Library
it's called Color Management.
| | 00:22 | He spent seven hours talking about it,
he knows far more about it than I do,
| | 00:26 | go and check it out.
| | 00:27 | It's an excellent title.
| | 00:29 | But in a nutshell, it's this.
| | 00:31 | Color Management is to make
sure that we have consistent color.
| | 00:36 | It doesn't make the color good.
| | 00:38 | It just makes the color consistent
and I am going to demonstrate how we use
| | 00:42 | Color Management by creating a new
document and I'm going to make this, let's
| | 00:48 | say we'll have it be a screen size.
| | 00:52 | I will make it 1024?768 and in this
empty document, what I am going to do is I
| | 01:01 | am going to fill it with a gradient.
| | 01:02 | I am going to choose my Gradient tool
and then come to my Gradient panel and I
| | 01:06 | am going to use this gradient and I am
dragging from the top down to the bottom
| | 01:14 | and that's going to give
me a spectrum of colors.
| | 01:17 | If I switch my Status area down here to
show me the Document Profile, we can see
| | 01:23 | that currently we have
sRGB as the working profile.
| | 01:29 | So what are working profiles first of all?
| | 01:31 | I am going to go to the Edit menu and
pull down to Color Settings, all of the
| | 01:37 | Creative Suite applications, InDesign,
Illustrator and Photoshop have Color
| | 01:41 | Settings under the Edit menu and you
will have exactly the same options.
| | 01:46 | So currently I am working with this
Settings file which means that my default
| | 01:51 | RGB Working Space is sRGB and my
default CMYK Working Space is U.S. Web Coated.
| | 01:59 | What's that all about?
| | 02:00 | Well, we've identified that there are
different color modes or color spaces, but
| | 02:06 | within those, there are different
flavors, there's not just one type of RGB,
| | 02:10 | there are several types of RGB.
| | 02:13 | There is not just one type of CMYK,
there are several types of CMYK.
| | 02:18 | In terms of the CMYK Profiles, these
describe the kind of printer that you're
| | 02:23 | sending your document to.
| | 02:25 | They describe the capabilities of the printer.
| | 02:28 | And these are the generic
profiles that you are working with.
| | 02:32 | You maybe able to talk to your printer
and they can supply you with a profile
| | 02:38 | specific to their printing device.
| | 02:41 | The RGB Profiles and effectively we're
working with either this one Adobe RGB
| | 02:49 | (1998), most commonly used for print
design, this one sRGB, most commonly used
| | 02:56 | for web design or this one ProPhoto,
most commonly used or widely used by
| | 03:03 | professional photographers.
| | 03:04 | These are different flavors of RGB and
the best analogy I can make is that they
| | 03:10 | are like different film types.
| | 03:13 | If you ever took photographs with
different film types, you'll know that certain
| | 03:16 | film types had particular qualities.
| | 03:19 | Fujichrome was very different from Ektachrome,
which in turn was different from Kodachrome.
| | 03:25 | So these different color spaces, these
different color gamuts are made up of a
| | 03:31 | different set of colors.
| | 03:34 | The way things are set up at the moment,
this means that if I convert this RGB
| | 03:38 | image to CMYK, this particular type of
CMYK is going to be used and mostly I
| | 03:45 | am going to click on More Options and we'll
see that I have this the rendering Intent.
| | 03:51 | The best analogy I can make for a
rendering intent is that these are like
| | 03:56 | language dictionaries.
| | 03:58 | Converting from RGB color to CMYK color we
are converting from one language to another.
| | 04:05 | This is the language dictionary
that's used, you are going to get slightly
| | 04:09 | different results according to what
language dictionary you refer to, and
| | 04:14 | it's not one necessarily better than
the other, you try them and see, but the
| | 04:19 | one that's going to probably work best most
of the time is this one, Relative Colorimetric.
| | 04:26 | So when I leave that on there, and I
make a conversion using the Mode menu, I'm
| | 04:32 | converting from this RGB Working Space
to this CMYK Working Space, using this
| | 04:40 | particular rendering intent.
| | 04:43 | If I wanted to change that on a case-
by-case basis, I could rather than use
| | 04:50 | Image > Mode > CMYK, I could use the
Edit menu and pull-down to Convert to
| | 04:57 | Profile where I can choose a different
color profile and a different rendering intent.
| | 05:06 | So why have I painted this vivid
spectrum and I have painted this vivid spectrum
| | 05:12 | because most of these colors are out
of gamut colors, meaning that these RGB
| | 05:18 | colors that we are looking at do not
exist in the world of CMYK, so that when we
| | 05:23 | convert this file to a CMYK file, if
indeed we need to, if we are going to print
| | 05:29 | this on an offset printing press,
then the colors are going to shift.
| | 05:35 | Let's see what happens when we do that.
| | 05:38 | We are going to get this warning message
telling us what we are about to do. Did you see that?
| | 05:44 | We lose all the vivid saturation that
we had in the RGB original and there's no
| | 05:50 | getting it back, this is a one-way
street beyond undoing what we just did.
| | 05:56 | If I were to at a later stage convert
this back to RGB we are not going to
| | 06:01 | regain any of that vividness that has been lost.
| | 06:04 | So this brings up several issues and I
do put in the disclaimer here that this
| | 06:09 | is about the most extreme example of
this that you will ever see, but I want to
| | 06:14 | hammer home this point.
| | 06:15 | You are going to lose colors.
| | 06:17 | Things are going to change.
| | 06:19 | This is the nature of the game.
| | 06:21 | To some extent, it's about
adjusting your expectations.
| | 06:24 | Some people say that because things
are going to look so different, let's get
| | 06:30 | it over with and let's know what
we're working with, so they make this mode
| | 06:35 | conversion at the beginning of their workflow,
and that's a very reasonable argument to make.
| | 06:41 | I would say don't do that,
retain it as an RGB image.
| | 06:46 | To which the counterargument is what's
the point of looking at all these bright
| | 06:51 | colors if you are not going to
reproduce them this way, surely you want to look
| | 06:55 | at the colors the way they are going to
be reproduced, at which point I counter
| | 06:59 | with you use the View > Proof Colors option.
| | 07:04 | When we turn this on, what we're doing
is we're seeing it as it will look in
| | 07:10 | CMYK, but it's actually still an RGB image.
| | 07:15 | Now we can in the Proof Setup, change
to proof according to a different color
| | 07:21 | profile should we want to, but we're
currently using the Working CMYK Profile.
| | 07:28 | What's the Working CMYK Profile?
| | 07:30 | It's that one that we saw in
Color Settings, right there.
| | 07:38 | So to my mind, the best workflow is to
retain your image as an RGB image, just
| | 07:44 | make sure that you have your Proof
Colors turned on and then you can place this
| | 07:50 | image into InDesign or into
Illustrator and export as a PDF.
| | 07:57 | I am just going to show you what I mean
by that, I'm now going to save this and
| | 08:01 | I am going to call it spectrum and I am
going to save it in my Chapter 03 folder
| | 08:10 | and I'll save it as a TIFF. That's fine.
| | 08:12 | And I'll click OK to pass through the
TIFF Options and I am now going to create
| | 08:21 | a New Document in InDesign where I will
place that document that I just created.
| | 08:36 | So in InDesign, it's gone back to
looking really, really vivid the way it did
| | 08:41 | before and of course, we are now
potentially going to be tricking ourselves,
| | 08:46 | thinking that we are going to get
these bright saturated colors, setting
| | 08:50 | ourselves up for disappointment.
| | 08:52 | Well, in InDesign, we have the same
options, we have the same options to proof
| | 08:57 | our colors and it looks exactly the same way.
| | 09:02 | Here in InDesign, it tells us that
that we are proofing according to the
| | 09:06 | Document CMYK Profile.
| | 09:08 | What's the Document CMYK Profile?
| | 09:11 | There it is on the Color Settings.
| | 09:13 | In InDesign and in Illustrator as well,
you have the same Color Settings and at
| | 09:19 | the moment, they are
synchronized and that's important.
| | 09:22 | It means that InDesign Illustrator, Photoshop,
they are all using the same Color Settings.
| | 09:29 | I can't tell you which settings to use.
| | 09:32 | That's going to depend upon how you are
outputting your file and you should seek
| | 09:36 | the advice of a printer, but I can say
this much that whatever you use, you want
| | 09:41 | to make sure they are the
same in all three applications.
| | 09:45 | How can you ensure that that is the case?
| | 09:48 | What I am now going to do is
change this to something else and this
| | 09:51 | becomes unsynchronized.
| | 09:53 | Well, that's where Bridge comes in.
| | 09:55 | Because in Bridge, we have this very
useful feature Creative Suite Color
| | 10:01 | Settings and we can choose this and
we can just make sure that we apply one
| | 10:06 | of these Settings files whichever is
appropriate for the kind of work that
| | 10:10 | you're doing, I'm now going to just
reapply that one and if I now switch back
| | 10:17 | to InDesign and then come to Color Settings,
we see that we have Synchronized again.
| | 10:25 | So you will remember that I have
placed my RGB Document, my RGB image in
| | 10:32 | InDesign and I'm looking
at it proofing my colors.
| | 10:35 | InDesign is showing it to me the way
it will look when it's converted into
| | 10:41 | CMYK, but it's not yet CMYK and
that's advantageous because RGB files are
| | 10:48 | smaller, RGB files are easier to edit
and when you've edited an image using
| | 10:54 | your adjustment layers as you will
certainly do, should you convert to CMYK,
| | 11:01 | you will lose your adjustment layers.
| | 11:03 | adjustment layers are not kept across a
mode conversion and by that I mean this.
| | 11:10 | I am just going to add an
adjustment layer to this.
| | 11:13 | It doesn't matter what I do with it.
| | 11:14 | Let's say I will just do that.
| | 11:19 | Now when I convert this to CMYK, we
will get this message, Changing modes will
| | 11:25 | discard an adjustment layer;
| | 11:27 | change mode anyway?
| | 11:29 | If I click OK, then it's like I never
applied that adjustment layer in the first place.
| | 11:37 | If I click Flatten, I retain the
appearance, but I have lost the adjustment
| | 11:43 | layer, I've lost all of the
flexibility that the adjustment layer offered me.
| | 11:49 | So I don't want to do that.
| | 11:50 | I don't want to lose my adjustment layers.
| | 11:52 | I want to keep them, I want to
retain the editing flexibility that the
| | 11:56 | adjustment layers offer me.
| | 11:58 | So for that reason, am I laboring this?
| | 12:01 | I know it's a difficult thing to get
your head around, but for that reason, we
| | 12:04 | want to retain our image as an RGB image,
proof our colors and then, then when
| | 12:12 | we output to a PDF, Export or PDF
Presets, I am going to use Press Quality and
| | 12:20 | I'm just going to call this test.
| | 12:22 | I am going to save it on my Desktop.
| | 12:26 | Most importantly, we need to make sure
that we are using a PDF Preset that will
| | 12:32 | make sure that our colors are converted.
| | 12:34 | I am going to come to my Output Options.
| | 12:37 | Color Conversion > Convert to Destination.
| | 12:40 | What's our Destination?
| | 12:42 | It's our Document CMYK.
| | 12:44 | What's our Document CMYK?
| | 12:46 | It's that CMYK Working Profile that
we chose in Color Settings that we
| | 12:51 | synchronized across the whole suite of programs.
| | 12:55 | So now when I export that, what we
are going to get is a PDF document and I
| | 13:02 | forgot to actually say view after exporting.
| | 13:08 | So there in Acrobat, is our resulting
image and this now is a CMYK Document.
| | 13:19 | And if you don't believe me, let's
go to the View menu to tools > Print
| | 13:23 | Production and we can look at our
Output Preview and there we have the Color
| | 13:31 | Separation plates, Cyan,
Magenta, Yellow and Black.
| | 13:35 | We can turn those on and off
individually and we've retained our original file
| | 13:42 | as an RGB image which offers us maximum
editing flexibility, smallest file size,
| | 13:48 | and it's just all around,
easier and less hassle.
| | 13:53 | So if that seemed like hard work,
that's because Color Management is hard work.
| | 13:57 | It's a difficult thing to get a grasp of.
| | 14:00 | I highly, highly recommend that you go
and check out Chris Murphy's title in the
| | 14:04 | lynda.com Training Library.
| | 14:07 | It's called Color Management.
| | 14:08 | It's not easy, but he makes it
about as digestible as a topic like this
| | 14:13 | is possible to be.
| | Collapse this transcript |
| Color depth (8-, 16-, 24-, and 32-bit)| 00:00 | Most of the images we work with use 8-
bits of information to describe every
| | 00:05 | pixel and for most images 8-bits of
information is perfectly adequate.
| | 00:10 | In fact, if you use more, you're going
to limit the range of options that you
| | 00:14 | have in terms of your filters
available to you and you will ultimately end up
| | 00:19 | converting your image to an 8-bit image
in order to print it, unless you have a
| | 00:24 | printer capable of accepting 16-bit output.
| | 00:29 | So why would we use a 16-bit image?
| | 00:32 | Because Camera RAW, the Camera RAW plug
-in and programs like Adobe Lightroom
| | 00:38 | favor the use of 16-bit
images. What's the deal?
| | 00:43 | If we come and look at our Mode
we have 8-bit, 16-bit and 32-bit.
| | 00:49 | I'm not going to discuss 32-bit, 32-
bit is exclusively for working with High
| | 00:54 | Dynamic Range, HDR images and that's
way beyond the scope of this course.
| | 01:00 | But I am going to discuss 16-
bit, so let's compare the two.
| | 01:04 | I have the same image as an 8-bit and a 16-bit.
| | 01:07 | It doesn't look much different, right?
| | 01:10 | Well if we look at the Document Sizes
we can see that the 16-bit is literally
| | 01:17 | twice the size of the 8-bit.
| | 01:21 | If we look at the 16-bit we can see that
not all of the filters are available to
| | 01:26 | us, but what we gain with the 16-bit
is the ability to pull our histograms or
| | 01:33 | our curves around if we need to
do a lot of editing to the image.
| | 01:38 | Maybe we need to lighten the shadows
significantly or maybe we need to mess
| | 01:43 | around with the midtones a lot, in
which case we can get away with far more,
| | 01:49 | because we have far more data to
work with before our image shows visible
| | 01:55 | signs of degradation.
| | 01:56 | Let's see what I mean.
| | 01:57 | So what I'm going to do now is I'm
going to apply some adjustments to the 8-bit
| | 02:04 | version and I'm not really looking
too carefully at what's going on, on the
| | 02:08 | screen, I'm just going to make a very,
very heavy-handed adjustment here.
| | 02:13 | I'm going to get my Midpoint slider and
bring it over to the right and then I'm
| | 02:19 | going to imagine that I'm doing this not
as an adjustment layer, but as an image
| | 02:23 | adjustment, so it's being burned
directly onto the image itself.
| | 02:26 | I'm going to make another Levels
adjustment and just basically reverse what I
| | 02:31 | did, get my Midpoint slider
and move that back to the left.
| | 02:35 | And now I've introduce more contrast,
but what I really want to show you is that
| | 02:42 | I've introduced degradation.
| | 02:44 | If we look at the shadow areas there
we can see we now have banding in a way
| | 02:49 | that we didn't have before.
| | 02:51 | Now let's see what happens if I take
these exact two Levels adjustment layers
| | 02:56 | and copy them over to the 16-bit
version, which I have open right here.
| | 03:01 | I'm going to split my screen
vertically and then I'm just going to drag these
| | 03:06 | two on to the 16-bit version, and
I know the image looks terrible.
| | 03:12 | That's not the point I'm trying to
make here, I just want to show you what's
| | 03:15 | going to happen when you do a little of editing.
| | 03:19 | How will you might be able to get away
with more if you are working with 16-bit?
| | 03:23 | So I'm going to come to the 8-bit version
and then choose Match Zoom and Location.
| | 03:29 | So we got a direct comparison there.
| | 03:31 | On the left we have the 8-bit version,
look at that posterization and banding
| | 03:35 | that's occurring in that shadow area,
and in the 16-bit version the exact same
| | 03:41 | adjustment being made, but
with far less degradation.
| | 03:47 | So that's what a 16-bit file can do for
you if you don't mind the extra weight
| | 03:53 | of increased file size and the possible
inconvenience of not being able to use
| | 03:59 | the filters or all of the filters,
then perhaps 16-bit is the way to go.
| | 04:05 | And if you anticipate making a lot of
edits to an image, do so with it as a
| | 04:10 | 16-bit image, you can always convert
it to an 8-bit image when you have done
| | 04:15 | that heavy editing should you
need to apply any filters to it.
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| Monitor calibration| 00:00 | We probably all have the experience of
walking into an appliance store looking
| | 00:05 | up seeing a row of TVs all showing the
same channel, they may even be the same
| | 00:09 | model of TV and the color looks very different.
| | 00:12 | That's the essence of monitor
calibration and it's why it makes people nervous.
| | 00:16 | People think, can I trust my monitor?
| | 00:19 | How do I know that the colors that I'm
seeing are the true colors that are in the image?
| | 00:24 | Well, I'd say, don't sweat it too much.
| | 00:27 | These days monitors are quite stable
and you probably can trust your monitor,
| | 00:32 | but you do need to
calibrate it on a regular basis.
| | 00:36 | What is regular basis mean?
| | 00:38 | That's a very subjective term.
| | 00:40 | Maybe it's every day if you're really
exacting about color, maybe it's every
| | 00:44 | week or every month, maybe
it's every once in a while.
| | 00:48 | You got two choices for how you do this.
| | 00:51 | You can use the system's software or you
can use a third-party device which will
| | 00:55 | be measure the qualities of your
monitor, your specific monitor and create a
| | 01:00 | profile based upon that.
| | 01:03 | So let's look at the first option.
| | 01:05 | I'm going to go to my System
Preferences and click on Displays, then click on
| | 01:09 | Color and this is the current
profile that I'm working with.
| | 01:13 | I'll now click on Calibrate and I have
two choices, do I want to work in Expert
| | 01:19 | Mode that gives me more choices or in Easy Mode.
| | 01:22 | Let's take a look at Expert Mode even
though I'm not going to change anything.
| | 01:26 | We have several of these diagnostics
where you can move these sliders one way or
| | 01:31 | the other and you have to squint
in order to get the best result.
| | 01:37 | The problem with these is it's a bit
like the experience of going and having
| | 01:42 | your eyes tested and the optometrist
says to you which do you think is best, A
| | 01:47 | or B, A or B, A or B and after a while
you stop caring and you lose all sense of
| | 01:53 | judgment about which is best.
| | 01:55 | So if you're making changes here,
unless there is something terribly wrong with
| | 01:59 | your monitor the changes
you make should be small ones.
| | 02:03 | So you choose your target gamma, your
target white point, and for the most part
| | 02:12 | you are just clicking through
accepting the values that it gives you.
| | 02:15 | There is no compelling reason to change them.
| | 02:18 | At the end of the process, you'll
write a profile, you might want to append
| | 02:23 | the date at the end of that, so you've
got an instant visual reminder of when
| | 02:27 | the profile was created and that profile
now describes the qualities of your monitor.
| | 02:33 | If you want to be more exacting about
it and if you have a couple of hundred
| | 02:37 | bucks to spend, you can use a
device like this one which is a
| | 02:41 | photospectrometer and that's not an
easy word to say, which will measure of
| | 02:46 | the qualities of your monitor.
| | 02:47 | It's a bit like a hockey puck that you
attach to the front of your monitor and
| | 02:51 | it measures the light values and the
white point of your monitor and it builds a
| | 02:56 | profile specific to your monitor.
| | 02:59 | If you're considering using a third-
party product to calibrate your monitor, I'd
| | 03:03 | suggest you check out the ColorMunki
website and you can also go to the Color
| | 03:07 | Knowledge tab where you can go to
training video where there is a short movie
| | 03:12 | explaining exactly how that device
works and the benefits of using it.
| | 03:16 | But in conclusion, the biggest
point I would like to make about Color
| | 03:19 | Calibration is don't get over anxious about it.
| | 03:23 | I've taught color calibration in a
classroom situation on several occasions and
| | 03:27 | watch my students mess around with
those options you saw me working with
| | 03:31 | earlier, only to end up with a far
worse result then they started with.
| | 03:36 | So I would say, if it ain't broke, don't fix it.
| | 03:39 | Monitors today are relatively stable,
but it's something that you do need to
| | 03:44 | consider on a regular basis, you get
to define how regular that basis is.
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|
|
4. Boosting Color and ContrastEvaluating color with the Histogram panel| 00:00 | Before we edit our images we need to
evaluate our images and the Histogram panel
| | 00:04 | is a very useful tool for
evaluating the color in our images.
| | 00:08 | Here is my Histogram panel right
here, if you don't see it, you'll find
| | 00:11 | under the Window menu.
| | 00:13 | The Histogram panel is a bar chart
essentially of the brightness values in our
| | 00:18 | image going from the Shadows on the
left to the Highlights on the right.
| | 00:25 | In the case of this particular image
we see that most of the information is
| | 00:29 | clumped within the Midtone region.
| | 00:31 | Currently, we are seeing a histogram
in color, so we are seeing our red,
| | 00:36 | our green and our blue.
| | 00:38 | This is an RGB image that we're working
with, and where the green and the blue
| | 00:43 | overlap we see cyan, where the red and
green overlap, we have a little trace
| | 00:48 | of yellow in the right-hand corner, and where
the blue and the red overlap we have some magenta.
| | 00:54 | Where all three colors overlap we have gray.
| | 00:58 | I actually prefer to see my histograms
not in color, but as an RGB which just
| | 01:04 | shows me the shape of the histogram
and this tells me that I have a spike on
| | 01:10 | the end here where I've got some clipped
shadows and over here in the Highlight area.
| | 01:16 | That's looking good, we're
not losing any information.
| | 01:20 | While there is no way that a histogram
should look, there is no right way for
| | 01:24 | a histogram to look;
| | 01:25 | generally speaking, we want
to avoid spikes at either end.
| | 01:28 | As well as being able to see the
histogram in color or just as a chart of
| | 01:35 | brightness values, we can see the
individual histograms for our three different
| | 01:41 | channels, that are Red, Green and Blue
and we can also see what's called the
| | 01:45 | Luminosity histogram, which is
basically the same shape, but does not contain
| | 01:50 | the spike in this case in the Shadow area.
| | 01:53 | And that's because the Luminosity
channel shows us the way we perceive the
| | 01:58 | brightness values and because our eyes
are more sensitive to green than they are
| | 02:03 | to red and blue light.
| | 02:05 | If we take a look at the Green channel
we see that this one does not spike where
| | 02:09 | as the red and the blue both do.
| | 02:13 | So the Luminosity channel
is biased towards green.
| | 02:17 | While that's very useful, I'm going to
switch back to RGB, because when we come
| | 02:22 | to actually work with the Histogram
channel in conjunction with using a Levels
| | 02:27 | adjustment, when we make changes
using the Levels adjustment and we see how
| | 02:32 | those changes affect the histogram.
| | 02:34 | The Levels adjustment is using this channel,
the RGB, so we want the two to be in sync.
| | 02:40 | As I said, there is not a right way for
a histogram to look, if we have a very
| | 02:44 | dark image not surprisingly, most of the
information is clumped over towards the
| | 02:49 | Shadow side of the scale and if we
have a bright image the opposite is true.
| | 02:54 | I just want underscore that we are
not actually going to do anything with
| | 02:58 | the histogram except evaluate
the Brightness values and the color
| | 03:02 | distribution within our image.
| | 03:04 | But when we come to actually work
with our adjustment tools, we will put a
| | 03:08 | histogram somewhere on our screen where
we can conveniently see it and see the
| | 03:12 | changes that we're making corresponding
to the changing shape of the histogram.
| | Collapse this transcript |
| Evaluating color with the Info panel| 00:00 | The Info panel is another very
useful tool for evaluating our images and
| | 00:04 | specifically the color in our images.
| | 00:07 | Here is the Info panel.
| | 00:08 | If you don't have it open,
you'll find it under the Window menu.
| | 00:11 | You'll notice that as I move my cursor
around on this image, the color numbers,
| | 00:15 | the RGB numbers and the CMYK numbers
are both changing, so it's reflecting the
| | 00:21 | color that is beneath my cursor.
| | 00:23 | We can change the actual color that
we view, we can change it to any color
| | 00:27 | that's relevant for the
workflow that you're using.
| | 00:29 | I have my first color setup as
RGB since this is an RGB image.
| | 00:34 | That's actually referred to as Actual Color.
| | 00:36 | And my second color as CMYK, so I'm
presuming that I'm going to convert this
| | 00:41 | image at some point to a CMYK image
and it's useful for me to see how my RGB
| | 00:46 | numbers are going to
translate into CMYK percentages.
| | 00:50 | More than that though we can take
sample points and have those sample points
| | 00:55 | be reflected on our Info panel, and
we do that using the Eyedropper tool or
| | 00:59 | the Color Sampler tool.
| | 01:00 | I'm going to use the Color Sampler tool,
but if you wanted to use the Eyedropper
| | 01:04 | tool you just hold down the Shift
key and I'm going to click right there.
| | 01:07 | That looks a sample point on my Info panel.
| | 01:11 | I can change the color of that, but I
want it to stay as reflecting the Actual
| | 01:15 | Color for the Color Mode that I'm working in.
| | 01:18 | Now what I can do is when I make a color
adjustment I'm going to press Command+L
| | 01:22 | or Ctrl+L to go to my
Levels and make an adjustment.
| | 01:25 | We see two numbers, we see the
before number and we see the after number.
| | 01:29 | Now because I have moved my white
point towards the center these numbers
| | 01:34 | have increased, of course, what we are
seeing with our eye is things have got brighter.
| | 01:39 | It's possible to over think this perhaps,
trust your eye first and foremost, but
| | 01:44 | use your eye in conjunction with these numbers.
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| Boosting color with levels| 00:00 | Using levels, to improve the contrast
of an image, may have been one of the
| | 00:04 | first things you learn to do in Photoshop
and it's probably something you do frequently.
| | 00:08 | But do you really know what's
happening to the colors in your image when
| | 00:11 | you move those sliders?
| | 00:12 | Often the biggest improvement you can
make to the colors in your image and thus
| | 00:16 | the image overall is to boost the contrast.
| | 00:19 | This process of darkening the shadows,
lightening the highlights and adjusting
| | 00:23 | the midtones, inevitably
affects the colors in your image.
| | 00:26 | Photoshop offers several tools that
help you achieve good contrast in your
| | 00:30 | images, some are arguably better than others.
| | 00:33 | To some extent, it's a
matter of personal preference.
| | 00:36 | If you haven't already, you'll
probably find yourself picking favorites.
| | 00:39 | I am going to begin with the tool that
in my opinion offers the best combination
| | 00:43 | of ease of use and functionality
and that's the Levels adjustment.
| | 00:47 | All of these color adjustments should
be used in conjunction with the Histogram
| | 00:51 | panel and the Info panel.
| | 00:53 | So I am going to click on my Histogram
panel and I am going to tear this off and
| | 00:57 | position it over there as far out the
way as I can, and then open my Info panel.
| | 01:03 | Now, I have a problem here in that I'm
looking with a low-resolution monitor, in
| | 01:08 | order for the screen capture
software to capture what I'm doing.
| | 01:12 | Hopefully, if you have a higher
resolution, you'll be able to arrange your
| | 01:15 | panels in a way that
doesn't obscure the image itself.
| | 01:18 | I am then going to come to
my Levels adjustment layer.
| | 01:23 | I could apply Levels as a static
adjustment from up here, but I always prefer to
| | 01:28 | do it as an adjustment layer, because
adjustment layers are nondestructive and
| | 01:32 | that's always a good way to work.
| | 01:34 | So I see a histogram on my Levels
adjustment layer and I see my Histogram panel.
| | 01:39 | When I change this one, the
appearance of this one is going to update.
| | 01:44 | What I am going to do is get my white
point slider and move it to the left
| | 01:48 | towards the center and I'm doing that
because I have currently no highlight
| | 01:53 | information in this image that's what
the shape of the histogram is telling
| | 01:57 | me and things are going to get a lot
brighter when I move that white point
| | 02:00 | slider towards the center.
| | 02:02 | How much brighter,
exactly what's going to happen?
| | 02:05 | Well, for that I am going to put down
three sample points, I am going to choose
| | 02:08 | my Color Sampler tool which lives
beneath the Eyedropper tool and I am going to
| | 02:13 | put a sample point in the sky,
one on the rock and one on the road.
| | 02:18 | So I now have three sample points.
| | 02:19 | The numbers before and after are the same.
| | 02:22 | When I move my white point slider
towards the center, we can see that the
| | 02:26 | numbers increase, reflecting the
fact that the image is getting brighter.
| | 02:30 | Of course, trust your eyes first and
foremost and we see that the histogram on
| | 02:35 | the Histogram panel has now changed
its shape and the information is spread
| | 02:40 | across our full tonal range.
| | 02:43 | Exactly what's happening to the color?
| | 02:44 | Well, I currently have my colors
represented as RGB numbers, but we can also
| | 02:50 | maybe switch to HSB numbers and we
see that this particular change that I'm
| | 02:56 | making is not really affecting
the Hue of any of these colors.
| | 03:02 | It is only affecting the Brightness and
in some cases the Saturation, but it's
| | 03:08 | mainly affecting the Brightness.
| | 03:10 | So the actual color for Hue is
remaining the same and we are just affecting
| | 03:15 | the Brightness values.
| | 03:17 | In addition to working with the white
point, I am also now going to get the
| | 03:20 | black point and bring that towards the center.
| | 03:23 | That does affect a slight shift in
Hues especially on the road, but sample
| | 03:28 | point number one, the blue of the sky that
remains the same Hue at 260? on the color wheel.
| | 03:35 | If Levels has a disadvantage, it's that
you don't have full independence of the
| | 03:40 | tonal regions of an image.
| | 03:42 | Where you need such control, you can
use Curves and I'll be covering Curves in
| | 03:46 | a later movie.
| | Collapse this transcript |
| Auto Tone and Auto Contrast| 00:00 | In the previous movie, we saw what
making a Levels adjustment does to the
| | 00:04 | colors in your image, in this movie we
are going to see what using these Auto
| | 00:08 | options, Auto Tone, Auto Contrast and
Auto Color, how they will affect the
| | 00:12 | colors in your image.
| | 00:14 | So I am going to start out by taking
my Histogram panel, tearing that off and
| | 00:19 | putting that somewhere where it's
covering as little of the image as possible.
| | 00:23 | I'm a bit limited here with my
screen space, hopefully, you have a bigger
| | 00:27 | monitor or a finer resolution than I
have at the moment, but mine is set to a
| | 00:32 | low resolution for the screen capture
software, so that we can see this on the video.
| | 00:36 | And then I am going to click on my Info
panel, we need to see that as well, and
| | 00:41 | I might just tear that off and put that
up at the top, and then we'll close the
| | 00:47 | Navigator, since we don't need that.
| | 00:48 | And the other thing that I
need is a Levels adjustment.
| | 00:53 | Now I am going to add the Levels, not
as static adjustment from here, but as an
| | 00:59 | adjustment layer from down here,
because it's always better to work with
| | 01:03 | adjustment layers, since
they are nondestructive.
| | 01:07 | And before I affect any change, I'm
going to use my Color Sampler tool and
| | 01:11 | lay down some samples.
| | 01:12 | We'll have one in the sky.
| | 01:14 | There is very little highlight
information or virtually no highlight
| | 01:18 | information in this image, but I am
going to choose what are currently the
| | 01:22 | brightest values as best I can gauge
them, some are out there, and we'll also
| | 01:27 | do one in the shadow area.
| | 01:29 | So we have three sample points and we
are going to see how these numbers will
| | 01:33 | shift, so I think I'll move this over here.
| | 01:36 | So we can clearly see the three sample
points, and we can see our histogram and
| | 01:41 | we can see our Info panel.
| | 01:42 | Now, if I click on Auto, what
actually happens when I click on Auto?
| | 01:46 | Well, we get the last Auto adjustment
that was used which may or may not be
| | 01:52 | what we want to use here, but we want a
bit more control, so I am going to undo
| | 01:56 | that by pressing Command+Z or Ctrl+Z,
and I am going to hold down my Option or
| | 02:00 | Alt key and click on the Auto button,
where we have the chance of choosing
| | 02:04 | exactly what happens.
| | 02:06 | Again, I am running out of room here,
but I am going to put that about there.
| | 02:12 | So we have three
different algorithms to work with.
| | 02:15 | Enhance Monochromatic Contrast;
| | 02:18 | this is essentially what I
did in the previous image.
| | 02:22 | I was working on the RGB channel and I
got the white point and the black point
| | 02:27 | sliders and I moved them towards
the center, and when we Enhance the
| | 02:32 | Monochromatic Contrast, if I now change
the color readout on my sample points to
| | 02:38 | HSB, we can see that there is very
little, only one slight change in the Hue of
| | 02:48 | the three sample points when we use this option.
| | 02:51 | However, where I have to choose
Enhance Per Channel Contrast, then the Hues
| | 02:56 | shift quite dramatically.
| | 02:58 | Now I am not saying that
that's necessarily a bad thing.
| | 03:00 | If the image looks better, then the
image looks better, but I am just pointing
| | 03:04 | out that when we use this option,
the colors are going to shift.
| | 03:08 | Now this is equivalent to choosing
the channels one-by-one, which I can't
| | 03:13 | actually do while I am in here, but
it would be choosing the individual
| | 03:16 | channels, the red, the green and the blue,
and then moving that individual white
| | 03:22 | points closer towards the center, and
then we have our third option, Find Dark &
| | 03:28 | Light Colors and this will find
currently the darkest pixel in the image and map
| | 03:33 | that to my Shadow target, which is
this right here and finds currently the
| | 03:38 | brightest pixel and map
that to my Highlight target.
| | 03:43 | So that brings up a whole can of
worms right that, what are my Shadow
| | 03:47 | and Highlight targets?
| | 03:49 | Well, we can go and take a look at
what they are by clicking on them and
| | 03:52 | currently we see that the shadow
clipping is 0, 0, 0 in RGB terms, i.e. it's
| | 03:59 | pure black and it's as black as it gets.
| | 04:02 | Now this is fine if you are creating an image
destined for screen, no reason to change it.
| | 04:07 | If you are sending your image to be
printed on offset printing press, you might
| | 04:11 | want to consult your printer as to
what the best shadow target values are.
| | 04:14 | I am going to give you some target
numbers that will work with an average key
| | 04:19 | image, by which I mean an image where
most of the information is clumped within
| | 04:24 | the Midtone regions, which is
essentially what this image is.
| | 04:28 | These numbers are 65 for the Black, 53 for the
Magenta, 51 for the Yellow and 95 for the Black.
| | 04:37 | That's going to affect the change
that is indiscernible on our screens, but
| | 04:40 | it's going to mean that the Black is
slightly less solid than the original target point.
| | 04:46 | So now I am going to do the Highlight
values and we see the current Highlight
| | 04:50 | value is 255, 255, 255 i.e. that means
no information or no ink at the brightest
| | 04:57 | point of your image, and that's fine
if you want completely bright whites in
| | 05:01 | certain areas of your image,
totally fine for screen.
| | 05:05 | For print, we might want to make it a
very light gray, so that there is a very
| | 05:09 | small dot of ink at the brightest
points in that image and I am going to make
| | 05:13 | the value 3, 2, 2 and 0, for the Cyan,
Magenta, Yellow and Black respectively.
| | 05:22 | So now when I find the darkest and
lightest colors, specifically, it's mapping
| | 05:27 | the darkest and lightest colors to those
Shadow and Highlight values that I just
| | 05:32 | put in there, I can opt to save
those as my defaults, should I choose to.
| | 05:37 | We have a Clip of 0.1% which means that
the black and white points are going to
| | 05:43 | go slightly be on the ends.
| | 05:46 | So in this case, with the clipping as
it is, Photoshop is second-guessing us in
| | 05:51 | a way and it's interpreting the very
ends of the histogram as being irrelevant
| | 05:57 | information, which it may or may not be.
| | 05:59 | So you might want to set the Clip to 0
or we might just want to leave it as it
| | 06:03 | is, I am going to leave it as it is.
| | 06:05 | We also have another option that's
going to affect the color and this is the
| | 06:10 | Snap Neutral Midtones and we can apply
that on any of these three algorithms.
| | 06:15 | Now I am going to go for the Enhance
Per Channel Contrast and when I snap my
| | 06:20 | Neutral Midtones, take a look at how
this affects the color in the image, I'll
| | 06:24 | do that once again, I'll turn
it off and then turn it on again.
| | 06:29 | So what's happening here is it's finding
the current median brightness value and
| | 06:34 | remapping those to the target Midtones.
| | 06:37 | Let's go and take a look at
what the target midtones are.
| | 06:39 | The target midtones are completely neutral
gray, and there's no reason to change these.
| | 06:45 | I am going to leave those as they are.
| | 06:47 | But this can be especially useful if
you have an image with a colorcast, and
| | 06:51 | we'll see how when we look at Color
Correction, correcting colorcasts, how
| | 06:56 | snapping our Neutral Midtones to our
target midtone value will fix all sorts of
| | 07:03 | problems within our image.
| | 07:04 | Now whether or not it's a desirable
change here, I'm not entirely convinced.
| | 07:09 | Yeah, in fact I think it is.
| | 07:12 | The image gets slightly warmer when
we snap the Neutral Midtones, so I am
| | 07:16 | going to go with that.
| | 07:17 | But the important thing is here that the
Enhance Monochromatic Contrast will not
| | 07:23 | affect a change in the Hues, whereas
the Enhance Per Channel Contrast and the
| | 07:28 | Find Dark & Light Colors; both will.
| | 07:31 | Whether that's a good thing or a bad
thing is your subjective decision, based
| | 07:35 | upon how it affects your image.
| | Collapse this transcript |
| Manually setting the black and white point| 00:00 | In this image, I am going to manually
set the black point and the white point
| | 00:05 | and this will, as we'll see, affect a
dramatic change in the color of the whole image.
| | 00:10 | I have laid down three color samples.
| | 00:12 | I have one in the shadow area, one in a
more midtone area and one over here on
| | 00:18 | this white piece of paper, which is
the representative of the highlights.
| | 00:23 | Even though if we look at the histogram
of this image, we see that currently we
| | 00:27 | have very little highlight information,
but that's about as bright as it gets
| | 00:31 | that area right there.
| | 00:32 | So, I'm now going to add a Levels
adjustment layer and then I want to get my
| | 00:37 | black point dropper and click on the
darkest pixel in the image to remap my dark
| | 00:43 | pixels to my target black point.
| | 00:46 | I can change the definition of my
target black point, should I choose to do
| | 00:50 | so, by double-clicking on the black
point dropper, and likewise, with the
| | 00:54 | white point dropper.
| | 00:55 | Let's start out with the white
point and I'll double click on that.
| | 00:58 | At the moment, it's at pure
white, 255, 255, 255 in RGB terms.
| | 01:04 | I am going to leave it like that, but
you may wish to tweak this according to
| | 01:07 | your output intent and my black
point is currently pure black, 0, 0, 0,
| | 01:13 | likewise, I am going to leave it, but
you may wish to target this to a specific
| | 01:17 | output intent, in which case you should
speak to your commercial printer about
| | 01:21 | what they recommend as their
preferred black and white point targets.
| | 01:25 | But I am now going to get my black point
dropper and go and click on the darkest pixels.
| | 01:30 | In order to evaluate where the darkest
pixels are, I am going to hold down my
| | 01:33 | Option or my Alt key, and then start
dragging the black point slider towards the center.
| | 01:38 | Now as I do this, you'll see that the
closer I get towards the center, the more
| | 01:43 | pixels become black.
| | 01:45 | The pixels that first turn black are
currently the darkest areas in the image
| | 01:50 | and I notice that I have some pixels
that almost immediately turn black on the
| | 01:54 | left-hand side of the image.
| | 01:55 | So I am now going to move my black
point slider back to where it began, get my
| | 01:59 | black point dropper, and go and click
on that area and you'll see that things
| | 02:04 | now look more contrasty.
| | 02:05 | I am going to do the
equivalent for the white point.
| | 02:07 | Click on my white point dropper, hold
down my Option or Alt key, and then start
| | 02:12 | dragging my white point
slider towards the center.
| | 02:15 | Those pixels that first turn
white are the brightest pixels.
| | 02:18 | Now in the case of this image, I'm
actually going to make a subjective decision
| | 02:22 | to override those first or those
brightest pixels, because if we go and look at
| | 02:28 | them, we can see that this one down
here, which is the brightest area in the
| | 02:31 | image is actually a specular highlight
from a piece of plastic, and this bit up
| | 02:36 | here, which is the second brightest.
| | 02:38 | That's okay, but what I'm aiming for is
this highlight here on this basket and
| | 02:43 | we can see that that's not actually
the brightest, but comes in shortly after
| | 02:47 | the bright areas in the top right.
| | 02:50 | So this is our subjective decision
here and I am going to get my white point
| | 02:54 | dropper and go and click on that area
right there and look how much the affects
| | 02:58 | the brightness and overall
appearance of the color in the image.
| | 03:02 | Now if we look on the Info panel, we
can see how the color numbers have changed
| | 03:06 | and almost without exception,
the numbers are getting higher.
| | 03:10 | So things are getting brighter.
| | 03:12 | Let's just see how that's affected the color.
| | 03:14 | If we switch these samplers to HSB, we
can see there is some shift in the Hue,
| | 03:21 | but it's mainly in the Brightness and the
Saturation where the change is taking place.
| | 03:26 | In the case of sampler number two,
which is this one down here and now we go
| | 03:30 | from an angle of 2 to 356, but remember
we are working on a scale of 0 to 360,
| | 03:36 | so that's only a few degrees difference.
| | 03:38 | So the big difference really is in the
Saturation and Brightness and what's most
| | 03:43 | important is the image looks a whole
lot better this way, manually setting the
| | 03:48 | black and the white points.
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| Curves| 00:00 | Another very powerful tool for
adjusting the contrast and consequently the
| | 00:04 | color in our images is the Curves
adjustment and that's what I am going to use
| | 00:09 | to work on this image.
| | 00:10 | As with Levels, I am going to
apply this as an adjustment layer.
| | 00:14 | Now the reason I'm using Curves here
is because I want a bit more control
| | 00:18 | than Levels can give me.
| | 00:19 | Curves is going to allow me to work on
specific tonal regions of this image,
| | 00:24 | while leaving other tonal regions
unaffected or relatively unaffected.
| | 00:29 | And we are going to see how?
| | 00:30 | When I start moving the curve around
to add more brightness in certain tonal
| | 00:35 | regions and less in others, that is
going to shift the colors, but then I'm
| | 00:39 | going to show you how we can make sure
that the colors are not shifted and it
| | 00:44 | just becomes a change in the contrast, if
that is what we want, and I think it is.
| | 00:49 | What I see here is this very
interesting shadow and a repetition of this shape
| | 00:53 | within the window and I would
like to make the shadow stronger.
| | 00:57 | So this is what a linear curve looks like.
| | 01:00 | So firstly before we get to the image,
let me just give you a quick breakdown on
| | 01:03 | what's going on in the Curves dialog box.
| | 01:05 | A linear curve, up here and the top
right we have our brightness values, down at
| | 01:10 | the bottom left we have our shadow
areas, right here is our midpoint area.
| | 01:15 | The curve is superimposed upon a sort
of scrunched up histogram, which is the
| | 01:20 | same shape as the histogram that you
would see, were we working in Levels.
| | 01:25 | Curves are particularly useful when
performing color corrections, because you
| | 01:28 | can work on the individual color curves,
and of course, you can do that with
| | 01:32 | Levels as well, but I think you have a little
bit more flexibility when doing it with curves.
| | 01:37 | You can also set your black and your white
points here, the same way as we did with Levels.
| | 01:41 | You can edit your curve by putting
points on the curve, and that's what we are
| | 01:46 | going to do, but you can also
draw the shape of the curve.
| | 01:48 | So firstly, if you wanted a psychedelic
look to your image, you could click on
| | 01:52 | this pencil icon, and then actually
come on to the curve and just draw yourself
| | 01:56 | a random curve like that, and what you
get is going to be kind of random, but
| | 02:00 | sometimes it can be a happy accident.
| | 02:03 | That's not what we want here.
| | 02:04 | So I am going to reset this
to how it was when we came in.
| | 02:08 | You also have the option of using these
predefined curves and it's worth taking
| | 02:13 | a look at what a strong
contrast curve looks like.
| | 02:16 | It's the classic S-shape which for an
RGB image, remember when we move up, we
| | 02:22 | are adding light, what's happening
here is that light is being added in the
| | 02:26 | highlight areas, light is
being removed in the shadow areas.
| | 02:30 | Consequently, we get a strong contrast.
| | 02:33 | Now, while I want something like that
that's not quite what I am after, so I am
| | 02:37 | going to reset my curve and I am going
to put the points on the curve myself.
| | 02:42 | One other thing I should mention
just before we do that and that is that
| | 02:45 | currently I have a 4?4 grid on my curve.
| | 02:49 | If I wanted a little bit more control,
perhaps, I could go to a 10?10 grid and
| | 02:55 | this is just a visual thing.
| | 02:57 | If you hold down your Option or your
Alt key and click on the grid, then you
| | 03:00 | switch to a 10?10 as opposed to a 4?4 grid.
| | 03:04 | So, with all of that as our background,
I am now going to choose this guy up
| | 03:09 | here, my Targeted Adjustment tool and
then move over to this area in my image
| | 03:14 | where I have these shadows, and you
can see that as I do so, I get a bouncing
| | 03:18 | ball up here on my curve, and that
bouncing ball indicates where these tonal
| | 03:23 | values occur on the curve.
| | 03:25 | So what I want to do with the shadow
is make the shadow a little bit deeper.
| | 03:29 | So I am going to click right there and since
I want less light, I am going to drag down.
| | 03:33 | And you can see that drags the whole curve down.
| | 03:35 | Then, I am going to move the other side
of the shadow and you can see that the
| | 03:40 | bouncing ball now repositions
itself and here I want to add more light.
| | 03:44 | So I am going to click and drag up.
| | 03:47 | Then we should now have
more contrast in that shadow.
| | 03:50 | Let's just evaluate what's going on there.
| | 03:52 | I can turn that adjustment
layer off and back on again.
| | 03:56 | Now just for kicks, let's see what
would happen if I tried to lighten the tonal
| | 04:01 | area of this window.
| | 04:02 | So I am going to come down to the
window and you can see that I have got my
| | 04:05 | bouncing ball now in the
bottom of the grid on my curve.
| | 04:08 | I am going to click and drag up from that
point, so that I add light to that area.
| | 04:14 | It's almost like we put a light on in that room.
| | 04:16 | Now I have to say this is not really
how if I were editing this image, and I
| | 04:21 | have edited this image before,
it's not how I would do it.
| | 04:24 | It is a way it can be done.
| | 04:27 | I find that, I prefer to work with
masks and gradient masks as a way of
| | 04:32 | controlling how much light there is in
the different tonal regions of my image,
| | 04:36 | but there are people that do like to do
it this way and it's a perfectly viable
| | 04:40 | way, although I think you are
working a little bit too hard. Okay.
| | 04:43 | Now, let's just see what happened to
the color, I am going to click on my Info
| | 04:47 | panel, and I am now going
to take some color samples.
| | 04:49 | So I am coming over to my Color
Sampler tool and I'll sample one right there,
| | 04:54 | and we'll also look at the
color in the chimney and the sky.
| | 04:58 | We are looking at RGB values
and obviously they have changed.
| | 05:02 | And that's no bad thing.
| | 05:03 | It's not even necessarily a bad
thing that the color has shifted.
| | 05:06 | But let's say that we
don't want the color to shift.
| | 05:08 | I am now going to change my color
samples to show me my HSB Values and we see
| | 05:16 | that the Hue has shifted or at least
it has for sample point number three.
| | 05:21 | So the color of this sky is changing.
| | 05:24 | If we don't want the color of the sky
to change, I am just going to adjust my
| | 05:27 | curve a little bit more, make that
adjustment a little bit more drastic and now
| | 05:33 | we have all of those hues for all
three sample points are shifting.
| | 05:37 | If we don't want them to shift, we can
change the blending mode that is applied
| | 05:41 | to the adjustment layer.
| | 05:42 | Do you remember in the movie where I
was talking about the histogram panel,
| | 05:46 | where I pointed out that we
have a luminosity histogram?
| | 05:50 | Well, we don't see a luminosity
histogram here, there is no option for it, but
| | 05:54 | we get the equivalent if we choose
the luminosity blending mode for the
| | 05:59 | adjustment layer that applies to the
curve and we see there that now the
| | 06:05 | Saturation and the Brightness values
are changing and that's so good, we need
| | 06:09 | that to happen, but we have
restored the color to its original state.
| | 06:13 | So here is the before and here is the after.
| | 06:17 | More contrast, but no shift in color.
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|
|
5. Color Balancing and Color CorrectionWhat is color correction?| 00:00 | Color correction is the act of
adjusting the color temperature of your images,
| | 00:04 | either to compensate for a
colorcast or over predominance of a color or
| | 00:08 | subjectively to give your images a certain feel.
| | 00:11 | Color temperature is measured in
degrees Kelvin with a temperature of 5500 K
| | 00:16 | being considered the
temperature of overhead light of midday.
| | 00:20 | Adding more yellow to your images
will give them a higher color temperature
| | 00:24 | and make them warmer.
| | 00:25 | Adding more blue to your images will
give them a lower color temperature
| | 00:29 | and make them cooler.
| | 00:30 | To start with, I just want to point
out that having an over predominance of
| | 00:34 | color is not necessarily a bad thing.
| | 00:37 | This image has an obvious colorcast.
| | 00:38 | It's shot late afternoon,
it's bound to be yellow.
| | 00:42 | That's the whole point of the image.
| | 00:44 | On the other hand, here I have a cool
image that was shot somewhere around
| | 00:49 | midday and the color temperature
is a lot lower as a consequence, not
| | 00:53 | necessarily a bad thing, although
looking at it, I think it does look a little
| | 00:56 | bit on the blue side.
| | 00:57 | But, my point being that a
colorcast is not always a bad thing.
| | 01:02 | We're going to look at just fixing up
this image and there are essentially two
| | 01:07 | approaches we can take, and they
are very much related to each other.
| | 01:11 | Most of what we need to know about Color
Correction is constrained in this diagram.
| | 01:15 | We see red, green and blue, additive
primaries, and as cyan, magenta and yellow
| | 01:22 | as subtractive primaries.
| | 01:24 | Opposite to red is cyan, opposite
green is magenta, opposite blue is yellow.
| | 01:29 | So, if we have an image that has an
over-predominance of yellow, if we are in
| | 01:34 | a CMYK image that has a yellow channel, we
can just reduce the amount of that yellow.
| | 01:40 | But if we are in an RGB image,
there is no yellow channel.
| | 01:44 | So what we can do is we can work on
the blue channel, and by increasing the
| | 01:48 | blue, we will be reducing the yellow.
| | 01:51 | Likewise, if we have an image that has
an over-predominance of red, let's say
| | 01:55 | it's an RGB image, well, we can just reduce
the amount of red by working on the red channel.
| | 02:01 | But if we are in a CMYK image,
maybe there is no red channel.
| | 02:05 | Not maybe, there is no red channel.
| | 02:06 | So instead, we can work on the cyan channel.
| | 02:09 | By increasing the amount of cyan, we
reduce the amount of red and the same is
| | 02:13 | true with magenta and green;
| | 02:15 | they are the complements of each other.
| | 02:17 | So increasing the magenta
decreases the green and vice versa.
| | 02:21 | Just keep this diagram handy and you
can always figure out what you need to do
| | 02:25 | to an image to adjust any sort
of colorcast that it might have.
| | 02:30 | Another approach is to target neutral
midtones and that's where we'll start and
| | 02:36 | we've already had a look at this
working in the previous chapter, this involves
| | 02:40 | using the great point eyedropper.
| | 02:42 | What I am going to do first of all is
if I go to my Eyedropper tool, I see that
| | 02:46 | I've already put a sample point on this
patterned carpet in the foreground and
| | 02:51 | I have sampled that particular point,
because as you can see, it is a gray
| | 02:56 | segment of that carpet.
| | 02:58 | And my subjected decision here is that
if this image had not had a colorcast
| | 03:03 | and it has a colorcast because it's been
shot indoors, so it has a yellowish feel to it.
| | 03:08 | But if it didn't have that
then that gray would be neutral.
| | 03:12 | Neutral gray means RGB values
the same or close to be the same.
| | 03:17 | So that's what we are going to aim
for and we are going to use this as our
| | 03:21 | reference, as our target point.
| | 03:23 | So I am gong to come to my Curves
adjustment, I could do in Levels or Curves and
| | 03:28 | then I am going to choose my gray point
dropper and I am going to move over and
| | 03:32 | I am going to click on that target point.
| | 03:34 | Now before I do so, I want to open my
Info panel so I can see what the color
| | 03:39 | values at that point are.
| | 03:42 | And we see that I have Red a lot higher
than green and then we have blue which
| | 03:47 | is trailing some where behind.
| | 03:49 | So by targeting that point as my
neutral midtone, what it's going to do is it's
| | 03:55 | going to set those colors all to be the same.
| | 03:57 | And we can see what's happened with the curve.
| | 04:00 | The red has been reduced, the blue has
been increased and the green stays more
| | 04:04 | or less the same ever so slightly increased.
| | 04:07 | The result at that point right
there, we've got neutral values.
| | 04:11 | That has an effect that
goes throughout the image;
| | 04:14 | it ripples up to the
highlights and down to the shadows.
| | 04:17 | Does it make it a better image?
| | 04:19 | I don't know, I don't think so.
| | 04:20 | I kind of like the warm
feel that it had to it before.
| | 04:24 | So, let's say that this is a step in
the right direction, but we just want to
| | 04:28 | moderate the whole effect and what we
could do is reduce the Opacity somewhat
| | 04:32 | and we have introduced some of the
original yellow feel, the warmth of the
| | 04:37 | original image back in, but the
overall result is now, here was the starting
| | 04:42 | point and here is the finishing point.
| | 04:45 | So we've targeted an area that's
subjectively and I can't stress enough how much
| | 04:50 | subjectivity is involved in this and
we've said make that neutral gray and that
| | 04:55 | affects the rest of the image.
| | 04:57 | Now there is another
approach we could take care.
| | 04:59 | I am going to turn off that curve
and this is basically suggested by this
| | 05:04 | diagram that we looked at earlier.
| | 05:06 | If we can say that this image has
too much yellow in it, if we are in
| | 05:10 | agreement that it has too much yellow,
then to reduce the yellow what we can
| | 05:14 | do is increase the blue.
| | 05:16 | And we can do this with a number of
Photoshop's tools, one of which is the Color
| | 05:20 | Balance adjustment layer.
| | 05:21 | So I am going to choose Color Balance
and now if I move towards blue, I am
| | 05:26 | moving away from yellow and we also
saw that we need to reduce the red.
| | 05:30 | So if I move towards cyan,
I am moving away from red.
| | 05:34 | And that's going to give us a result
very similar to the result we saw before.
| | 05:38 | This is the result with Color Balance
and now I've turned that off, we are back
| | 05:41 | to the original, and this is
the result with the curves.
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| White balancing in Camera Raw| 00:00 | I'm in the Camera Raw plug-in where
I'm going to be looking at two ways of
| | 00:03 | addressing colorcasts using the white balance.
| | 00:06 | For this first image, which we shot in
the early morning, the color temperature
| | 00:09 | is 6000?K. It's a little on the yellow side.
| | 00:13 | Frankly, I like that about this image,
but let's just see if we can improve it
| | 00:17 | by adjusting the white balance, and
I'm going to do that by just choosing a
| | 00:21 | different white balance preset.
| | 00:23 | I'm going to go to Daylight.
| | 00:24 | Now we see that by doing that, the
color temperature is reduced to 5500 and the
| | 00:29 | image becomes a bit cooler as a result.
| | 00:32 | The second image is too blue and if we
look at the color temperature we can see
| | 00:36 | that it is 4900?K. So what I want to
do here is warm it up, and I could do this
| | 00:42 | in the same way as I did the
previous image by choosing a different White
| | 00:45 | Balance preset but in this case I'm
going to use the White Balance tool.
| | 00:48 | So when I choose this eyedropper,
what I need to do is target an area in my
| | 00:53 | image which I think should be neutral
gray and I can't emphasize enough how much
| | 00:59 | this is subjective, but I think we can
all agree that the side of this boat here
| | 01:04 | which is painted white in the shadow
area of that boat it should be neutral and
| | 01:09 | if I move my eyedropper over that area
and I look at my RGB values at top-right,
| | 01:15 | I see that the blue is
higher than the green and the red.
| | 01:19 | By clicking at this point, I
neutralize the values in the mid-tones and
| | 01:24 | consequently, the color temperature
goes up and I think that's quite a big
| | 01:27 | improvement to this image.
| | 01:29 | So two approaches to color
correcting in Camera Raw;
| | 01:33 | the great benefit about working in
Camera Raw is that when we go and open the
| | 01:37 | image or images in this case,
we're opening up copies.
| | 01:41 | So any change we make in the Camera Raw
plug-in is effectively nondestructive.
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| Color correction with color balance| 00:00 | Photoshop's Color Balance tool isn't
that great when you need to color correct
| | 00:04 | with numerical accuracy, but it's
very useful when you just need to give a
| | 00:07 | color moved to your pace.
| | 00:09 | Here we see a composition that
we've seen earlier in this title.
| | 00:12 | On the left-hand side, I have a warm
color palette and on the right-hand side
| | 00:16 | a cold color palette.
| | 00:18 | If we go and take a look at the
Layers panel, we can see how this is
| | 00:21 | constructed and I'm applying color
balance, in fact, I'm applying three color
| | 00:25 | balance adjustments.
| | 00:27 | Let's take a look at the color balance
adjustment that is applied to the Model layer.
| | 00:30 | So when I double-click on that, it
brings up the Adjustments panel and we see
| | 00:35 | the position of the sliders where I
left them, we can shift the colors in the
| | 00:39 | Shadows, the Midtones, and the Highlights.
| | 00:43 | Generally, the midtones will affect
the greatest change, so that's where I'm
| | 00:46 | going to start and we can see that I've
moved towards the yellow so consequently
| | 00:51 | away from blue and slightly towards red.
| | 00:53 | In the Shadows again towards yellow, and
slightly towards red, and much the same
| | 00:58 | story in the Highlights.
| | 01:00 | If I now go over to the cooler color
palette and click on the equivalent Color
| | 01:04 | Balance Adjustment, we can see that I'm
moving roughly the equivalent distance
| | 01:09 | towards the blue as I had
previously moved towards the yellow.
| | 01:13 | So while Color Balance isn't among my
favorite color adjustment tools, it's very
| | 01:16 | easy to use and its interface is very
intuitive and we see how colors and their
| | 01:22 | complements relate to each other.
| | 01:24 | So if you move towards red, you are, by
implication, moving away from cyan and vice versa.
| | 01:29 | Move towards blue, you're moving
away from yellow and vice versa.
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| Color balancing using photo filters| 00:00 | A very simple quick and effective way
of addressing color problems in your
| | 00:04 | images is to apply a photo filter.
| | 00:06 | A photo filter is the digital version
of an analog filter that photographers
| | 00:11 | would and some still do attach them
to the end of their lenses to give a
| | 00:15 | different color temperature to their
images, and we have as one of our available
| | 00:20 | adjustment layers, Photo Filter.
| | 00:22 | So when I choose that and Warming Filter,
which is actually what I'm after, is
| | 00:26 | the default option so that's what I
get and see how that affects the snow.
| | 00:30 | Now snow is typically beset
by problems of colorcasts;
| | 00:34 | it often looks rather blue in your
images, blue and I'm sure you remember it.
| | 00:39 | But if we turn this off, there is the
blue snow and there is the much less blue
| | 00:45 | snow with this Warming Filter applied to it.
| | 00:48 | We have all of these options that we
can experiment with, so we can just
| | 00:52 | dial those in to your liking, of course,
you can just choose another color if you wish.
| | 00:57 | Choose any color from your color picker
and you can adjust the density of the filter.
| | 01:02 | So I could go further with this if I
wanted to and actually I quite like that
| | 01:07 | applied to about that degree about 40%.
| | 01:10 | With Preserve Luminosity checked that's
going to maintain the brightness values.
| | 01:14 | So that's always a good idea, and
I'll just turn that off so we can see the
| | 01:18 | before without blue snow and there
with the Photo Filter on without, as it
| | 01:24 | should be, white snow.
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| Color correction with variations| 00:00 | There is an old faithful color correction
tool called Variations which still has its uses.
| | 00:06 | You'll find it under Image > Adjustments.
| | 00:09 | The thing is about Variations, you may
come to the menu Adjustments, and you
| | 00:14 | may not find Variations, and if you don't
find it, it's because you're in 64-bit mode.
| | 00:20 | 64-bit mode is a more efficient way
of using RAM, Random Access Memory, but
| | 00:26 | for some reason, Variations which is a very
old tool is incompatible with 64-bit mode.
| | 00:33 | So I've re-launched Photoshop in 32-bit mode
so that I can take advantage of Variations.
| | 00:39 | Let me show you how you can do
that, should you choose to do so.
| | 00:42 | On a Mac, you'll need to come to the
Applications folder and go to the Photoshop
| | 00:47 | application and then File > Get Info,
and then right there, you'll see a
| | 00:54 | checkbox, Open in 32-bit mode.
| | 00:57 | If you're currently in 64-bit mode,
you'll need to quit and then change this
| | 01:02 | option and then re-launch
Photoshop and you'll be in 32-bit mode.
| | 01:06 | Now, actually its biggest use I find
is just as a visual representation of
| | 01:11 | colors and how they relate to each
other, and how if you have an image that,
| | 01:15 | say, is too blue you can add its
complement yellow diagonally opposite to
| | 01:22 | reduce the blueness.
| | 01:23 | If you have an image that's
too green, you can magenta;
| | 01:26 | if you have an image that's
too red, you can add cyan.
| | 01:28 | So we see a clear visual representation
of colors and their complements opposite
| | 01:34 | each other, surrounding this
preview of the current pic.
| | 01:38 | So in this case, if I wanted to warm
this image up a bit as I do, I would need
| | 01:44 | to add yellow, because I
think it's a little bit too blue.
| | 01:48 | And I can do that in the Shadows, the
Midtones, and/or the Highlights, and I can
| | 01:53 | adjust the amount of the color that I'm
adding with this Fine to Coarse slider.
| | 01:58 | Now I'm actually going to quit out of
here, cancel out of there and before I
| | 02:03 | apply Variations, I'm going to do one
other thing and that is I am going to
| | 02:07 | convert my layer for Smart Filters so
that if I need to revisit the amount of
| | 02:13 | change I've made, I can do so and I'm
applying the Variations nondestructively.
| | 02:19 | So with my image now as a smart filter,
I have here on the white painted area of
| | 02:25 | the boat, I have a color sample and if
we look at the Info panel, we can see
| | 02:31 | that my blue is a bit higher than
my red and my green, which is numeric
| | 02:36 | evidence, if you like, that this
image is a little on the cool side.
| | 02:41 | So using that as my sort of numeric
yardstick, I'm going to go back to
| | 02:48 | Variations and now working in the
Midtones, working with my Fine to Coarse
| | 02:56 | slider all the way of it to Fine, I'm
going to add a bit of yellow, and I'm also
| | 03:02 | going to add a little bit of magenta as well.
| | 03:07 | That's my current pic, that's my original.
| | 03:09 | Let's see how we go on there.
| | 03:12 | How have those numbers changed?
| | 03:14 | Well, actually, they're
now closer to being neutral;
| | 03:18 | we now have the red a little bit too high.
| | 03:21 | If I turn off my Smart Filter by just
clicking on the eyeball, we'll see the
| | 03:27 | numbers toggle back to how they were.
| | 03:31 | So, the blue has been reduced, the red has
been increased, and the green has been reduced.
| | 03:38 | So I'm going to now revisit Variations
and we saw that we had a little bit too
| | 03:44 | much red so I'm going to
add a small amount of cyan.
| | 03:49 | And we now have neutrality
in that region 93, 94, and 93.
| | 03:55 | Let's turn off the Smart Filter;
| | 03:58 | there is the before, the image
looking a little bit cool, and there is the
| | 04:02 | after where the image looking quite a lot
warmer, and I hope you'll agree a lot better.
| | 04:08 | So Variations, useful for
understanding colors and their complements, but not
| | 04:15 | that great really for doing numerical
color correction, but if you just want to
| | 04:19 | adjust your colors more subjectively
and you like the visual feedback that
| | 04:23 | Variations give you then
it could be a viable option.
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| Color correction by the numbers| 00:00 | Here I have an old image that
was scanned from a transparency;
| | 00:03 | it has a very noticeable blue cast.
| | 00:06 | All of the aforementioned color
correction techniques that I've discussed in
| | 00:09 | this chapter would work to address
that cast, but I think we can do it more
| | 00:14 | precisely using a numerical technique.
| | 00:18 | And what I've done is I've put a sample
point down here in this foreground area
| | 00:23 | on this concrete floor.
| | 00:25 | So I need you to buy into the idea
that the concrete floor should be
| | 00:30 | gray, concrete is gray.
| | 00:31 | We are all agreed on that.
| | 00:33 | So when I look at the sample point, we see
that I have Red: 149, Green: 140, Blue: 194.
| | 00:42 | Remember, for neutral gray, we
need all three numbers the same.
| | 00:46 | So what I'm going to do here is using
a curve, I'm going to adjust the green
| | 00:52 | curve and I'm going to
bring that up to red to 149.
| | 00:55 | 149 is the number we're aiming for
here, I'm using the middle value.
| | 00:59 | Then I'm going to leave the red as it
is and I'm going to go to the blue curve
| | 01:04 | and bring that down to 149.
| | 01:06 | Adjusting the green curve isn't going
to make much difference because there is
| | 01:10 | not much in it anyways;
| | 01:12 | only 9 levels difference, but
adjusting the blue curve is going to affect a
| | 01:16 | tremendous change to this image.
| | 01:18 | So I'm going to come down here to my
adjustment layers and choose Curves where I
| | 01:24 | don't want to work on the RGB curve;
| | 01:26 | I want to work on the green curve.
| | 01:30 | Remember, I'm leaving red where it is,
and now what I want to do is I want to
| | 01:34 | sample that exact point onto my curve.
| | 01:38 | I want to see where it occurs on the curve.
| | 01:40 | To make things a little bit easier, if I
were to just come back and click in the
| | 01:45 | same place, chances are I
wouldn't get exactly the same spot.
| | 01:49 | So I'm going to press my Caps Lock
key which turns my cursor to an accurate
| | 01:55 | cursor and then I can position that
over the sample point that I have, and hold
| | 02:01 | down my Command key and my Shift key.
| | 02:04 | If I do Command and Shift, it's going
to put this point on all three of my
| | 02:08 | color curves and click.
| | 02:10 | So there is that point on the green curve.
| | 02:12 | Did I get it exactly right?
| | 02:14 | No, I didn't, doesn't matter.
| | 02:16 | Input, I'm going to change that to my input
value, my starting color value right here.
| | 02:22 | My Input is going to be 140, my Output
is going to be 149, and you'll see that
| | 02:28 | brings the green curve up.
| | 02:30 | As I said, it doesn't really change
much about the appearance of the image.
| | 02:34 | But now when we go to the blue curve,
let me see there is the point, the
| | 02:39 | equivalent point on the blue curve.
| | 02:41 | I want the input to be, that's quite a
long way off there, 194, and I want the
| | 02:47 | output to be 149, and we can see
that makes a massive difference.
| | 02:53 | Let's take a look at this image before.
| | 02:56 | If I turn off that adjustment layer,
there we have the blue cost and the after,
| | 03:01 | you'll notice that at my sample point, I
have complete neutrality 149, 149, 149,
| | 03:07 | but more important than that,
the image looks a whole lot better.
| | 03:11 | So this is color correction by the numbers.
| | 03:15 | A variant of this technique and the
result tends to be much the same is that you
| | 03:19 | add all three numbers together divided
by three and then that becomes the output
| | 03:25 | that you are aiming for, for
all three of your color curves.
| | 03:29 | Give it a go, you'll be very impressed.
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|
|
6. Selecting, Shifting, and Replacing ColorsSelecting color with the Magic Wand| 00:00 | In this first chapter on selecting
colors, we are going to use the Magic Wand
| | 00:05 | tool, the old faithful.
| | 00:06 | It's been in Photoshop forever.
| | 00:08 | It is right there on the Tool panel.
| | 00:10 | Its purpose is to select pixels that
are like the pixel that you click on, and
| | 00:15 | it does so based not upon color
similarity, but upon the similarity in
| | 00:20 | brightness values, and it does so
according to its Tolerance setting.
| | 00:25 | Remember, we have levels on a scale of 0 to 255.
| | 00:29 | The Tolerance setting also goes
from 0 to 255. 32 is the default.
| | 00:36 | Higher numbers will result in bigger areas
being selected, lower numbers in smaller areas.
| | 00:42 | A Tolerance level of 32 means that it's
going to select 32 levels brighter than
| | 00:47 | the pixel that you click on and 32
levels darker than the pixel that you click
| | 00:52 | on, so a range of 64 levels.
| | 00:54 | When I click right there, we see that we
get most, but not all of the sky selected.
| | 01:00 | You've probably got a similar result,
but a slightly different result and that's
| | 01:04 | because you clicked in a
slightly different place, no matter.
| | 01:08 | So I could, at this point, realizing
that I've not selected, although I wanted
| | 01:13 | to select, increase the Tolerance.
| | 01:15 | But rather than do that, what I am
going to do is I am just going to hold down
| | 01:19 | the Shift key and come and click on the area
that didn't get included first time around.
| | 01:24 | And now I have a full selection of the sky.
| | 01:28 | How come it works so well?
| | 01:30 | Well, it works so well because we
have very well-defined contrast with the
| | 01:35 | buildings against the sky.
| | 01:37 | So what I can do next is select the
buildings, which is really what I'm after
| | 01:42 | and I do that by inversing the selection.
| | 01:45 | So I've started by selecting the inverse
of what I want and then inversing it to
| | 01:49 | get what I really want which is the buildings.
| | 01:52 | What I do with the buildings, well,
that's up to me, but now that I have that
| | 01:55 | active selection, the change that I
make, whatever change that is will only
| | 02:00 | affect the buildings.
| | 02:02 | Let's look at a slightly more involved
scenario here and we want to do the same thing;
| | 02:06 | we want to select the sky, maybe
because we want to mask the sky, we don't want
| | 02:10 | to see the sky any longer
or we want a different sky.
| | 02:14 | Whatever we want to do, we need
to begin by selecting the sky.
| | 02:18 | And I'll click on the sky and we
see that what happens is we get a full
| | 02:24 | selection of the sky until we come
up against a barrier, until the pixels
| | 02:30 | aren't alike enough.
| | 02:32 | Now I could, based upon what we did in
the previous example, hold down the Shift
| | 02:36 | key to get all these trapped areas of sky.
| | 02:40 | But that's going to be really dull and it's
going to take me a very long time to do that.
| | 02:44 | And the result wouldn't be very good.
| | 02:46 | So instead, what I am going to do is
come to the Select menu and choose Similar.
| | 02:52 | And then that's going to select all
of the pixels that are like the one I
| | 02:56 | initially clicked on regardless of
whether they are separated from the original
| | 03:00 | area by a color barrier or not.
| | 03:03 | So, that's fine except that I now have
more stuff selected than I actually want
| | 03:09 | because I've got some areas down in the
foreground that have become part of my
| | 03:12 | selection and I don't want
them to be part of my selection.
| | 03:16 | So what I am going to do is get my
Polygonal Lasso tool and remove these.
| | 03:21 | Let me just mention that in the previous
step, as an alternative to using Select
| | 03:26 | Similar, I could have anticipated the
problem and turned off the contiguous
| | 03:31 | option, so a couple of
different ways to get that.
| | 03:34 | But, I now need to remove these
foreground pixels from the selection.
| | 03:39 | And to do that, I am going to hold
down the Alt or the Option key and then
| | 03:43 | just draw a marquee around them very roughly
and they are now removed from that selection.
| | 03:53 | I can now inverse the selection,
Command+Shift+I, I now have the Waltzer sign
| | 03:59 | selected rather than the sky and
whatever I want to do with that.
| | 04:02 | Well, I'll probably want to refine the
edge of it and then use this selection as
| | 04:07 | the basis for a mask.
| | 04:09 | But I am going to skip the Refined Edge part;
| | 04:11 | I am just going to go
straight to making it into a mask.
| | 04:14 | I'll double-click on the background
layer to unlock that and then click on the
| | 04:18 | Add layer mask and there we have the mask.
| | 04:21 | And this is going to require some
refinement just by painting on the mask itself.
| | 04:27 | So that's our starting point,
needs a bit of refinement.
| | 04:30 | But this was achieved using the Magic
Wand tool to select the color, or more
| | 04:35 | accurately, the brightness of the sky,
inverse that, make that selection into
| | 04:41 | a mask.
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| Selecting color with the Quick Selection tool| 00:00 | Sometimes when you need to make a
selection of a color by area, the Magic Wand
| | 00:05 | tool really isn't that magic.
| | 00:06 | And if I were to try and select this
green apple using the Magic Wand tool, the
| | 00:10 | one that's been around forever, the old
favorite, when I click on the apple, it
| | 00:14 | selects some of it, but not all of it.
| | 00:17 | And now I could hold down the Shift key
and I could try increasing my Tolerance.
| | 00:21 | But none of that's really
going to work very well.
| | 00:23 | So instead, I am going to begin
this by using the Quick Selection tool.
| | 00:28 | Now the Quick Selection tool, as its
name suggests, makes quick selections.
| | 00:32 | They are not the
finishing point of your selection;
| | 00:35 | you may need to refine
the edge of your selection;
| | 00:38 | you may need to use other selection tools.
| | 00:41 | But the Quick Selection
tool is a good starting point.
| | 00:44 | So what I am going to do is turn on Auto
-Enhance, which will make for a better
| | 00:48 | selection, zoom in on the area that I
want to select and then click and drag
| | 00:53 | over that apple and you can see that I almost
get there with just a simple move like that.
| | 00:59 | Now if I need to subtract from the
selection, as I do, I can hold down the Alt
| | 01:04 | key and just paint over it.
| | 01:07 | So a little bit of back-and-forth here,
painting over the bits that I need to
| | 01:11 | add, holding down the Alt key and
painting over the bits that I want to
| | 01:14 | subtract, if necessary, reducing the size of
my brush or increasing the size of my brush.
| | 01:22 | So now that I have a half decent selection,
what I can do is refine the edge of that selection;
| | 01:27 | I can choose how I want the edge
displayed, on what sort of backgrounds to
| | 01:32 | highlight different problems that I
might have with my edge and I'm going
| | 01:36 | to choose to see on white and I am
very quickly going to refine this a bit,
| | 01:40 | increase the radius, smooth it, a
little bit of feathering, increase the
| | 01:45 | contrast, shift the edge a little to the
left so we come inside the selected shape.
| | 01:50 | Let's show the original.
| | 01:54 | There is the starting point of the
selection, you can see it's quite
| | 01:56 | jagged, turn that off.
| | 01:58 | That's where we are at right now.
| | 02:00 | We are not here to really go into this
too much to refine edge, but the Quick
| | 02:04 | Selection tool is a good starting
point for a selection, with which we can
| | 02:09 | now do numerous things, specifically relating
to color we could come over to adjustment layers.
| | 02:16 | Choose Hue/Saturation and change the
Hue of that apple, so that it goes from a
| | 02:23 | green apple to a red apple.
| | Collapse this transcript |
| Selecting color with Color Range| 00:00 | When you need a more nuance selection
based more on color and less on area, then
| | 00:04 | the Color Range tool is a good choice.
| | 00:08 | Under the Select menu, there it is.
| | 00:10 | Now we can use this to select
specific colors, additive primaries or add
| | 00:14 | subtractive primaries or we can use it
to select specific tonal ranges and these
| | 00:21 | approaches can be useful on certain
occasions, in this case though, we want to
| | 00:25 | work with sampled colors.
| | 00:26 | And we sample the colors by moving
into the image where our cursor becomes an
| | 00:31 | eyedropper and then clicking on the
area that we want to become the selection.
| | 00:35 | So my intent here is to select the
leaves and then perform some Hue and possibly
| | 00:41 | Saturation shift on them.
| | 00:43 | So I am going to click on the brown leaves.
| | 00:46 | Over here in the Color Range dialog box,
in the Preview area, the white area
| | 00:52 | represents the portion of the
image that I currently have selected.
| | 00:56 | To increase this election, I am going to
hold down the Shift key and then click,
| | 01:02 | and I can further modify
this using the Fuzziness slider.
| | 01:06 | If I increase the Fuzziness, then I am
going to get more selected, and if I move
| | 01:11 | it to the left, I am going to get less selected.
| | 01:14 | So I am going to go with the
selection like so and we'll click OK.
| | 01:18 | My active selection or marching ants
cannot accurately represent what I have
| | 01:23 | selected, because they can only
represent pixels that are 50% or more selected.
| | 01:29 | And the great benefit of the Color
Range tool is that it allows you to
| | 01:32 | partially select pixels.
| | 01:34 | So it's a lot more subtle.
| | 01:35 | So with my selection active, I am now
going to come to my adjustment layers and
| | 01:40 | choose Hue/Saturation.
| | 01:43 | And then on the Adjustments panel, I
am going to move the Hue slider a little
| | 01:47 | bit to the left and maybe the
Saturation slider a little bit to the right.
| | 01:52 | So we see there, I've managed to
increase the intensity of these fall leaves and
| | 01:58 | if I turn that off, there is
the before and there is the after.
| | 02:01 | I am now going to switch to a second
example where we can bring into play this
| | 02:08 | option, Localized Color Clusters,
because in this example, I want to select
| | 02:14 | just the red crates.
| | 02:16 | And if I try and do this the way I did
it before, what we are going to find is
| | 02:22 | that we also end up selecting some of
the crates that we don't want selected.
| | 02:27 | So I am going to reset that and then
I am going to turn on Localized Color
| | 02:31 | Clusters, which is going
to limit what I can select.
| | 02:35 | It's like turning on the
Contiguous checkbox in the Magic Wand tool.
| | 02:40 | So now when I click, I should be limited or
more limited to just selecting the red crates.
| | 02:48 | I am going to spill over a bit;
| | 02:50 | in fact, we can see that in the shadow
areas there are some areas of red. That's okay.
| | 02:57 | So I am going to attempt to
build that up as best I can.
| | 03:01 | These areas here that are only
partially selected, I am going to go over those
| | 03:04 | again, so that we can get them fully selected.
| | 03:09 | Perhaps in these areas here, I am
going to try and deselect those and we can
| | 03:13 | work on either the
preview or on the image itself.
| | 03:16 | So I am going to hold down the Alt key
and just click on those to try and remove
| | 03:20 | those from the selection.
| | 03:21 | We also have the Range command and if
we reduce this, make this less than 100%,
| | 03:26 | that's going to choke the selection.
| | 03:27 | We are going to end up with less stuff selected.
| | 03:30 | I am going to leave that where it is at
100% for now, and I am going to adjust
| | 03:35 | the Fuzziness, reduce that down to 30.
| | 03:38 | Okay, I am pretty satisfied with that.
| | 03:41 | Now what I am going to do is again a
Hue/Saturation adjustment and I am just
| | 03:46 | going to move my Hue slider, so that
we can change the color of those crates.
| | 03:51 | So there we see two examples of
working with the Color Range tool;
| | 03:55 | one that did not require the use of
localized color clusters and the second
| | 03:59 | that did.
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| Neutralizing whites with the Multiply blend mode| 00:00 | Sometimes we can use our Blending Modes
to "select" our colors, and I say select
| | 00:05 | in inverted commas, because we are not
really selecting them, but we are getting
| | 00:09 | the result that we want by neutralizing them.
| | 00:12 | Now in this case, I have this layer of
handwriting on top of this layer of sand
| | 00:17 | and I want to superimpose the script
onto the sand, so we need to lose the paper
| | 00:22 | color of the top layer.
| | 00:24 | Now, we don't even want to go near any
Selection tool because, none of them are
| | 00:29 | going to be up to the job here.
| | 00:30 | This handwriting is far too delicate
to withstand the abuse of the Magic Wand
| | 00:36 | tool for the Quick Selection tool,
so we are not going to do that.
| | 00:39 | Instead, what we are going to do is we
are going to change the Blending Mode
| | 00:42 | of that layer to Multiply and that is going
to allow us to see the sand texture beneath.
| | 00:50 | But, there is a problem here and that
is that the background of the paper.
| | 00:54 | If I switch it back to
Normal, it's not pure white.
| | 00:57 | It's a yellow color.
| | 00:59 | So it's casting a yellow onto the
sand below, which we don't want.
| | 01:04 | So we are going to have
to go a little bit further.
| | 01:06 | Firstly, what I am going to do is I am
going to desaturate this, and I can do
| | 01:10 | that from Image > Adjustments >
Desaturate or keyboard shortcut Command+Shift+U
| | 01:17 | or Ctrl+Shift+U.That helps a bit, but
still the top layer is having a dulling
| | 01:24 | effect on the background layer and
that's because, if we take a look at it by
| | 01:29 | itself, we see that the paper is now
no longer yellow, but it's not white
| | 01:35 | either and it needs to be pure white in order
to be neutralized by the Multiply Blend Mode.
| | 01:40 | It's actually a light gray.
| | 01:42 | And this is where our Info panel
can really come in handy, because it's
| | 01:46 | sometimes difficult to distinguish
with our eye the difference between a very
| | 01:50 | light gray and white.
| | 01:51 | So I am going to go to my Info panel
and then when I move over the paper, I
| | 01:56 | see that RGB values reflect a level of 225,
remember, pure white is 255 for all three colors.
| | 02:06 | So what I am going to do is I am going
to go to my levels and I don't need to do
| | 02:10 | this as an adjustment layer;
| | 02:11 | I am going to do this as a static
adjustment directly on to layer 1.
| | 02:15 | So I am going to press Command+L or
Ctrl+L and I am going to change the value
| | 02:22 | from 255 to 225, effectively getting my
white point slider, bringing it to the
| | 02:29 | left and that's enough to make
those light grays pure white.
| | 02:33 | As pure white, they are going to be
completely neutralized by the Multiply blend mode.
| | 02:38 | So there, we've selected the
handwriting and masked the background.
| | 02:43 | We are not really selecting it though;
| | 02:45 | we are neutralizing it with the
Multiply blend mode, because very importantly,
| | 02:50 | the Multiply blend mode will neutralize white.
| | Collapse this transcript |
| Neutralizing blacks with the Screen blend mode| 00:00 | We saw in the previous movie how
we can neutralize whites using the
| | 00:03 | Multiply blend mode;
| | 00:06 | the converse of that is neutralizing
blacks using the Screen blend mode.
| | 00:10 | Here I have a picture of Saint Paul's
Cathedral at night and I'm going to turn
| | 00:14 | on this layer of fireworks.
| | 00:16 | Now, this would be impossible to make a
decent selection or we'd lose too much
| | 00:20 | detail around the firework itself, but
thankfully its background is black, so
| | 00:25 | all we need to do is
change the Blend Mode to Screen.
| | 00:29 | And if the background wasn't completely
black, we could use the same technique
| | 00:32 | as we did before in the previous
movie of forcing the background to black.
| | 00:37 | When it becomes black, it disappears;
| | 00:39 | it's neutralized by the Screen blend mode.
| | 00:42 | So sometimes, these blending modes could
be incredibly useful as a way of making
| | 00:47 | certain colors disappear.
| | 00:49 | Multiply neutralizes white,
Screen neutralizes black, and Overlay
| | 00:54 | neutralizes neutral gray.
| | Collapse this transcript |
| Masking colors with the Blend If sliders| 00:00 | We've seen how we can neutralize white
using the Multiply blend mode, how we can
| | 00:04 | neutralize black using the Screen
blend mode, but what about other colors?
| | 00:08 | What if we wanted to make the blue of
the sky just fall away, so that we saw the
| | 00:14 | birds on this more interesting background?
| | 00:17 | Let's give it a go, and this is going to
involve using advanced blending options.
| | 00:22 | If I double-click on the layer, we come
up to our Blending Options and these are
| | 00:27 | the ones we are talking about.
| | 00:28 | Unfortunately, this never works
quite as well as you would like it to.
| | 00:32 | I've tried this countless times and only
on a handful of occasions has it really
| | 00:38 | worked to my liking.
| | 00:39 | It's always a very near
miss, but it's interesting.
| | 00:42 | So I am going to show you it anyway and there
may be something useful that we can do with it.
| | 00:48 | So Blend If, I am going to change this
to blue because that's the color that we
| | 00:52 | want to have just fall away.
| | 00:54 | And then I'm going to get the two
sliders on the right-hand side and I am going
| | 00:57 | to move these over to the left and as I
do so, that original sky is just going
| | 01:03 | to be peeled away like so.
| | 01:05 | Now the only problem there is that we
end up with this very nasty fringing
| | 01:10 | around each of the pelicans,
which is totally unacceptable.
| | 01:13 | I am going to go a little bit further
than that down to about 180, which helps a
| | 01:19 | bit, but what will help a bit more
than that is if I separate now these two
| | 01:24 | sliders, holding down the Option or
Alt key and I can grab the right-hand
| | 01:29 | portion and bring that back to where it
began and that might help somewhat and
| | 01:34 | it's helping somewhat.
| | 01:36 | But if I go too far with that then
I reintroduce in the original blue.
| | 01:41 | So this isn't going to work unfortunately.
| | 01:43 | But it's given me a good idea, I think,
and that is what if we had the shape of
| | 01:48 | the birds on a solid white background.
| | 01:50 | It might work really nicely across
two pages of the double page spread.
| | 01:55 | So I'm going to add a
layer of white beneath Layer 0.
| | 02:00 | I know that I want this layer to go
beneath my current layer, I am going to hold
| | 02:03 | down the Command key or the Ctrl key,
I can click on Create New Layer.
| | 02:07 | I am then going to feel this layer
with white by holding down Command or Ctrl
| | 02:13 | and pressing my Backspace, Delete key.
| | 02:15 | Now the only problem is that we see
we've got blue fringing around the birds
| | 02:21 | wings, also in the top left, we've
got some original blue of the sky left.
| | 02:25 | So I am going to go back to my
Blending Options, we need to go a little bit
| | 02:29 | further with the sliders so
that falls away completely.
| | 02:34 | And now to address the issue of the
fringing around the wings, what I am going
| | 02:38 | to do is I am going to convert
the birds to black-and-white.
| | 02:41 | Since they're fairly monochromatic
anyway, this is the lesser of the evils,
| | 02:46 | rather than having blue on
the edges of their wings.
| | 02:49 | And that is the Blend If command.
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| Masking hair with a channel mask and removing contaminant colors| 00:00 | Here is a technique for addressing the
problem of contaminant colors along a mask edge.
| | 00:05 | In this image I have made a complicated mask.
| | 00:08 | This is a channel mask.
| | 00:10 | It was derived from the Blue channel.
| | 00:12 | The Blue channel was copied and then
the contrast in that copy was accentuated
| | 00:17 | so that I could then use that as my layer mask.
| | 00:20 | And that brings me to this point here.
| | 00:24 | I have deliberately put her on a
background that is going to show any problems.
| | 00:29 | We're using an orange as the background,
the complementary color to the Blue.
| | 00:32 | So any problems that we have with the
mask, with the contaminant colors are
| | 00:37 | really going to be very obvious.
| | 00:38 | Let's just zoom in a bit and we can
see what I am talking about more clearly,
| | 00:44 | this blue area in the hair.
| | 00:45 | Now, we can address this by adding
some painting layers and clipping those
| | 00:50 | painting layers to the Image layer
and then changing the Blend Mode of
| | 00:54 | those painting layers.
| | 00:56 | There is not one Blend Mode that works in
all situations, so you will have to experiment.
| | 01:03 | Most likely candidates that are going
to work are going to be the Hue Blend
| | 01:06 | Mode, the Color Blend Mode, and
possibly the Multiply Blend Mode.
| | 01:11 | You can see that I have two such layers here;
| | 01:14 | one is in the Hue Blend Mode and
the other is in the Color Blend Mode.
| | 01:18 | The combination of the two means that
we can get rid of any Blue contaminant
| | 01:24 | colors around the edge.
| | 01:28 | We can see that especially up here on
the top, blue fringing, no blue fringing.
| | 01:37 | So I am going to turn those off and
just run you through how I did that.
| | 01:41 | I am going to create a new layer.
| | 01:42 | The new layer needs to be
clipped to the Image layer.
| | 01:45 | So I am going to hold down the Option
or Alt key and click on the Create New
| | 01:49 | Layer, and I need this checked, Use
Previous Layer to Create Clipping Mask.
| | 01:53 | Then I will choose my Brush tool, I
need to sample the hair color, and then I
| | 01:59 | can paint over the hair.
| | 02:01 | Now, because this layer is clipped to
the layer beneath, I can only paint where
| | 02:06 | there are non-transparent pixels, so
I can't essentially paint outside the
| | 02:11 | lines, which is very helpful.
| | 02:13 | Now, when I do that, of course
it doesn't look very good at all.
| | 02:16 | That's because my Blend Mode
is currently set to Normal.
| | 02:19 | Now, I am going to try and see how
the Hue Blend Mode works out here.
| | 02:23 | And that's an improvement,
let's see how Color works.
| | 02:27 | And I think Color is actually
working better in this case.
| | 02:30 | It's not always going to work though.
| | 02:32 | So you need to use a light touch with
this, you will need to constantly be
| | 02:35 | resampling from the adjacent good bit of
hair color and then using that to paint
| | 02:42 | over the contaminant area.
| | 02:45 | And I ended up in my
version having two such layers;
| | 02:49 | one set to Hue, one set to Color, with
the combined result that we can remove
| | 02:54 | the contaminant color from the mask edge.
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| Shifting targeted colors using Hue/Saturation| 00:00 | Sometimes when you want to affect a
particular color in an image, it's
| | 00:03 | unnecessary to first select it.
| | 00:06 | You can target that color using Hue/Saturation.
| | 00:09 | I am going to come and apply Hue/
Saturation as an adjustment layer;
| | 00:12 | it's always preferable to
do this nondestructively.
| | 00:15 | So I am doing it here rather than here.
| | 00:17 | And then I am going to identify
the cause that I wish to change.
| | 00:25 | Before I do that though, I just want to
point out that Hue/Saturation uses the
| | 00:29 | same color model as Photoshop's Color Picker;
| | 00:31 | Hue to affect the color, Saturation to
affect the intensity of the color, and
| | 00:38 | Lightness to affect the
Brightness or the value of the color.
| | 00:42 | So we're off to affecting the Reds in
this image, I would like to change the
| | 00:46 | color of this telephone box.
| | 00:48 | And I can do this in a couple of different ways.
| | 00:50 | Because the Reds are so distinctly red,
I could just come and choose Reds and
| | 00:56 | then move the Hue Slider, but I might
get a better result if I first of all
| | 01:00 | choose my Eyedropper and let Photoshop
know exactly what Reds I mean, because
| | 01:04 | color is a very subjective thing.
| | 01:06 | So I can get this Eyedropper and then
just click on it, and as I do so you may
| | 01:10 | see these color bars down here on my
Color Spectrum just shift ever so slightly.
| | 01:19 | And what these are reflecting are the
colors that are about to be affected by
| | 01:24 | what I am going to do next.
| | 01:26 | Between here and here, the colors are
going to be completely affected, and then
| | 01:31 | we have a drop-off from here to here,
where they're only partially affected, and
| | 01:35 | from here to here, where
they're only partially affected.
| | 01:38 | That's one way of doing it, or I
could use the Targeted Adjustment tool.
| | 01:43 | Same difference really, I actually
prefer to do it the way I have just done it,
| | 01:46 | which is the older way of doing things.
| | 01:48 | I find the Targeted
Adjustment tool not quite to my liking.
| | 01:52 | Anyway, having targeted the colors, all
I do now is move the Hue Slider and we
| | 01:57 | have a purple telephone box, as simple as that.
| | 02:01 | The other colors in the image don't shift, because
there are no other Reds in the image. Not entirely true.
| | 02:07 | If we look at the chimneypots up here,
they are red, and they are shifting a
| | 02:11 | bit, but does it matter?
| | 02:12 | Well, not really, I don't think.
| | 02:14 | But if they were other Reds,
then they would be affected.
| | 02:18 | So let's take a look at a
slightly more complicated example.
| | 02:21 | Let's say I want to give
this houseboat a paint job.
| | 02:25 | Well, I can come to my Hue/
Saturation Slider and this time I will use the
| | 02:30 | Targeted Adjustment, I will click on that.
| | 02:32 | And I will then click to identify the
colors that I am interested in shifting,
| | 02:37 | and it's the Yellows, they are
identified as such, and there is the range of
| | 02:41 | colors that I am about to affect.
| | 02:43 | And now, if I just drag to the right I
increase the Saturation, drag to the left
| | 02:49 | I decrease the Saturation, but I am
after affecting the Hue, so I hold down the
| | 02:54 | Command key or the Ctrl key and
drag to the right or to the left.
| | 03:00 | And I am going to go to the left.
| | 03:01 | I think I would like an orange houseboat.
| | 03:04 | And of course the problem is that, yes,
I get an orange houseboat, but I also
| | 03:08 | get orange daffodils.
| | 03:10 | So this is a slightly more complicated
example and this is going to involve the
| | 03:14 | intervention of a layer mask.
| | 03:17 | We already have a layer mask here.
| | 03:19 | It comes with the Hue/
Saturation adjustment layer.
| | 03:23 | I am going to now fill this with black.
| | 03:25 | Black is currently, in my case, my
Background Color, so I am going to press X to
| | 03:30 | make it my Foreground Color, press Alt
or Option and my Backspace/Delete key to
| | 03:36 | fill my layer mask with Black,
effectively invalidating in my previous change.
| | 03:41 | I am now going to press B to choose a
Brush tool and if necessary adjust the
| | 03:46 | size of my brush, and make sure
that White is my foreground color.
| | 03:50 | And now, without needing to be
particularly accurate, I am going to paint over
| | 03:56 | my houseboat so that I restore the
effect of that Hue/Saturation adjustment.
| | 04:02 | And the reason I can be relatively
sloppy here is because the areas that I am
| | 04:07 | painting over, the white of the paint
trim and the door, they don't have any
| | 04:12 | Yellows or negligible Yellows in them
to shift, so they are not going to be
| | 04:16 | affected by this Hue/
Saturation adjustment layer anyway.
| | 04:20 | It's just the daffodils really in the
foreground and the hull of this yacht here
| | 04:25 | that would be slightly affected.
| | 04:27 | So I can just paint over this
general area to get the result that I want.
| | 04:33 | And now that that's in place, I can
update my color scheme to my heart's desire.
| | 04:39 | So using this mask I can just come
back to my Hue/Saturation adjustment layer
| | 04:45 | and I can move one way or the other, and
we can have a different paint job every
| | 04:49 | day of the week and it's only
going to affect the houseboat itself.
| | 04:53 | So the takeaway message here is
that sometimes you don't need to select
| | 04:57 | your colors by area using your
Selection tools, but rather you can target
| | 05:02 | them by color.
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| Matching colors using Hue/Saturation| 00:00 | In the previous movie we saw adjusting
the colors of the houseboat, targeting
| | 00:05 | the Yellows using the Hue/Saturation
adjustment layer and protecting the
| | 00:09 | Yellows of the daffodils using a layer mask
applied to the Hue/Saturation adjustment layer.
| | 00:15 | In this movie our scenario is, we want
to shift the same colors, but we want to
| | 00:20 | end up with a specific color.
| | 00:22 | So we have a specific color destination in mind.
| | 00:25 | And the color that I have chosen is Pantone 150.
| | 00:29 | And I am making it easy for myself here,
because I am choosing a color that's
| | 00:32 | not a million miles away from my starting point.
| | 00:36 | If you're choosing a complementary
color, a color diagonally opposite on the
| | 00:40 | Color Wheel, then you're going to
have a far harder time of achieving this.
| | 00:44 | But you'll see that I've put a couple
of color samplers down, one to sample
| | 00:50 | the color that we're aiming for and one to
sample the current color of the houseboat.
| | 00:56 | I am going to turn on my Info panel,
and I have changed my color samplers to
| | 01:02 | reflect the Hue/Saturation
and Brightness Color Model.
| | 01:06 | The only problem with is that is
that I need to actually be clicked on to
| | 01:10 | the layer that contains that
Pantone chip in order to get an accurate
| | 01:14 | readout off that layer.
| | 01:16 | And the HSB values for our target color
are 32, 63, and 94, and the HSB values
| | 01:27 | for our starting point are 43, 83, and 94.
| | 01:33 | So I am going to have to make a note of
the starting values, because as soon as
| | 01:37 | I click on this adjustment layer, they are
going to change, but they are 32, 63, and 94.
| | 01:42 | So on my adjustment layer I am now
going to go to my Yellows, and then I am
| | 01:49 | going to choose my Eyedropper, and come and
sample the Yellows that we want to affect.
| | 01:55 | And we see the color bar down here
indicating the range of colors that will be
| | 01:59 | affected by the change.
| | 02:01 | And I am starting off with a Hue of 43? around the
Color Wheel, and I want to go to 32. So that's -11.
| | 02:10 | So I am going to just dial in -11.
| | 02:14 | And I am starting off with a Saturation
of 83% and I'm aiming for 63%, so I am
| | 02:20 | just going to move this to the left
until my second color readout reads 63%.
| | 02:27 | I may not hit it absolutely exactly
and that's okay if I don't, just within a
| | 02:32 | degree or two is fine.
| | 02:33 | Okay, spot on, 32 and 63.
| | 02:37 | Now, I am not going to attempt to
move the Lightness Slider, because the
| | 02:41 | Lightness values are going to
vary across the boat itself.
| | 02:45 | You will see we have shadows of the
rigging and the railings, and that's all
| | 02:49 | going to affect the Lightness value.
| | 02:51 | So that's going to be a moving target
that I am not even going to attempt to hit.
| | 02:55 | But there we have a reasonably good
approximation of Pantone 150 applied to our
| | 03:02 | houseboat, targeting that color
numerically, using the Info panel with our color
| | 03:08 | samplers set to the HSB Color Model,
because the HSB Color Model is what
| | 03:13 | Hue/Saturation adjustment layer uses.
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| Matching colors using the Match Color command| 00:01 | Photoshop's Match Color command is
useful if you have two or more frames where
| | 00:05 | the exposure is a bit different and you
want to make the exposure more similar,
| | 00:09 | as is the case here.
| | 00:10 | I want to make the exposure in
this image on the left, which is a bit
| | 00:13 | overexposed, look more like the exposure
that we have in the image on the right.
| | 00:18 | Now, you need to choose two images
that start off in more or less the same
| | 00:23 | place, otherwise you are going to find
you get very unpredictable and probably
| | 00:27 | very undesirable results from Match Color.
| | 00:30 | So don't expect too much from it.
| | 00:32 | I am going to come to this image on
the left, which in Match Color terms is
| | 00:37 | going to be my target image.
| | 00:39 | And then I am going to duplicate my
Background layer, Command+J or Ctrl+J,
| | 00:44 | because Match Color is a static command,
we cannot apply it as an adjustment layer;
| | 00:48 | we cannot apply as a Smart Filter.
| | 00:52 | So we need a backup and that's why I
have made a duplicate of that layer.
| | 00:56 | Image > Adjustments > Match Color.
| | 01:00 | The other thing is, you need to have
the images that you are working with open.
| | 01:04 | That's why I have got the two images open.
| | 01:06 | My Source is matchcolor1, the darker of
the two, and you will see that as soon
| | 01:12 | as I choose that as my Source, the
image on the left now takes on an exposure
| | 01:17 | very similar to the image on the right.
| | 01:21 | I can tweak the result by moving the
Luminance, Color Intensity Sliders, or I
| | 01:27 | could fade the result by
increasing the amount of Fade.
| | 01:30 | But I am just going to go with it as
is, and here is the before and here is
| | 01:35 | the after.
| | Collapse this transcript |
| Matching colors using the Color blend modes| 00:00 | If you need to change the color of a
product, let's say you need to change the
| | 00:04 | color of a t-shirt and you have a range
of colors, here is an easy way in which
| | 00:09 | we can do this, and it does not
involve the Match Color command, which you
| | 00:14 | could use, but you wouldn't get very good
results and you would have to work a lot harder.
| | 00:18 | So here we have our model wearing a
blue t-shirt and up top left I have just
| | 00:24 | got a separate layer Group with the individual
colors that we want to switch this t-shirt to.
| | 00:31 | So ultimately we are going to end up
turning that off, I just want to have that
| | 00:34 | there so that we can sample the
colors from these color swatches.
| | 00:39 | This requires us to have already made an
Alpha channel or Save Selection, which I have.
| | 00:45 | So I have come to the Channels panel
and Command+Click on that so that we have
| | 00:50 | that Alpha channel active.
| | 00:51 | And I am now going to come to my
adjustment layers and choose Solid Color.
| | 00:57 | I can then move my Eyedropper over the color
that I want to sample, click on that, click OK.
| | 01:03 | Change the Blending Mode of
that Solid Color layer to Color.
| | 01:08 | Let's do it once more.
| | 01:08 | I will activate, in this case,
the layer mask from Color Fill 1.
| | 01:15 | I will now turn off that Color Fill
layer, come back to my adjustment layers,
| | 01:21 | Solid Color, sample the green in this case, click
OK, change the Blending Mode to Color. Easy-peasy!
| | 01:32 | Bonus tip here, I am going to zoom in on this
guy's chin, see how it has got a blue cast to it.
| | 01:38 | That blue cast comes from the
original color of the t-shirt.
| | 01:43 | We want to remove that. There I fixed it.
| | 01:46 | Here is how I did that.
| | 01:49 | Create a new layer, and on that new
layer, change its Blending Mode to Color.
| | 01:56 | Choose your Brush tool, let's get in
nice and close, and then hold down the
| | 02:01 | Alt key to sample some adjacent skin color
and the just paint over that blue colorcast.
| | 02:12 | So there we see a quick, effective, and
simple technique for switching out the
| | 02:16 | color of a product, in this case a t-
shirt, using a Solid Color Fill layer,
| | 02:22 | combined with a layer mask.
| | Collapse this transcript |
|
|
7. Saturating and Desaturating ColorsSaturating colors| 00:00 | In this chapter we are going to take
a look at saturating and desaturating
| | 00:04 | colors, how to do so, and
when you might want to do so.
| | 00:08 | So here I have a picture of a road that
I took near Death Valley in California.
| | 00:13 | If you've ever been on a road like this,
it's irresistible taking a picture of the road.
| | 00:18 | And I know it's a bit of a clich?,
but I've got loads of pictures like this.
| | 00:22 | Now, what I want to do is I want to
really amp up the yellowness of the stripe.
| | 00:29 | So I want to selectively
saturate just that stripe in the road.
| | 00:34 | And I am going to do this using
my Hue/Saturation adjustment layer.
| | 00:39 | So I am going to choose that,
and then I am going to choose my
| | 00:43 | Targeted Adjustment tool.
| | 00:45 | And then move over the yellow stripe and
click and drag to the right, and you'll
| | 00:50 | see that as I am doing that the
Saturation Slider is moving to the right and we
| | 00:57 | are saturating the Yellows in
the image. Well, that's fine.
| | 01:01 | It's giving us a more yellow stripe,
but we have got more yellow everywhere.
| | 01:05 | So our next step is to mask
out this change completely.
| | 01:11 | The Hue/Saturation adjustment layer
comes with a layer mask, and I'm going to
| | 01:17 | fill that layer mask with Black;
| | 01:20 | Black is my Foreground Color.
| | 01:22 | So I am going to press Option or Alt and
the Backspace/Delete key and we're back
| | 01:26 | to square one, except that we now have
the adjustment already set up, it's got a
| | 01:33 | layer mask with it, and we
can now paint in the stripe.
| | 01:34 | I am going to choose my Brush tool, make
sure I have a soft edge brush, and then
| | 01:41 | I am just going to paint over that stripe.
| | 01:43 | I am pressing the Right Bracket to
increase my brush size, and I need to be
| | 01:49 | painting over it in White.
| | 01:51 | Painting over in White is going to
reveal the Saturation adjustment that I made.
| | 02:07 | And as I get further down that road, I
will just make my brush a little bit smaller.
| | 02:21 | Now, if subtlety is not my thing, and
let's pretend that for today subtlety is
| | 02:26 | not my thing, then what I also want to
do is desaturate everything else so that
| | 02:32 | we really make that yellow stripe prominent.
| | 02:35 | So I am now going to add another Hue/
Saturation adjustment layer, and on this
| | 02:40 | one I am just going to get the
Saturation Slider and have it affect all colors,
| | 02:44 | so I am on the master for all of the
colors and I am going to move that to the
| | 02:49 | left and desaturate the whole image.
| | 02:54 | But now to bring back the yellow
stripe, I'm going to borrow the mask that
| | 02:59 | I made on the previous layer and I am
going to copy it to my second adjustment layer.
| | 03:04 | I am going to hold down my Option or
Alt key and then drag that onto the
| | 03:08 | existing layer mask.
| | 03:09 | It's going to be ask me if
I want to replace, and I do.
| | 03:13 | All I need to do now is invert that
mask so that it's painted Black over the
| | 03:19 | yellow stripes, so that it protects
the yellow stripe from the desaturation
| | 03:23 | that's happening here.
| | 03:25 | And to invert the mask I
just press Command+I or Ctrl+I.
| | 03:30 | So there is our end result.
| | 03:32 | And you can of course dial in the
exact amount of that using the Opacity
| | 03:37 | Slider on either of these two
adjustment layers if you feel like that's a
| | 03:43 | little bit too much.
| | 03:44 | Or you can also come back to the first
adjustment layer and go to the Yellows
| | 03:51 | and maybe take down the Saturation a
bit, but I quite like it like that.
| | 03:55 | So there we saturated the yellow stripe
and the yellow stripe only, and just to
| | 04:02 | really accentuate the difference
between it and the rest of the image we
| | 04:06 | desaturated everything else.
| | Collapse this transcript |
| Desaturating colors| 00:00 | Some images are crying out not for more
color, but for less, and I think that's
| | 00:04 | the case with this image, all of
these disused gas pumps on Route 66 in New
| | 00:10 | Mexico, and I'm going to desaturate
this image and you'll see that by doing so
| | 00:15 | it takes on an instant nostalgic feel.
| | 00:17 | Again, I'm going to do it with the Hue/
Saturation adjustment layer, take down
| | 00:24 | the Saturation slider.
| | 00:26 | Now that maybe all we need to do, but
I'm going to go a couple of steps further.
| | 00:30 | In addition to this, I'm also going to
shift the colors to simulate what might
| | 00:35 | happen to colors over a period of time
in an old snapshot, and I'm going to do
| | 00:40 | this using the Color Balance tool, and
as I mentioned in a previous movie, I
| | 00:45 | like using Color Balance when we don't
need to be numerically accurate about
| | 00:50 | that colors, but when we can just slide
them around and kind of see where we end
| | 00:54 | up, and I'm going to move towards
magenta and yellow in the midtone values.
| | 01:02 | So it looks like our colors have shifted,
this image is going to left out in the
| | 01:07 | sun and let's take it a step further,
let's add some grain to the image, because
| | 01:13 | the pixels are a little bit too
perfect looking and I'm going to Convert for
| | 01:18 | Smart Filters, so I can do this
nondestructively and then from under the Filter
| | 01:24 | menu Artistic > Film Grain and add
just a very small amount of film grain.
| | 01:33 | Now we can only really see that when we
view the image at 100%, I'm just double
| | 01:37 | clicking on my zoom to go to 100
%, trying to fit in window view.
| | 01:44 | So now let's see, we've started here,
and we've desaturated, we've shifted the
| | 01:50 | colors, and we've added some grain,
and we now have I think, a more
| | 01:55 | interesting image.
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| Desaturating in Camera Raw| 00:00 | Camera roll offer us some very
useful options for saturating and
| | 00:04 | de-saturating our images.
| | 00:06 | Here I'm going to create a color
accent and have the bike be at its
| | 00:10 | current saturation, but
desaturate everything else to really focus
| | 00:14 | attention on the bike.
| | 00:16 | And for this, in the camera roll
plug-in I can come to this section
| | 00:20 | HSL/Grayscale, Hue, Saturation,
Luminance, and then I want to click on the
| | 00:26 | Saturation tab, and basically I just
want to dial down the saturation for
| | 00:31 | everything, except the purples.
| | 00:34 | Now I can use this tool up here which
is my Targeted Adjustment and if I come
| | 00:40 | and choose that and then
click on the bike itself.
| | 00:46 | We see that when I drag to the right
to increase the saturation, it's the
| | 00:51 | purples and the magentas that
make up the colors of the bike.
| | 00:55 | So I'm going leave those two alone and I
may even saturate it a little bit more,
| | 01:00 | but all of the rest, will be moved
all the way to the left, one by one, and
| | 01:09 | there is our end result.
| | 01:11 | Now wasn't that incredibly easy?
| | 01:13 | So easy it feels like cheating.
| | 01:15 | We may notice that we have some slight
reminisce of purple and magenta up here
| | 01:22 | on the bridge and if you do need to
mask out distracting colors, then you can
| | 01:28 | do that with the adjustment brush and this is
what we would use to make local adjustments.
| | 01:34 | Basically the camera roll
equivalent of printing on a layer mask.
| | 01:38 | I'm going to make my brush smaller by
pressing the left bracket and then I'm
| | 01:44 | going to set my exposure options for the
brush to desaturate and then I can just
| | 01:50 | paint over that area like so,
and those colors will go away.
| | 01:56 | I'm now going to return to my standard
Exposure tools, just click on the hand
| | 02:00 | and it'll take me back to my standard toolset.
| | 02:04 | As a tip, if you see yourself doing
this a lot of times in camera roll, you
| | 02:09 | might want to make yourself a preset,
so that you start out with all of your
| | 02:12 | colors de-saturated and then you can
just selectively saturate whatever is the
| | 02:17 | key color in the image.
| | 02:19 | So to do that if you come over to
your HSL options, then take all of the
| | 02:27 | sliders down and you can come to the
Presets button, click on that, create a
| | 02:34 | new one, I'm going to call Desat all
colors, and then you get to choose which
| | 02:41 | of the settings you're actually
going to capture, and I only want the HSL
| | 02:45 | Adjustment, so I'm going to choose that as the
subset, and we have only that checked, click OK.
| | 02:51 | So then when you open up camera roll,
you can apply the preset to the image, and
| | 02:56 | selectively re-saturates
the key colors in the image.
| | Collapse this transcript |
| Creating a color accent with selective saturation| 00:00 | We've all seen those images where you
have the key object in the image that is
| | 00:05 | in color and everything
else is in black-and-white.
| | 00:08 | It's a bit corny, but it's a very
effective technique nonetheless.
| | 00:12 | So we're seeing the pictures of the
London bus, the red bus where everything
| | 00:16 | else is black-and-white, all the
yellow taxi in New York or the red telephone
| | 00:21 | box in the UK, things like that,
where things are known for being a certain
| | 00:25 | color and then that color is amped up
and everything else is de-saturated, well,
| | 00:29 | that's what I'm going to do with this image.
| | 00:31 | Obviously, we're going to go for red.
| | 00:34 | So all I'm going to do here is add a
Hue/Saturation adjustment layer, we will
| | 00:39 | come to the colors one by one, skipping
red, and desaturate them, and there is
| | 00:48 | already nothing more to it than that.
| | 00:50 | Instantly, it becomes a more interesting image.
| | 00:52 | It becomes an image that's about the
color red in a way that it wasn't before.
| | 00:57 | So we notice that we have some
distracting areas of red that are still left in
| | 01:01 | the image, the taillight of this car,
some of the buildings, some of the
| | 01:06 | elements that are actually inside
the tram itself, and we would like to
| | 01:10 | desaturate those as well.
| | 01:12 | Well the first thing we might try is
to just work on this layer mask that we
| | 01:17 | have with the Hue/Saturation adjustment
layer and if I do that in black, choose
| | 01:22 | my Brush tool, we can see that's not
going to work, because that's going to
| | 01:26 | actually restore the color to the
image, so that's not what we want.
| | 01:31 | Instead, I'm going to add another Hue/
Saturation adjustment layer, and on this
| | 01:37 | one I'm going to desaturate everything,
and then I'm going to fill the layer
| | 01:44 | mask of that adjustment layer with black.
| | 01:49 | So that it's like it never happened,
and then on that layer mask I'm going to
| | 01:54 | paint in white, over those
areas that we want to desaturate.
| | 02:06 | So by the time we finished, we should
be left with nothing, but the red of the
| | 02:10 | tram itself and this has been achieved,
I'll going back to the beginning state,
| | 02:16 | by de-saturating everything above
the red, and then adding an additional
| | 02:21 | Hue/Saturation adjustment layer, which
desaturates everything, and then we come
| | 02:27 | and selectively paint,
and look how messy that is.
| | 02:29 | It doesn't matter, we come and
paint on that layer mask to selectively
| | 02:34 | desaturate any remaining areas of red.
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| Enhancing a sunrise with a gradient map| 00:00 | In this movie we're going to see how
we can use a gradient map to intensify a
| | 00:04 | sunset, I have here a Gradient Map
adjustment layer applied to this image.
| | 00:10 | Here is how it looks without it,
and here is how it looks with it.
| | 00:14 | So I'm going to turn it off
and we're going to recreate this.
| | 00:17 | So the purpose of the gradient map in
this context, and I'll be using it in
| | 00:22 | another context in a latter movie,
but here, what we can do is we can map
| | 00:26 | specific tonal values in
that image to specific colors.
| | 00:30 | I'm going to sample the colors of
the sky and then map those colors to my
| | 00:36 | gradient map from my highlights, to my midtones.
| | 00:40 | So I'm choosing my Eyedropper tool and
I'm coming and exampling this sort of
| | 00:44 | bluey gray color at the top of the sky.
| | 00:47 | That's going to be my foreground color.
| | 00:48 | Now that's turned out a little bit
too gray, and in fact, I would like to
| | 00:53 | introduce more blue into the sky.
| | 00:56 | So I'm going to click on that
foreground color and then I'm going to change the
| | 01:00 | Hue of the color by using the
color slider to a more blue Hue.
| | 01:06 | I'm then going to increase the
saturation of that color by dragging the color
| | 01:11 | over to the right and let's go for
something like that, and mostly I'm going to
| | 01:15 | increase the brightness of it.
| | 01:18 | So that's my foreground color, and now
I'm going to sample the orange from near
| | 01:23 | the horizon and that's
going to be my background color.
| | 01:26 | To sample it as my background color,
I'm going to hold down my Option or my Alt
| | 01:30 | key and click on the color.
| | 01:33 | And I think I would also like that to
be a little bit brighter than it turned
| | 01:36 | out to be, and a little bit more orange.
| | 01:39 | So I'm going to move to mostly orange
colors and I'm going to increase the
| | 01:43 | Saturation and I'm going to increase the
Brightness, so that is my background color.
| | 01:49 | So now I'm going to come and add a
Gradient Map adjustment layer, which
| | 01:56 | immediately takes on my foreground and
background colors, and this right here is
| | 02:03 | interesting, and this may be one of
those happy Photoshop accidents where you
| | 02:07 | think, oh, I never thought of that,
and I quite like the image like this.
| | 02:11 | But this is not really what I'm after here.
| | 02:13 | What I need to do is limit the range of
the gradient map, so that only happens
| | 02:19 | within the tonal values of the sky, we
don't want to happening in the buildings
| | 02:24 | or in the dock that's in the foreground.
| | 02:27 | So I'm going to click on the Gradient
Map and I'm going to adjust the gradient.
| | 02:32 | So currently, it's going from the
shadows, over here, you'll see that the Blue
| | 02:37 | is going into the shadow areas and the
orange is going into the highlight areas.
| | 02:44 | I actually want to want to switch that
around, because I want the blue going
| | 02:49 | into the highlight areas.
| | 02:51 | So before I do anything, I'm going to
come click on Reverse and then come back.
| | 02:58 | And now what I'm going to do is I'm
going to get the orange Color Stop, which
| | 03:01 | represents the tonal values of the
shadows and bring this to about halfway, and
| | 03:09 | we can see now that we have the blue
transitioning to the orange and the orange
| | 03:15 | is continuing from the
midtown values into the shadows.
| | 03:19 | Knowing in advance that I'm going to
apply the multiply blend mode to this
| | 03:23 | gradient map, I'm going to add a third
color, and that third color is going to
| | 03:29 | be white, because multiply neutralizes white,
so I'm going to choose white as my third color.
| | 03:37 | Interestingly you can see what that's doing;
| | 03:39 | the shadow areas of the image are
now transitioning from orange to white.
| | 03:46 | I want to make that transition a little
bit more drastic, so I'm going to drag
| | 03:49 | the color midpoint to the left, and
then I'm also going to experiment with the
| | 03:59 | position, and then I'm also going to
experiment with the location of the orange slider.
| | 04:05 | I'm looking down here at the very
horizon line where I can see the orange is not
| | 04:10 | completely filling that area, so I need
to move this to the left, until it does,
| | 04:18 | and I'm also going to adjust the
transition between the blue and the orange,
| | 04:23 | because I would like a little bit more
orange, and a little bit less blue, so
| | 04:26 | I'm going to move that color
midpoint slider slightly to the left.
| | 04:30 | Now at this point I like the way my
gradient map looks I now need to change the
| | 04:38 | blending mode of this adjustment layer
to Multiply, so that all of the white
| | 04:44 | areas of that gradient map are neutralized.
| | 04:48 | Now what I can do to dial down this
effect is just reduce the opacity and I can
| | 04:55 | adjust that to taste, and if I don't
like the affect of the orange on the
| | 05:02 | highlights in the water, then I could
as I did on my original version, add a
| | 05:07 | layer mask to this
gradient map adjustment layer.
| | 05:12 | I'll choose my Gradient tool, I'll need
to make sure that black is my foreground
| | 05:17 | color and I have a Foreground to
Transparent, Gradient and then I'm just going
| | 05:23 | to drag up from the bottom, I'll just
reduce my view size slightly, so we can
| | 05:28 | see the full extent of the image and
then I'm going to drag up from the bottom
| | 05:32 | to slightly less than the halfway
point of the image, and that will mask the
| | 05:37 | effects of the gradient map in the foreground.
| | 05:41 | So the gradient map is now only
affecting the sunset, and it's introducing more
| | 05:45 | intense colors and richness into the sunset.
| | Collapse this transcript |
| Increasing vibrance| 00:00 | The Vibrance adjustment is particularly
useful if you want to pump up the more
| | 00:04 | muted colors in your image, and I
find it especially useful when working on
| | 00:10 | skies that I would like it to be
a little bit bluer than they are.
| | 00:11 | No reason to not have a blue sky when
you have the Vibrance adjustment layer.
| | 00:17 | So let's try on this image and I'm going
to overdo things a little bit here just
| | 00:23 | to make my point, but you'll see that
applying vibrance to this image is really
| | 00:28 | affecting only the blues, because
the blues are the more muted colors.
| | 00:32 | We were to use the Saturation slider.
| | 00:34 | That's going to work on all the
colors, but Vibrance just on those colors
| | 00:37 | that are bit more muted and with equalizing
the saturation of colors across the image.
| | 00:43 | I'll do the same thing on this one,
you'll see that it's only affecting the
| | 00:50 | sky and the bridge.
| | 00:51 | It's not affecting the foreground, and one more.
| | 00:58 | Watch how the blue of the sky really pops
out of the clouds when I add some vibrance.
| | 01:04 | It's a bit like using a
polarizing filter on a camera.
| | 01:07 | So I would highly recommend using the
Vibrance adjustment, you probably want to
| | 01:11 | apply it to a lesser degree than I'm
applying it here, and that's because I just
| | 01:15 | wanted to make sure that my
point comes across on the video.
| | Collapse this transcript |
| Using selective color| 00:00 | In the previous movie I used the
Vibrance adjustment to build density in a sky
| | 00:05 | and I'd like to do the same here,
because we have a very flat washed out sky.
| | 00:10 | But Vibrance won't work here,
because there really isn't enough color
| | 00:13 | information for it to work with.
| | 00:15 | If we take a look at the Info panel, we can
see that the sky is a very flat light gray.
| | 00:21 | So what I want to do instead is use a
Selective Color adjustment and here is the
| | 00:25 | finished version, so that's
what it's going to do for us.
| | 00:28 | I'm going to turn that off and recreate it.
| | 00:32 | Selective Color is right there, this
adjustment is really intended to work with CMYK images.
| | 00:38 | We have sliders that will affect the
amount of cyan, magenta, yellow and black
| | 00:43 | in each of our additive and
subtracted primaries, as well as, our Blacks,
| | 00:48 | Neutrals, and what we're after are
Whites, so I'm going to go to the Whites.
| | 00:54 | We really don't have the option of
affecting our whites in quite the same way
| | 00:59 | anywhere else, but Selective Color.
| | 01:01 | So in the Whites what I'm going to do
is I'm going to increase the cyan, and
| | 01:06 | already, we can see that's affecting the sky.
| | 01:09 | I'm going to introduce some magenta
into that, and I'm also going to introduce
| | 01:14 | some black into that.
| | 01:18 | Now I like the color of the sky, but of
course, we now have a blue tint to all
| | 01:23 | of our image, and I'm going to now
mask off the rest of the image with the
| | 01:28 | exception of the sky, so
that we remove that blue tinge.
| | 01:32 | So I'm on the layer mask of the
Selective Color adjustment and I'm going to go
| | 01:36 | to my Gradient tool, I want to make
sure that I'm using a Foregrounds to
| | 01:40 | Transparent Gradient and the
black is my foreground color.
| | 01:44 | And then I'm going to make a
few swipes with the gradient.
| | 01:47 | I'm going to come up, and then in from
the left, and then in from the right.
| | 01:56 | The great thing about using a Foreground
to Transparent Gradient is that you can
| | 02:00 | build up your layer mask in multiple swipes.
| | 02:05 | And there is our finished version and
there is our before, washed out sky,
| | 02:12 | and at after, blue sky.
| | Collapse this transcript |
|
|
8. Designing with Spot Color ChannelsDesigning with spot colors| 00:00 | I'm going to create this T-
shirt design based upon this image.
| | 00:04 | And this T-shirt design uses four inks.
| | 00:08 | They are all PANTONE inks and they are
all applied using spot color channels.
| | 00:13 | You'll notice that my Color channels
are turned off, my layers are turned off.
| | 00:18 | This is a very different
way of working in Photoshop.
| | 00:21 | Photoshop is primarily a tool for
designing with the colors of light, RGB, or
| | 00:26 | the colors of ink, CMYK.
| | 00:29 | But here we want to use premixed ink colors.
| | 00:33 | And we also need to make sure that
the colors applied to the Sport Color
| | 00:37 | channels do not overlap.
| | 00:39 | They need to register,
but they should not overlap.
| | 00:42 | So let's see how we get on with this.
| | 00:46 | So I've got this as my starting
point and I want to make it a square.
| | 00:49 | I'm going to use my Crop tool and I'm going
to crop this to a 10-inch by 10-inch square.
| | 00:54 | So I'm going to put those values.
| | 00:56 | I'm going to crop this to 10-inch
by 10-inch square at a Resolution of
| | 01:01 | 300 pixels per inch.
| | 01:04 | So having put those values in to my
Crop tool, I'll then draw my cropping
| | 01:09 | rectangle, press Return to perform the crop.
| | 01:14 | Now begins the process of
deconstructing this image into the different areas
| | 01:19 | of color and detail.
| | 01:21 | We want one layer for the petals, one
for the center of the flower, one for the
| | 01:25 | stem, and one for the sky.
| | 01:28 | Ultimately, these layers
will become Spot Color channels.
| | 01:32 | When we've adjusted the Spot Color
channels, the original layers will be deleted
| | 01:36 | as will the original color channels, and
we will then need to save this document
| | 01:41 | either as a Photoshop
document or a Photoshop DCS 2.0.
| | 01:48 | So I'm going to start by making a selection.
| | 01:50 | I'm going to make a color
range selection of the sky.
| | 01:59 | Having made that selection of the sky,
I'm going to inverse it, so I now have a
| | 02:02 | selection of the flower.
| | 02:05 | I'm then going to refine
the edge of that selection.
| | 02:10 | And we can see that we've got quite
a lot of fringing going on around the
| | 02:13 | edges of the petals.
| | 02:15 | So I'm going to increase my Radius value so
that it's big enough to address this problem.
| | 02:22 | I'm going to turn on Show Radius and
we can see how thick the radius that
| | 02:26 | we're working with is.
| | 02:27 | I'm going to go up to 5 pixels;
| | 02:33 | I can now turn off Show Radius.
| | 02:36 | I'm going to smooth that edge a
little bit, and I'm going to increase the
| | 02:40 | contrast along the edge, and I'm also
going to shift the edge, bringing it
| | 02:46 | inside the selection by moving to the
left, and then I'm going to click OK.
| | 02:56 | I now need to copy that selection to a
new layer, Command+J or Ctrl+J. I'll turn
| | 03:01 | off my Background layer.
| | 03:02 | I now want to separate from it the
stem and the center of the flower.
| | 03:09 | So I'm going to come to Color
Range and select the green of the stem.
| | 03:19 | As I do so, I am inevitably going to be
selecting some of the yellow of the petals. That's okay.
| | 03:25 | With what I have there, I'm now going
to cut that selection to a new layer,
| | 03:31 | Command+Shift+J or Ctrl+Shift+J. So we
now have all of this on a separate layer.
| | 03:40 | Some of this I don't need, so I'm now
going to choose my Eraser tool, increase
| | 03:46 | the size of my Eraser, make sure that
the edge of my Brush is Hard, and then I
| | 03:55 | can just rub out these bits that I don't want.
| | 03:59 | And if I now return to the petals layer,
we can see that I've got some of that
| | 04:07 | stem on the right-hand side that
ultimately we're going to remove some trace
| | 04:11 | elements of that, and
I'm going to rub those out.
| | 04:15 | So there is a certain amount of
cleanup that's going to need to happen.
| | 04:18 | Now I'm going to come back to the
Background layer where I'm going to make a
| | 04:24 | selection of the center of the flower,
again, using Color Range, and I'm quite
| | 04:30 | happy with that, I'm going to click OK.
| | 04:32 | I'm going to copy that to a new layer,
Command+J or Ctrl+J, turn off the
| | 04:37 | Background layer, use my Eraser tool
to rub out the bits that I don't want.
| | 04:46 | Now if I turn back on the petals, we
can see that I've got some of the flower
| | 04:51 | center in the petals layer,
and I don't want that there.
| | 04:56 | So I'm going to load the selection
from Layer 3, come to Layer 1, and
| | 05:02 | delete those pixels.
| | 05:05 | Okay, so what we see now is we have a
stem, the petals with some detail in the
| | 05:11 | center of the flower, and then other
detail for the center of the flower and
| | 05:15 | we've yet to address the
issue of the background.
| | 05:18 | Ultimately, we want the
background to be a flat blue.
| | 05:22 | So what I'm going to do now is
convert my layers into Spot Color channels.
| | 05:27 | And this is going to be easier if I
separate my Layers panel over here and then
| | 05:32 | I'm going to start with the stem layer.
| | 05:34 | I'll activate its selection by Command+
Clicking or Ctrl+Clicking on its layer
| | 05:38 | thumbnail, come to my Channels panel,
let's give myself a bit more room for that
| | 05:43 | and choose New Spot Channel and
choose the color that I'm after.
| | 05:51 | I'm going to have it at a Solidity of 100%.
| | 05:54 | If I'm also printing in black ink.
| | 05:56 | Let's say or a grayscale image or
CMYK image with additional Spot Color
| | 06:01 | channels, I could reduce the Solidity so
that we see some of the tonal values of
| | 06:07 | the original image coming through.
| | 06:09 | But in this case, I don't want to do
that, so I'm going to have a Solidity of
| | 06:12 | 100%, because we need to work with
just a very limited color palette here of
| | 06:17 | four inks, and there's no black.
| | 06:21 | Then I'm going to Command+Click or Ctrl+
Click on Layer 1, the petals, we'll turn
| | 06:27 | off the visibility of that though, and
I will come to my Channels panel, New
| | 06:31 | Spot Channel, and now I'm going
to choose PANTONE 131 for that.
| | 06:38 | And finally, I'm going to activate the
selection for the center of the flower
| | 06:43 | by Command+Clicking or Ctrl+Clicking on its
layer thumbnail, over to my Spot Color channels.
| | 06:52 | So that's what we have so far.
| | 06:53 | I'm now going to create my background color.
| | 06:57 | So for my background color, what I'm
going to do is I am going to just go to New
| | 07:03 | Spot Channel and this is going
to be a bright blue, PANTONE 300.
| | 07:11 | And then I'm going to make sure that in
black, I fill that channel with black,
| | 07:16 | Option+Delete or Alt+Backspace key.
| | 07:19 | Now what I need to do is subtract
from this channel the selections of the
| | 07:23 | other three channels.
| | 07:25 | So Command+Click on the first,
Command+Shift+Click on the second,
| | 07:30 | Command+Shift+Click on the third,
making sure that you're still on that PANTONE
| | 07:35 | 300 channel, fill that with white.
| | 07:38 | White is currently my background color,
so I'm going to press Command and the
| | 07:42 | Backspace/Delete key.
| | 07:43 | So there is our design so far.
| | 07:47 | The area of the flower in the center
where we're seeing through to blue, I
| | 07:52 | actually want to see through to negative
space, I actually want to see the color
| | 07:56 | of the fabric that we're
printing on coming through.
| | 07:59 | So I'm going to need to adjust this
channel further. I'm clicked on it;
| | 08:03 | I'm going to make white my
foreground color, choose my Brush tool, an
| | 08:09 | appropriate brush size.
| | 08:11 | I want to make sure I don't introduce
any softening of edges, so I'm going to
| | 08:15 | make sure that the Hardness of my brush
is all the way down to 0, and then I'm
| | 08:19 | just going to paint over that area.
| | 08:22 | I may have gone a little bit too far
on some of those edges, so if so, I
| | 08:26 | can switch to black.
| | 08:28 | I want to make sure that I don't paint
over any of the areas occupied by the
| | 08:34 | other three color channels.
| | 08:36 | So I'm going to Command+Shift+Click on
each of those in turn, and then inverse
| | 08:44 | that selection leaving me with a
selection of the PANTONE 300 channel, and paint
| | 08:51 | back the bits where I went a little bit too far.
| | 09:00 | Keeping that selection of all the
other channels active, but still working on
| | 09:06 | the sky channel, the blue channel, I am
going to hide my edges, Command+H, and
| | 09:13 | I want to hide the extras, and then I'm going
to paint around those areas where I see fringing.
| | 09:23 | Now I want to introduce some
highlights on to the yellow channel and I'm
| | 09:27 | going to do this by turning back on my layers,
temporarily turning off my color channels.
| | 09:34 | And I'm going to apply a Threshold
command and then move my Threshold slider all
| | 09:43 | the way over to the right, so that I
still retain some detail, but most of it is
| | 09:48 | actually falling away to solid black.
| | 09:50 | Then I'm going to merge the adjustment
and the Background layer into one layer,
| | 09:57 | Command+Option+Shift+E. I'll turn off
the Background layer and the Threshold
| | 10:02 | layer, and then I will invert that.
| | 10:05 | So those values there that are in black are
what I want to use as the highlight values.
| | 10:10 | I am going to next delete the white pixels.
| | 10:14 | Now I have changed my Transparency
Preferences to have a Grid Size of None, so
| | 10:20 | that we're seeing the
transparent areas as white.
| | 10:22 | But I'm going to change that for a moment,
just so we can see the difference here.
| | 10:28 | So now when I select a white pixel
with my Magic Wand tool, I can then delete
| | 10:33 | that and all the white pixels are deleted.
| | 10:35 | I'm using Tolerance of 32;
| | 10:37 | it doesn't really matter in this case, too much.
| | 10:40 | Anti-aliasing is off and Contiguous is also off.
| | 10:44 | That leaves me with just the black pixels.
| | 10:47 | I now need to activate that as a
selection and giving myself a bit of a room on
| | 10:52 | my Channels panel, I'm now going to turn
off Layer 4, come to PANTONE 131, where
| | 10:59 | I want to fill this layer
with less than 100% black.
| | 11:05 | And then it will run as a
tint of the PANTONE 131.
| | 11:09 | So I'm going to come to my Swatches
panel, choose a light gray, there I have
| | 11:15 | 35% gray, make sure I'm on the
right channel, Option or Alt and the
| | 11:22 | Backspace/Delete key to fill that
selection, and that's how it looks when we
| | 11:28 | see that channel in isolation.
| | 11:32 | That's how it now looks when
we see the whole composition.
| | 11:36 | As a final step, making sure that I'm
working on a copy of this document, I
| | 11:40 | would delete the color channels which
in turn deletes the layers and make sure
| | 11:49 | I've got the right channels turned on,
and then make sure I save it either as a
| | 11:55 | Photoshop document or a Photoshop DCS 2.0.
| | 12:00 | So a very different workflow there, one
that involves in its initial setup, the
| | 12:04 | use of layers, but ultimately those
layers are discarded as are the color
| | 12:09 | channels, and all we're left
with are four Spot Color Channels.
| | Collapse this transcript |
| Adding a fifth color to a CMYK image| 00:00 | We can use Photoshop's Spot
Color channels to extend our range of
| | 00:03 | printing possibilities.
| | 00:06 | Here, I want a really pink Cadillac, not
just pink I want it to be honeysuckle pink.
| | 00:11 | And to do that I'm going to need to use
a fifth color, so this is going to print
| | 00:15 | in CMYK plus PANTONE 205.
| | 00:19 | Let's take a look at the Channels panel,
and we can see that I have a Spot Color
| | 00:24 | channel right there.
| | 00:25 | I've already pre-prepared the alpha
channel that will be converted to the
| | 00:30 | Spot Color channel.
| | 00:31 | We're also going to need to add the text,
if we want the text to be reproduced
| | 00:37 | in our fifth, color we also need to
add that to our Spot Color channel.
| | 00:42 | Before I do any of this, I'm going to
convert it to a CMYK image and ultimately
| | 00:48 | I'm going to end up saving it as
a Photoshop file or Photoshop DCS.
| | 00:53 | Let's switch to the starting state,
so here is my pink Cadillac I have on a
| | 00:58 | separate layer, the text, which I've
converted to a shape layer, so that we
| | 01:03 | don't run into any missing font issues.
| | 01:06 | So what I'm going to do now is go to
the Edit menu, I'm not going to go to
| | 01:10 | the Image menu Mode > CMYK, but instead,
I'm going to go to Edit > Convert to Profile.
| | 01:17 | And the reason I'm doing that is so
that I can preview the different results I
| | 01:21 | would get with different rendering intents.
| | 01:24 | The rendering intents essentially,
if I can use an analogy are like the
| | 01:31 | translation dictionaries that might be
used to convert from one color space to
| | 01:36 | another color space.
| | 01:37 | There is no right or wrong, there are
ones that tend to work more often than
| | 01:41 | others, and they're perceptual or
relative colorimetric, but really you have
| | 01:46 | to try them to see.
| | 01:47 | And it actually turns out and that in
this case, absolute colorimetric gives
| | 01:53 | us a brighter result.
| | 01:55 | There is one other thing that I need to
pay careful attention to here, Flattened
| | 01:59 | image to preserve Appearance.
| | 02:01 | I do not want to flatten the image,
because I'm going to need to work with this
| | 02:05 | text, which is currently on a separate layer.
| | 02:08 | I needed to remain on a separate layer,
so I'm going to uncheck that option.
| | 02:13 | And then convert my image to CMYK so
that we can see I now have Cyan, Magenta,
| | 02:19 | Yellow, and Black the channels,
as well as my Alpha channel.
| | 02:23 | I'm going to activate my Alpha channel,
and then come to my Channels panel
| | 02:27 | and choose New Spot Channel, click on the
color swatch, choose the color that I want.
| | 02:33 | It's remembering what I used last time,
PANTONE 205, click OK, I can adjust the
| | 02:38 | Solidity of that color, currently it
says 0%, which is going to allow us to see
| | 02:43 | the tonal values of the image beneath.
| | 02:45 | If I were to set it to set to 100%, you
would have an area of flat color, so I'm
| | 02:50 | going to leave it at 0.
| | 02:54 | Now so far if I were to print this
with honeysuckle pink of the type would be
| | 02:59 | reproduced in CMYK inks, as opposed to
a single premixed Pantone ink, and we
| | 03:06 | want the latter to happen.
| | 03:08 | So what I'm going to need to do is
come to the Layers panel where we see the
| | 03:13 | Shape layer that is our type, and I'm
going to activate that by Command or
| | 03:18 | Ctrl Clicking on it.
| | 03:19 | We can now turn off the layer, come to
the Channels panel, make sure you're on
| | 03:25 | the Spot Color channel and then I'm
going to fill this area with black.
| | 03:30 | So I need to make sure that black is my
foreground color and I'll press Option
| | 03:34 | or Alt and the Backspace/Delete key.
| | 03:38 | So that's the result that I'm after.
| | 03:39 | I'm now going to Save this and when I
save it, I need to make sure that I'm
| | 03:45 | retaining my Spot Colors, I also want to
retain my Alpha channels and I'm saving
| | 03:50 | it either in Photoshop or
Photoshop DCS 2.0 format;
| | 03:53 | I'm going to save it in Photoshop.
| | 03:56 | And just so that we don't overwrite
the original, I'm going to append a
| | 04:01 | different suffix to the file name.
| | 04:05 | Now if I were to place this image in
InDesign, here I am in a blank InDesign
| | 04:09 | document and I'm going to press Command+D
or Ctrl+D, I got to place. Choose my file;
| | 04:22 | if we take a look at the Swatches panel,
we can see that we have our Pantone
| | 04:26 | color on the Swatches panel.
| | 04:28 | I'm not going to look at
the Separations Preview.
| | 04:31 | If you don't have your Separations Preview
panel open, it's under Output, right there.
| | 04:37 | I'm going to click on that and we can
see that I have now five colors, and we
| | 04:44 | can preview those colors individually or
in combination, but the essential thing
| | 04:49 | is that we're printing not just in
CMYK, but in CMYK Plus PANTONE 205, made
| | 04:56 | possible by the use of Spot Color channels.
| | Collapse this transcript |
| Adding spot colors to a grayscale image| 00:00 | In the previous movie you saw me apply
a Spot Color to a CMYK image so that we
| | 00:05 | have a five-color image.
| | 00:07 | In this movie we're going to imagine a
more economical printing circumstance
| | 00:12 | where we only have the option of
printing in two inks, black plus a
| | 00:18 | second-color, we're going to use the same
second-color that Honeysuckle Pink, PANTONE 205.
| | 00:24 | This is going to involve us converting
our image to a Grayscale Color mode, and
| | 00:28 | also adjusting the contrast of that
grayscale and then applying a Spot Color
| | 00:34 | channel and also adding to
the Spot Color channel the Type.
| | 00:38 | So I'm going to come now to the
starting state and the first thing I want to do
| | 00:43 | is convert to grayscale.
| | 00:44 | So I'm going to come to the Image menu,
Adjustments > Black & White, this is
| | 00:49 | going to allow me to mix my grayscale.
| | 00:52 | And I might just want to lighten the
sky up here, so I'm going to move into the
| | 00:55 | sky and click and drag, not to the left,
to the right, just to brighten up the
| | 01:05 | sky a bit and I'm also going to
brighten up the magentas in the car.
| | 01:11 | So I'm going to move over the
car chassis and drag to the right.
| | 01:17 | So that's now my resulting grayscale.
| | 01:20 | We're not yet in the Grayscale Color mode.
| | 01:22 | That's an extra step.
| | 01:24 | But going first through the Black &
White adjustment, we get to customize the
| | 01:29 | grayscale that we get.
| | 01:30 | I'm going to get this warning
message, no, I don't want to flatten, and
| | 01:34 | it's going to tell me that I
should do this through the Black & White
| | 01:37 | adjustment layer, which is exactly
what I've just done, so I'm going to
| | 01:41 | ignore that and click Discard.
| | 01:43 | Now I'm going to come to my Channels panel,
I already have the Alpha channel prepared.
| | 01:49 | So the Alpha channel looks like that
and we now need to make that Alpha channel
| | 01:56 | into a Spot Color channel.
| | 01:57 | So I'm going to Command+Click on it to
load it as an active selection, and then
| | 02:02 | come to my Channels panel New Spot
Channel, choose the color that I'm after,
| | 02:07 | which is PANTONE 205.
| | 02:10 | Optionally, I can adjust the
Solidity, but it's all good the way it is.
| | 02:16 | And in this case because we're
working with a grayscale image, I see some
| | 02:20 | traces of that color.
| | 02:22 | That is not a problem with the color
version, but I don't think looking so good
| | 02:26 | here, so I want to zoom in and
this is the thing I'm talking about.
| | 02:31 | So I'm now going to work on that Spot
Color Channel and I need to make sure that
| | 02:36 | I have a brush and I'm painting in
white with the Blend Mode of Normal, and I
| | 02:41 | can just remove those traces of color.
| | 02:46 | So when you're looking that Spot Color
channel, if you're printing in black,
| | 02:49 | you're adding to the color, and if you're
painting in white, you're removing the color.
| | 02:58 | That's my result now I want to add the
Type, so I'm going to come to my Layers
| | 03:02 | panel, turn on my Type layer.
| | 03:06 | The type is actually a Shape layer;
| | 03:07 | I've converted it to a Shape layer so that
we don't run into any missing font problems.
| | 03:11 | I'm going to activate the selection of the
type by Command+Clicking on the vector mask.
| | 03:15 | I can now hide that.
| | 03:19 | Come to the Channels panel, making
sure I'm on the Spot Color Channel, I'm
| | 03:24 | now going to fill that selection with black,
and the result is going to be PANTONE 205.
| | 03:31 | So if we take a look at the Spot Color
channel right now, it looks like that.
| | 03:36 | That sits on top of my Grayscale channel.
| | 03:40 | One other option that I might like
to consider is perhaps putting a Drop
| | 03:44 | Shadow around the type.
| | 03:46 | I don't want the Drop Shadow to be part
of the Spot Color channel, so I'm going
| | 03:51 | to come and turn back on the Separate
layer that was the original basis for the
| | 03:57 | Type, and then I'm going to
select that and go to Drop Shadow.
| | 04:01 | I add a small Drop Shadow to that, and
then I'm going to go the Blending Options
| | 04:12 | where I will reduce the Fill Opacity to 0.
| | 04:17 | So what that's doing, and you can see
what that's doing, if I turn off the Spot
| | 04:22 | Color channel, always seeing there on
the Grayscale channel is the shadow, and
| | 04:28 | then on top of that sits the color.
| | 04:30 | As I did before, I'm going to now
save this and I'm going to save it in the
| | 04:34 | Photoshop file format, I need to make
sure that I have Spot Colors checked.
| | 04:39 | And then I'll append a different
suffix, save in the same folder.
| | 04:50 | Now when I switch to InDesign and I
place that document, and I evaluate to
| | 05:03 | using my Separations Preview, we see
that we still have separations for cyan,
| | 05:07 | magenta and yellow, but actually there will
be no information on those separation plates.
| | 05:13 | So you just need to communicate with
your printer that the cyan, magenta, yellow
| | 05:18 | plates do not get printed.
| | 05:20 | The Black is there, and
there's our Spot Color channel.
| | Collapse this transcript |
| Create a metallic print effect| 00:00 | In this example I want to show you
how we can use a Spot Color channel to
| | 00:06 | create a metallic effect.
| | 00:08 | Now of course we're not going
to see as metallic on the screen.
| | 00:11 | It's just going to be a simulation.
| | 00:13 | But we're going to prepare this
document so it can be printed using a Pantone
| | 00:18 | metallic ink, specifically PANTONE 877.
| | 00:23 | Before we go any further I need to
convert this from an RGB image to a CMYK image.
| | 00:29 | Even though I'm using a color managed
workflow, there is some potential for
| | 00:33 | confusion when working with Spot Color
inks, so I'm going to actually do the
| | 00:38 | conversion which is rare for me because
I like to use color managed workflow and
| | 00:42 | retain my images as RGB, but in this
case I think it's a good thing to do.
| | 00:46 | So I'm going to go to the Edit menu and
choose Convert to Profile, rather than
| | 00:53 | Image mode and then CMYK.
| | 00:55 | Doing it this way I get the option of
choosing the specific profile, as well as,
| | 01:01 | the specific rendering intent.
| | 01:03 | Most of the times the default options,
assuming that you have your default setup
| | 01:08 | correctly are going to work just fine,
but it's worth experimenting with the
| | 01:13 | different rendering intents.
| | 01:14 | And the one that looks the best is
the one that's the best one for the job.
| | 01:19 | Now Absolute Colorimetric does give
me more contrast, is that a good thing?
| | 01:25 | I'm going to say that it is in this case.
| | 01:27 | So I'm going to go with Absolute
Colorimetric, and then I want to actually apply
| | 01:34 | the Spot Color channel, now I
already have an Alpha channel prepared.
| | 01:38 | So I've made a selection and I've
saved it, and now I'm going to make that
| | 01:41 | selection into a Spot Color channel.
| | 01:44 | I will Command+Click or Ctrl+Click on Alpha 1.
| | 01:48 | That selects the shape of the swan.
| | 01:51 | I actually want to inverse this so that
I apply the Spot Color to the background.
| | 01:56 | So Select menu and Inverse, and then
from the Channels panel, I'm going to
| | 02:01 | choose New Spot Channel, and it
remembers the last time I went to this, I
| | 02:08 | chose PANTONE 877, but that won't
always be the case, so I'm just going to go
| | 02:12 | through the whole procedure, click on
the Color Swatch to take you to your
| | 02:18 | Color Libraries, your metallics in the
PANTONE Solid Library are all the way
| | 02:22 | down at the bottom.
| | 02:23 | If you know the number that you want,
in my case it's 877, just type that in,
| | 02:29 | Click OK, and then you can
adjust the Solidity 100%.
| | 02:33 | It's going to mean that the ink will print
flat obscuring any tonal values beneath it.
| | 02:41 | And I'm going to reduce that to 30%, so
that we bring in some suggestion awfully
| | 02:48 | ripples in the water.
| | 02:51 | So there is our metallic effect, and I
would now need to make sure that this
| | 02:57 | gets saved in the Photoshop file format,
and that we have Spot Colors checked
| | 03:04 | here, so that the Spot
Colors are saved with the file.
| | Collapse this transcript |
| Creating duotones, tritones, and quadtones| 00:00 | Here I'm going to create a Duotone.
| | 00:03 | The Photoshop Duotone color mode
encompasses Tritones, Quadtones as well as Duotones.
| | 00:10 | Tritones, being three inks, quadtones
being four inks and a duotone being two inks.
| | 00:17 | A duotone is essentially a grayscale image.
| | 00:20 | It has one channel, so it's
economical in terms of its file size.
| | 00:25 | The reason that you might want to
work with a duotone is if you're working
| | 00:28 | with a budget print job and you're printing
in only two colors or possibly three colors.
| | 00:35 | If you're printing in four colors, you
can get some interesting affects with the
| | 00:39 | quadtone that you can probably get those
effects more easily retaining the image
| | 00:43 | as an RGB or CMY image.
| | 00:47 | To get to a duotone you'll notice that
under the Image menu the Duotone color
| | 00:52 | mode is actually dimmed.
| | 00:54 | We have to first go via the
Grayscale color mode and the best way to get
| | 00:59 | Grayscale as Photoshop is about to
remind me is not to go directly to a
| | 01:04 | Grayscale conversion but rather to
use the Black & White adjustment layer.
| | 01:08 | So, I'm going to Cancel that and then
I'm going to come to my Layers panel and
| | 01:13 | I'm going to add a Black
& White adjustment layer.
| | 01:17 | And this gives me the benefit of being
able to mix the original colors of the
| | 01:22 | image to control the
contrast of my resulting grayscale.
| | 01:27 | Now, if I just turn off that Black &
White adjustment layer, you can see that we
| | 01:30 | got some blues and cyans in there.
| | 01:32 | So, I'm going to go to my Cyans slider,
and I'm going to bring this over to the
| | 01:38 | left, and you can see how that adds more
contrast and I also do the same for the Blue.
| | 01:43 | So, now that I've got a good looking
Black & White image, I can go to the Image
| | 01:48 | menu and choose Mode and
then convert to Grayscale.
| | 01:53 | Changing modes will discard an adjustment layer;
| | 01:55 | change mode anyway?
| | 01:57 | Now, if I click OK this is a rather
confusing warning message I think.
| | 02:02 | If I click OK, it's just going to
discard that adjustment layer like it never
| | 02:05 | happened, which is not what I want at all.
| | 02:08 | So, what I want to do is Flatten so
that it incorporates that adjustment layer.
| | 02:13 | Discard color information?
| | 02:15 | And it's telling me to do
something that I've already done.
| | 02:18 | So after a while you'll want to
definitely check, Don't show again for this
| | 02:21 | warning box, but now I'm going to
choose Discard, and we have a single
| | 02:27 | channel gray image.
| | 02:29 | Now that it's a single channel image, I
can go to Duotone, and I can choose one
| | 02:36 | all of my Duotone Presets or I can just
click on my second, or if I want to make
| | 02:42 | it a tritone, my third and my fourth
color, I am going to -- first of all let's
| | 02:49 | have a look at a quadtone.
| | 02:52 | Now, it's a bit difficult to tell
from these presets, which are the
| | 02:55 | quadtones, which are the tritones and
which are the duotones, the majority of
| | 03:00 | them are duotones but the CMYK, are
as the four ink colors would suggest,
| | 03:07 | these are all quadtones.
| | 03:08 | If I choose one of those,
that's what we're going to get.
| | 03:11 | So, the whole premise of a duotone,
tritone or quadtone is that you get an
| | 03:16 | expanded tonal range, because you have not
one ink, but you have two, three or four inks.
| | 03:23 | You can't direct where the ink goes to,
in terms of what areas of your image,
| | 03:29 | you can only direct what
tonal range is it goes to.
| | 03:33 | If you want to direct what areas it
goes to, then you need a Spot Color
| | 03:37 | channel as I discussed in the previous
movie, and we will be discussing some
| | 03:41 | more in upcoming movies.
| | 03:43 | But you can click on any one of these
curves and you can affect the curve.
| | 03:48 | You can pull it around like so, or
because these curves operates slightly
| | 03:53 | differently to the curves you may be
used to, as the curves adjustment, you can
| | 03:58 | do this numerically.
| | 04:00 | So, if you want to bring down the
amount of ink at the 60% mark, you can just
| | 04:06 | type in the number that you want right there.
| | 04:10 | That's actually quite an interesting
effect that I've gotten there unwittingly.
| | 04:13 | I was going to say that the next thing I
would do, would reduce that one so that
| | 04:19 | we have a more standard shape of curve.
| | 04:23 | So, you can experiment with those, you
can also change to any color ink that you
| | 04:27 | like, you just click on the color swatch
and choose the color that you're after.
| | 04:31 | Bear in mind that if this we're going
to be incorporated into a CMYK print job,
| | 04:37 | if you were to add spot colors here,
then you run the risk of incurring
| | 04:42 | additional printing
expense by adding an extra Ink.
| | 04:46 | What I'm going to do though in this
scenario is I'm going to assume that using
| | 04:51 | this image in a publication that has
the ink, as the second ink color pantone
| | 04:59 | 144, which is an orange, and up
here there is a preset for PANTONE 144.
| | 05:06 | I have four of them, and it's a little
bit counterintuitive I guess, but the
| | 05:12 | lover the number, the more of the
second color that you're going to get.
| | 05:16 | So, the first preset for 144 Orange,
and that gives us a lot of orange and the
| | 05:23 | fourth one gives us a lot less orange.
| | 05:26 | So, I'm going to go with
number 2 preset for the PANTONE 144.
| | 05:33 | I can come tweak those codes if I wanted to,
but I actually quite like the way that looks.
| | 05:37 | So, I'm going to click OK and I'm now
going to Save this and when I save it, I'm
| | 05:44 | going to save it in the Photoshop file
format, and I'm going to call it duotone1
| | 05:48 | because I've got one in there
already so I don't want to overwrite.
| | 05:56 | Now, I'm going to place the image in
an InDesign layout, and I just want to
| | 06:01 | point out something that is
important when working with Duotones.
| | 06:04 | I'm going to select my
empty picture frame right there.
| | 06:07 | Before I do so, we'll take
a look at my Swatches panel.
| | 06:10 | We can see that we've got the standard
default color swatches on my Swatches
| | 06:15 | panel, and when I place my duotone,
I'm going to fit it to the frame.
| | 06:25 | What we get is the second color that's used
in that duotone appears on my Swatches panel.
| | 06:32 | My point here being that if you're
using a Duotone in this way, if you're using
| | 06:36 | it as a part of a layout that's
going to be put together in InDesign or
| | 06:40 | Illustrator, you need to make sure that
the color that you use for your duotone
| | 06:45 | corresponds to the second
color that you're in your layout.
| | 06:48 | And now that color is on my Swatches
panel, I can use it on other elements in
| | 06:53 | my layout.
| | Collapse this transcript |
|
|
9. Working with a Reduced Color PaletteCreating a silkscreen print look with a limited color palette| 00:00 | An effective way of giving a graphical
interpretation to an image and if add
| | 00:05 | interest to what might otherwise be a
boring photograph is to dramatically
| | 00:09 | reduce the number of colors so that you
end out with a silkscreen print effect.
| | 00:14 | You may even want to carry
through in silkscreen the results.
| | 00:18 | For cost-effectiveness and convenience,
I like to output such images on my
| | 00:22 | home inkjet printer.
| | 00:23 | Print it on fine art paper;
| | 00:25 | the results are virtually
indistinguishable from those that you'd get from a
| | 00:29 | hand pulled silkscreen.
| | 00:31 | So here, I have an image
of London's Telecom Tower.
| | 00:35 | This is the finished version and
we're going to see how starting with the
| | 00:39 | photograph we can reduce the number
of colors and really focus in on what's
| | 00:44 | important about this image, and I'm
going to use it deliberately analogous color
| | 00:50 | palettes, so we get a very cool and
rather austere look to the whole thing,
| | 00:54 | which I think suits the mood of this building.
| | 00:58 | So, this is our starting point.
| | 00:59 | I just pointed my camera at
this guy and this is what I got.
| | 01:02 | Unfortunately, there is some
scaffolding on the building, we can't really do
| | 01:05 | much about that, but I've made a
layer mask, which is right here.
| | 01:10 | It's currently disabled.
| | 01:11 | I'm going to hold down my Shift key and
click on it to enable that layer mask.
| | 01:16 | Step number one is to using our
Selection tools to isolate the building itself
| | 01:22 | and mask out any distracting details.
| | 01:26 | I'm now going to add a layer beneath that.
| | 01:28 | I'm going to hold down Command or Ctrl
and create a New layer and then using my
| | 01:34 | eyedropper tool I'm now going to
sample a color suggested from the building
| | 01:37 | itself, and then I'm going to fill my
background layer with that color, Option
| | 01:44 | or Alt and Backspace/Delete key.
| | 01:46 | Now that we have that background color
in place, I'm temporarily going to turn
| | 01:51 | it off and I'm going to return to
what's currently called Layer 0, and then
| | 01:57 | apply a Threshold adjustment layer to that.
| | 02:01 | Now, the Threshold adjustment layer is
going to convert your image to all black
| | 02:06 | or all white pixels with the Threshold
by default being set at 128 half of 256.
| | 02:16 | I'm going to need to do this at least twice.
| | 02:18 | If I move my slider to the left I'm
going to introduce more white pixels, moving
| | 02:23 | into the right, I'm going to
introduce more black pixels.
| | 02:27 | I will then isolate the results of one
threshold adjustments and fill them with
| | 02:34 | a specific color, and then I'll do the
same for the other threshold adjustments.
| | 02:37 | So, for this first one I'm going to
swing things over to the left, so that we
| | 02:45 | introduce more white pixels.
| | 02:48 | And now what I want to do is copy all
of my layers to a new layer and to do
| | 02:52 | that I'm going to use the keyboard
shortcut, Command+Option+Shift+E or
| | 02:56 | Ctrl+Alt+Shift+E, and it will actually put
those black-and-white pixels on a new layer.
| | 03:04 | Now what I'm going to do here is
isolate the black from the white.
| | 03:08 | I want to be left with just the black,
and it's the black pixels that I would be
| | 03:12 | filling with a color.
| | 03:14 | So, I'm going to choose my Magic Wand
tool, press W. And I can't think of any
| | 03:20 | other time when you might want to do
this, but you do want to do this now.
| | 03:24 | Turn off Anti-alias, because we don't
want to introduce any furriness to our
| | 03:30 | pixels here, we want them to
be sharp and choppy and jaggy.
| | 03:35 | Most of the time that's not the
case, but it is the case here.
| | 03:38 | I also want to turn off Contiguous,
and I'm going to reduce the Tolerance
| | 03:44 | all the way down to 2.
| | 03:45 | So, I'm now going to click on a white
pixel and all the white pixels on this
| | 03:50 | layer will be selected, and them
I'm going to press my Delete key.
| | 03:55 | And when I press my Delete key, what I
expect to see is transparency and I'm not
| | 04:00 | seeing it, and that's because I have
these two layers beneath still visible.
| | 04:04 | So, I need to turn those off, and we
now see -- and I'm going to deselect my
| | 04:10 | selection Command+D or Ctrl+D. That
all I have left are those black pixels.
| | 04:16 | I'm now going to build myself a color
palette and I'm going to build myself a
| | 04:21 | color palette suggested by this one color.
| | 04:24 | I'm going to come to my Window menu
and my extensions and to Kuler, and I'm
| | 04:31 | going to make my foreground color, my
base color and then I want a color palette
| | 04:39 | that is Analogous, or
let's try Monochromatic, maybe.
| | 04:44 | I think Monochromatic is
in going to work better.
| | 04:46 | So I'm going to add this color theme to
my Swatches and then open my Swatches,
| | 04:54 | and I'm now going to use one of those
colors to apply it to the black pixels
| | 04:59 | that are left on this layer.
| | 05:01 | And I'm going to try that first color
in the color theme, and because I want
| | 05:07 | to fill all the pixels of the layer
with the color, I'm holding down the
| | 05:11 | Option or the Alt key.
| | 05:13 | I'm pressing my Backspace/Delete key.
| | 05:15 | If I do that though, it's going to
fill the whole layer, so I also need to
| | 05:19 | add in the Shift key.
| | 05:21 | Option+Shift and Backspace/
Delete or Alt+Shift+Backspace/Delete.
| | 05:26 | So let's see how we're doing.
| | 05:29 | I've got now my one layer and
that sits on top of my background.
| | 05:34 | I need to repeat this, but this time
when I extract the threshold, I'm going to
| | 05:40 | move not to the left, but to the right.
| | 05:42 | So, I'm going to turn that layer off,
and I'm going to turn my original image
| | 05:48 | layer back on, turn off my background layer.
| | 05:52 | I can turn on my Threshold adjustments,
and I'll need to go to my Adjustments
| | 05:58 | panel and this time I'm going
to swing it over to about there.
| | 06:08 | Back to the Layers panel, and I'm
going to do as I did before, I'm going to
| | 06:16 | merge my layers into one, but
merge them into a new layer.
| | 06:21 | So, Command+Option+Shift+E, Ctrl+Alt+
Shift+E. Turn these two layers off.
| | 06:28 | And now I'll need to delete the white pixels,
so I'm going to click on any white pixel there.
| | 06:36 | Since I have Contiguous unchecked,
it will select all the white pixels.
| | 06:40 | I will delete those, so we now see
transparency where they once were.
| | 06:45 | I'm now going to choose
another color from my color theme.
| | 06:49 | I'm going to go with that one I think.
| | 06:51 | There is a lot of trail-and-error involved
here, so I may not get that right first time.
| | 06:56 | And then, same keyboard shortcut to
fill my layer with my new foreground color,
| | 07:02 | Option+Shift or Alt+Shift
and the Backspace/Delete key.
| | 07:07 | So let's see what we have now.
| | 07:09 | We've got that, and that, and that
sits on top of the background layer, and I
| | 07:14 | think we're getting closer to our effect.
| | 07:18 | I might want to do this one more time,
just so that we can fill in these areas
| | 07:23 | here that are currently showing through
in the background color, or maybe not,
| | 07:28 | perhaps I want to challenge myself and
only work with three inks, in which case
| | 07:33 | I'm going to stop right here.
| | 07:35 | Applying this technique successfully
requires a good deal of flexibility and a
| | 07:39 | lot of subjectivity.
| | 07:41 | Just how reductive you can be and still
have the image be readable and how easy
| | 07:46 | it is to do this is going to depend upon
the original image that you start with.
| | 07:50 | Well defined, easily isolated subjects
are a lot easier to work with, so be sure
| | 07:56 | you choose your battles wisely.
| | Collapse this transcript |
| Combining color with black and white| 00:00 | Here I'm going to demonstrate the
very simple, very effective technique of
| | 00:04 | combining color and black-
and-white in the same image.
| | 00:08 | Here, I want my flower to be in color,
everything else to be in black-and-white.
| | 00:12 | I have a Black & White adjustment layer,
on that Black & White adjustment layer
| | 00:16 | is a layer mask, turn it on, the
background comes black-and-white.
| | 00:20 | So, how do we get that?
| | 00:21 | I'm going to now select the
background layer and I'm going to come to the
| | 00:26 | Select menu and choose Color Range and
in Color Range I'm going to sample the
| | 00:31 | colors of the flower.
| | 00:32 | So, I'm using my eyedropper tool,
clicking on the petals I'm holding down the
| | 00:36 | Shift key to build up that selection,
which is being displayed here in the
| | 00:41 | Color Range dialog box.
| | 00:43 | The white areas are the areas that
will -- as soon as I leave this be
| | 00:47 | the selected areas.
| | 00:54 | So, I want to get as solid a white
selection as I possibly can without bleeding
| | 01:01 | out or over into the background
as I did with that last step there.
| | 01:07 | So, I'm going to undo that and I'm
going to increase my Fuzziness, just the
| | 01:17 | fraction and then click OK.
| | 01:21 | There's my selection and I'm now going
to inverse that selection, because it's
| | 01:26 | actually the background that I want to effect.
| | 01:28 | So, Command+Shift or Ctrl+Shift+I
and then I'll come and choose a Black &
| | 01:35 | White adjustment layer. There's my result.
| | 01:38 | I can affect the contrast of the
background if I want to by moving the sliders.
| | 01:43 | Now, we got a red stop sign there, so
if I want to move that red slider one
| | 01:49 | way or the other, that's going to have
a dramatic effect on the contrast, and
| | 01:54 | possibly to, if I work with the blue
slider, but essentially that is my end result.
| | 02:02 | It's essentially a question of
selecting the area that you want to be in color.
| | 02:06 | Inversing that, so that you have the
background selected and then applying a
| | 02:10 | Black & White adjustment layer, your
selection is used to mask the area that you
| | 02:16 | want to be in color, and your
result is a combination of color and
| | 02:20 | black-and-white in the same image.
| | Collapse this transcript |
| Creating a nostalgic travel poster using the Cut Out filter| 00:00 | Here we're going to see how we can make
a nostalgic travel poster in the style
| | 00:04 | of travel posters from the 20s and 30s,
using a very limited color, palette
| | 00:09 | flat color, and we are going to begin with
just a picture of a lighthouse, like so, St.
| | 00:16 | Catherine's Lighthouse on the Isle
of Wight, and I have a channel already
| | 00:23 | prepared that I'm going to use to mask the sky.
| | 00:28 | So, I've already gone through the
trouble of saving this channel, it's a quite
| | 00:30 | complicated selection, to save you the
trouble of having to watch me do that.
| | 00:34 | But I'm now going to activate that
channel and come to Layer 0, where I will
| | 00:41 | inverse that selection and
then apply that as a layer mask.
| | 00:45 | Now, I want to put a layer behind this.
| | 00:49 | I'm going to hold down Command or Ctrl
and click on the Create New Layer and I
| | 00:53 | want that layer to be filled with a solid blue.
| | 00:55 | I'd like the blue to be suggested from the
color that's actually in the original sky.
| | 01:00 | So I'm temporarily going
to disable the layer mask.
| | 01:04 | Press I, to go to my eyedropper tool,
click to sample the blue and then Option
| | 01:11 | or Alt and Delete to fill the
background layer with that blue.
| | 01:16 | Shift+Click on my layer mask to re-enable it.
| | 01:19 | So, we now have a completely solid blue sky.
| | 01:22 | So I'm now going to make a duplicate of
my layer, and I'm going to turn off the
| | 01:28 | visibility of Layer 0.
| | 01:31 | We're going to come back to that if we need to.
| | 01:33 | So we're keeping that as a backup.
| | 01:35 | I'm now going to make my active layer
black-and-white and I'm going to do so
| | 01:39 | with a Black & White adjustment layer,
since I want this adjustment layer only
| | 01:43 | to apply to this layer.
| | 01:45 | I'm going to hold down my Option or Alt key.
| | 01:48 | When I choose the adjustment layer and
that way I can check that, Use Previous
| | 01:53 | Layer to Create Clipping Mask, and I
now have a black-and-white foreground.
| | 01:59 | I might also want to just increase
the contrast on this a little bit.
| | 02:03 | So, I'm going to again, hold down
Option or Alt, and this time choose Levels,
| | 02:10 | Use Previous Layer to Create Clipping
Mask and I'm going to drag the black point
| | 02:15 | slider and the white point
slider a bit closer to the center.
| | 02:20 | Now, I'm going to come and select that
layer itself, the image layer, currently
| | 02:26 | called Layer 0 copy, and I'm going to
convert this for Smart Filters so that if
| | 02:32 | necessary, I can always revisit the
amount of the filter that I've applied to,
| | 02:37 | and the filter that I want to use is
the Cut out filter, which does a fantastic
| | 02:42 | job but we're doing all of this prep
work to really help out the Cutout filter
| | 02:47 | so that we can get much better results from it.
| | 02:50 | So, from the Artistic group I'm going
to choose Cutout, press Command+0 or
| | 02:57 | Ctrl+0 to switch to a fit-in window
view in my Filter Gallery and then I want
| | 03:05 | to use these values.
| | 03:07 | And it took a bit of trial and error
to get there, but I want to use 5 for
| | 03:11 | the Number of Levels.
| | 03:13 | If I go more than that, I get a bit too
much detail, less than that, not enough detail.
| | 03:18 | We've got a scale of 2 to
8 and I want to go with 5.
| | 03:23 | Edge Simplicity, I decided upon 9.
| | 03:28 | Any less than that, and we have too
much detail, any more simple than that, and
| | 03:32 | we're losing too much detail.
| | 03:34 | And the Edge Fidelity, if I turn that
down, you'll see that things become very
| | 03:38 | interesting, very abstract, but
not what we're after, in this case.
| | 03:42 | So, I'm going to increase the
Edge Fidelity to its maximum of 3.
| | 03:45 | Click OK, and now we're at this point.
| | 03:49 | So what we want to do now is
reintroduce some colors, some color that is going
| | 03:53 | to cling to the limited number of gray values
that we've defined by applying the Cutout filter.
| | 04:00 | Let me just collapse my Adjustments
panel by double-clicking on that, so I've
| | 04:05 | got more room now for my Layers panel.
| | 04:07 | All of these things I think
I'm going to put into a group.
| | 04:13 | So, I'm going to select those three
layers, the image layer itself that we are
| | 04:19 | converting to black-and-white and
adjusting the levels on, and we're also
| | 04:23 | applying the Cutout filer too.
| | 04:24 | So, I'm going to select those three.
| | 04:26 | Command+G or Ctrl+G will make them into
a group and I'll call this-- well, it's
| | 04:33 | a good idea to name your layers.
| | 04:34 | Advice I don't always follow myself.
| | 04:38 | I've now named that layer, and I'm
going to come back to my original layer and
| | 04:44 | I'm going to duplicate that, Command+
J or Ctrl+J and put the copy above the
| | 04:51 | lighthouse and then I'm going to turn it on.
| | 04:54 | I'm going to change its blend mode to
Color, so that we get a nice interaction
| | 04:59 | between the color of the original layer,
and the very simplified gray values of
| | 05:05 | the lighthouse group.
| | 05:06 | Now just as a variant, I was
experimenting with what happens if I add an
| | 05:12 | additional layer, and on this one, I'm going
to come back and select the lower of the two.
| | 05:18 | What if I chose a different blend mode
like, Color Dodge, and then I can just
| | 05:24 | experiment with a different Opacity values.
| | 05:26 | I'm going to dial it down to about 33.
| | 05:30 | I like the way those two layers, one
with the Color blend mode, and one with the
| | 05:36 | Color Doge blend mode are interacting
together, that what I feel is the right
| | 05:40 | combination of detail and simplicity.
| | 05:44 | And then just as a finishing touch,
I've got this group here with some type on
| | 05:49 | it, and so that we can evoke the year,
rather this sort of image is inspired by,
| | 05:55 | I've chosen Gill Sans, a typeface
designed in the late 20s and I want to then
| | 06:02 | drag this down, so that it goes
underneath the lighthouse and create some more
| | 06:06 | of an interaction between the type
and the shape of the lighthouse itself.
| | 06:10 | So a few twists and turns there,
but essentially we're using the Cutout
| | 06:15 | filter, but we're using a lot of other
stuff as well, to really help out the
| | 06:19 | Cutout filter, and to give us more
control with the result that we received
| | 06:24 | from the Cutout Filter.
| | Collapse this transcript |
| Mapping an image to a color look up table (CLUT)| 00:00 | In the previous movie, I created this
very stylized image of a lighthouse using
| | 00:06 | the cutout Filter and bunch of other
tricks and in this movie, I am going to do
| | 00:11 | something very similar but with an extra twist.
| | 00:15 | Let's imagine that this is part of a
series and in all of the images in this
| | 00:20 | series, I want to use this same color palette.
| | 00:24 | So there is some repetition here, so I
am not going to go into every thing I do
| | 00:27 | in this version, just the stuff that's new.
| | 00:31 | So I am going to now consolidate my
view so I can see just this one image.
| | 00:36 | Now this begins as the
other one did as a photograph.
| | 00:40 | Photograph looks like that, not a very
remarkable photograph but it can only get better.
| | 00:45 | So what I have done is I have --
let me just break it down for you.
| | 00:52 | I've got a solid layer of color and
then on top of that I have photograph
| | 00:58 | itself but with the Cutout filter
applied to it and also the colors have been
| | 01:06 | shifted and there is a layer mask right there
which is allowing us to see solid color sky beneath.
| | 01:13 | Just as a minor improvement, I have
added a Levels adjustment layer which
| | 01:19 | brightens up this church
and then some type on the top.
| | 01:25 | Now what's the new bit?
| | 01:26 | The new bit is I want to use the same
color palette that I used in the previous
| | 01:32 | one and that I am supposing is going
to carry through in a whole series of
| | 01:38 | images, so I can tie them
altogether by using the same color palettes.
| | 01:42 | Well, here is how I went about it.
| | 01:45 | Going to this first image which sort
of sets the pace for the rest, I went to
| | 01:51 | the Save for Web & Devices and
then we come up with this interface.
| | 02:00 | Now what we are doing here in Save for
Web & Devices is something that wasn't
| | 02:04 | entirely intended for.
| | 02:06 | This is a very much a byproduct of its
intended use, and that is we are going to
| | 02:11 | create a color lookup table from this image.
| | 02:15 | We need to make sure that the file
format that we are working with is either a
| | 02:18 | GIF or a PNG and doesn't really matter which.
| | 02:22 | I am going to go with the GIF since
that's what it gave me and here, Color
| | 02:26 | Table, I need to come to this drop-
down menu and choose Save Color Table.
| | 02:31 | If I wanted to, I could limit the number of
colors but even though 256 sounds like a lot.
| | 02:37 | It's very few really.
| | 02:38 | So I am not going to do that,
or look we can even sort them.
| | 02:43 | Let's sort them that might be useful.
| | 02:45 | Certainly it won't do any harm.
| | 02:47 | Sort by Hue and then I am going to
choose Save Color Table and I choose where I
| | 02:54 | want to save my color table to.
| | 02:56 | So I am going to come to Chapter 09
which is the photo we are currently working
| | 03:02 | in and I am just going to
call it clut, color lookup table.
| | 03:09 | That's going to have the extension, ACT.
| | 03:10 | I will click Save and my
work in this dialog box.
| | 03:16 | Its interface is now done.
| | 03:18 | Because of the screen resolution, I'm working
at my Cancel button is hidden out of my view.
| | 03:24 | So I'm just going to have to press
Command+Period or Ctrl+Period and that will
| | 03:30 | cancel out of there.
| | 03:32 | Now I come back to the image that I am
working with and what I want to do here
| | 03:37 | is turn on just my original photo
layer and then I am going to come to the
| | 03:43 | Image menu and I am going to duplicate this
image and I only want to duplicate that one layer.
| | 03:51 | So I am going to check
Duplicate Merge Layers Only.
| | 03:56 | And now I am going to come to the
Mode menu and to Indexed Color and the
| | 04:02 | palette that I want to use to index
the color, to index it to a limited color
| | 04:07 | palette of up to 256 colors.
| | 04:10 | I am going to choose Custom, and then I
am going to choose Load and you can see
| | 04:16 | where I am going with this.
| | 04:17 | I am going to choose the Color Lookup
table that I just saved and then open that
| | 04:23 | and then you are going to see
the colors shift, not tremendously;
| | 04:26 | the original color palette wasn't a million
miles away form the one that we are working with.
| | 04:31 | We have got some very nasty
posterization happening in the sky, but that doesn't
| | 04:36 | concern me because we're going
to be masking out the sky anyway.
| | 04:40 | So I will click OK to that, click OK again.
| | 04:43 | Now I am going to Select All, Command+A
Ctrl+A, and I am going to copy that and
| | 04:49 | I am going to copy it back into my
original document, Command+V or Ctrl+V. So it
| | 04:56 | lands right there, I can turn off the
original background layer and now I am
| | 05:02 | just going to sort of reassemble things
with the elements that I already have,
| | 05:08 | because the rest is repetitious
from what we did in the previous movie.
| | 05:11 | But I want to apply a cutout to this
and I have already got a Cutout filter
| | 05:17 | applied to this layer.
| | 05:18 | So I am just going to copy it.
| | 05:20 | I am going to hold down the Alt key and
I am going to drag it on to there and it
| | 05:24 | won't work because I first need to
convert this layer for Smart Filters.
| | 05:30 | Having done that, drag that filter
holding down the Alt key on to my now Layer 7
| | 05:36 | and that's what it's going to look like.
| | 05:38 | So it's going to dramatically change
the appearance, but it's working with the
| | 05:42 | colors of the Color Lookup Table.
| | 05:44 | I also need to borrow the layer mask
that was applied to this original layer.
| | 05:49 | I am going to hold down the Option or
Alt key, I am going drag that down on to
| | 05:53 | there, and then we can turn on the sky
layer that we have already beneath Layer
| | 06:00 | 7 and I will turn back on that levels
adjustment, just to brighten up the church
| | 06:07 | tower and everything is back as it should be.
| | 06:10 | Now let's say that there is an
element in here that perhaps we need to
| | 06:16 | adjust the color off;
| | 06:17 | we don't want to have to be a slave to
the Color Lookup table or at least we
| | 06:23 | want to be able to decide
exactly what colors go where.
| | 06:27 | Then we can come to the Swatches panel
and from the Swatches panel, what I am
| | 06:33 | going to do is I am going to load the
swatches and then I am going to the Color
| | 06:38 | Lookup table and we can load
those 256 colors as swatches.
| | 06:43 | I will click Open and you know what,
rather than load, I want to replace because
| | 06:51 | I want to get rid of all
the original color swatches.
| | 06:54 | I am going to come back
there and choose Replace instead.
| | 06:58 | Should I need to make any tweaks
and remember, we organized that color
| | 07:02 | lookup table by Hue?
| | 07:04 | That's rather interesting,
isn't it rather useful for us.
| | 07:07 | I am going to come and click,
sample that particular color.
| | 07:11 | Unfortunately, it doesn't
identify which one is up here.
| | 07:14 | But I would like a slightly bluish sky.
| | 07:17 | So I am going to choose that color
and then come down to my sky layer,
| | 07:23 | Alt+Delete or Option+Delete.
| | 07:25 | Oh, that's a bit too much on reflection.
| | 07:28 | So let's go back to that one, much
better and there is a finished pace and I'm
| | 07:37 | now going to close that and go back
to my arranged documents and I will see
| | 07:44 | these two side-by-side and since we are
working with the same limited color part
| | 07:50 | for both, hopefully, they will both
look like they're from the same stable.
| | Collapse this transcript |
| Converting to black and white| 00:00 | So why in a title on color would
I have a black-and-white image?
| | 00:04 | Well, the reason is that it's
important for us to remember that sometimes the
| | 00:08 | best color is no color at all and of
course, this is entirely subjective but for
| | 00:12 | me, if a certain image's color can
actually detract from the image, take away
| | 00:19 | the color and the image becomes about
shape and form and texture and I think
| | 00:25 | that's the case with this image.
| | 00:26 | If we take a look at the color
original, I am not going to split my screen.
| | 00:31 | On the right is the color original and
it's a fairly boring picture of Yosemite.
| | 00:37 | On the left, I converted it to black-and
-white, done some work with it, I have
| | 00:41 | done some dodging and burning, some
sharpening, adjusting the contrast, but
| | 00:45 | it's a whole new image.
| | 00:47 | It wasn't really much I could do and
in fact, I almost overlooked the color
| | 00:52 | original because it was saying
nothing to me but when we work with the gray
| | 00:57 | values of the black-and-white
version, it's something else entirely.
| | 01:01 | So I just want to quickly run
you through what I did and it's all
| | 01:06 | nondestructive, so I can come and Alt+
click or Option+click on the background
| | 01:13 | layer and we are back to our starting point.
| | 01:16 | I do have my Smart Filters turned on, so
I have converted this for Smart Filters
| | 01:22 | and then I have applied
some sharpening first of all.
| | 01:25 | Let's take a look at what that does.
| | 01:27 | I am just going to zoom in;
| | 01:29 | we need to see this at 100%
to evaluate the sharpening.
| | 01:33 | If I turn that off, there is before
the sharpening, there is after the
| | 01:37 | sharpening, I applied this much
an Amount of 147 a Radius of 1.
| | 01:44 | I then converted it to a black-and-
white image using the Black & White
| | 01:48 | adjustment layer right there.
| | 01:49 | When we click on that and we go to the
Adjustments panel, we can see what values are used.
| | 01:56 | So I have increased the brightness on
the magentas, I have decreased it on
| | 02:00 | the blues and the cyans and I am doing this
mainly using the Targeted Adjustment tool.
| | 02:05 | We'll go back to a Fit in Window
view and I am using the Targeted
| | 02:11 | Adjustment tool, I am coming down
here and I am saying I want it to be
| | 02:15 | brighter in this area.
| | 02:16 | So I am dragging that to the right.
| | 02:18 | You can see that as I do that, the green
slider starts moving over to the right.
| | 02:22 | The yellow slider has already been
moved out to the right quite a lot.
| | 02:27 | The next slider, I need some more contrast.
| | 02:29 | So I added a Levels adjustment layer.
| | 02:31 | I am going to tear off my Layers
panel so that we can see it side-by-side
| | 02:36 | with my adjustments.
| | 02:39 | On this Levels adjustment layer, I
have moved the black-and-white points in
| | 02:44 | towards the middle and I am
actually clipping some contents.
| | 02:47 | So there are areas in this image that
are 100% black and there are areas that
| | 02:53 | are completely white.
| | 02:55 | Areas that formally had some detail, but
that's okay, I like it this way, I like
| | 03:00 | the high contrast of it.
| | 03:01 | I have then added a curve adjustment.
| | 03:04 | Now this curve adjustment, if I turn
that off, it is adding more contrast, but
| | 03:10 | you can see it's only adding more
contrast to the top portion of the image and
| | 03:15 | that's because I have combined this
curve adjustment, you can see I have moved
| | 03:18 | the curve down somewhat.
| | 03:20 | I have combined it with a layer mask,
and that layer mask is a gradient from
| | 03:26 | white to blacks and where it's white,
the curve adjustment is affecting the
| | 03:31 | image and where it's black,
it's not affecting the image.
| | 03:35 | Then I have a layer of Dodge and Burn.
| | 03:38 | Now I am going to turn on this layer all
by itself by Alt and clicking on it and
| | 03:43 | you can see, it's nothing more than that.
| | 03:45 | It is a gray layer filled with neutral gray.
| | 03:48 | This is how I got it, come and choose
New Layer and as you do so, hold down the
| | 03:52 | Option or the Alt key and
you will get these options.
| | 03:55 | I want the New layer to have the
Overlay blend mode to be filled with
| | 03:59 | overlaying neutral color.
| | 04:00 | It gives me a layer of solid gray.
| | 04:03 | So that was my starting point and
in the Overlay blend mode, Overlay
| | 04:09 | neutralizes gray, in the same way as Multiply
neutralizes white and Screen neutralizes black.
| | 04:16 | So then I can paint at a very reduced
percentage on that layer in white to dodge
| | 04:24 | to lighten areas and in
black to burn to darken areas.
| | 04:30 | Here is the overall effect
of this Dodge and Burn layer.
| | 04:33 | If I turn it off, there is
the before, there is the after.
| | 04:38 | So what I am trying to do with this is
really bring out the lighten shade in this image.
| | 04:43 | So I want to accentuate the difference
between the bright areas and the dark
| | 04:48 | areas and then I have an
additional levels adjustment.
| | 04:53 | Why do I have this?
| | 04:54 | I can't quite remember, let's see what it does.
| | 04:57 | It doesn't do anything.
| | 05:00 | Not sure why we even have it.
| | 05:03 | Let's throw it away and at the
very top, the finishing touch is a
| | 05:08 | Brightness/Contrast adjustment layer.
| | 05:10 | I just felt it needed
something a little bit extra.
| | 05:13 | So I have applied this, I have
increased the Brightness, I have increased the
| | 05:19 | Contrast, and I am only doing it in the
bottom half of the image because as you
| | 05:24 | can see, this adjustment layer
has a layer mask attached to it.
| | 05:29 | It looks like that.
| | 05:30 | So it's another of those gradient
masks applied to the adjustment layer.
| | 05:35 | And we will just compare the two again
and I am just going to come back here and
| | 05:43 | choose Match Zoom, so that we see them
both at Fit-in Window view, and I hope
| | 05:50 | you will agree with me that the image on
the left, the one where I am pretending
| | 05:54 | that I am Ansel Adams is a whole lot
better than the one on the right which is
| | 05:58 | nothing more than a snapshot.
| | Collapse this transcript |
|
|
10. Colorizing ImagesCreating a hand-tinted portrait (the easy way)| 00:00 | Let's hand-tint a historic photograph.
| | 00:04 | And this is a very easy version and
then in the next movie I'll have a much
| | 00:08 | more involved version.
| | 00:10 | But this really is a lot fun
and it's very, very simple.
| | 00:13 | If you take a look at the Layers panel,
you can see how this is constructed.
| | 00:17 | I'm going to start out by
deconstructing the finished version, holding the
| | 00:22 | Option or Alt key and clicking on the eyeball.
| | 00:25 | So we have a historic photograph and
then on separate layers, we are applying,
| | 00:31 | we're just literally painting on a
blank layer to create the areas of color.
| | 00:37 | So we have the skin, the
hair, the lips, etcetera.
| | 00:41 | And each of these layers is set to
the Color blend mode and the Opacity is
| | 00:46 | adjusted to just bring that down to what
looks like an appropriate amount of the color.
| | 00:50 | So I'm going to take you now to the
starting version and step number one, create
| | 00:57 | a new layer, choose a color
that you want to paint with.
| | 01:01 | And if we don't get the right color
to begin with, no matter because it's
| | 01:05 | very easy to change.
| | 01:07 | So I'm going to start out just by
painting and now it looks terrible right now.
| | 01:13 | But I just want you to see how the
image will instantly be transformed as soon
| | 01:19 | as I change the Color blending mode,
which of course, I could have done first.
| | 01:24 | But I like the dramatic effect of
doing it like this and then changing the
| | 01:28 | blend mode to Color.
| | 01:30 | When you do this, make sure that you
don't color especially that you don't color
| | 01:35 | in the whites of the eyes or the
teeth because that can not look so good.
| | 01:41 | So it looks very, very crude, but
then all we need to do, come over to the
| | 01:45 | Layers panel, choose Color as the blending
mode, and then reduce the Opacity of that color.
| | 01:52 | Now when you have just one
color, things do look a bit odd.
| | 01:56 | So you do need to go ahead and apply
the other color elements before you can
| | 02:00 | really evaluate whether or
not you have the right color.
| | 02:03 | If you have applied too much of that
color, you can just come and choose your
| | 02:07 | Eraser tool and rub it out, and this is
the great benefit of working on separate
| | 02:13 | layers for the individual areas of color.
| | 02:16 | Good idea to name the layers.
| | 02:18 | So I'm now going to switch
back to the finished version.
| | 02:21 | We'll fast forward to the point where
I've applied the different color for
| | 02:26 | the different layers.
| | 02:27 | I've named the layers, I've changed the
blending mode of each of those layers to
| | 02:32 | Color, I've reduced the Opacity accordingly;
| | 02:36 | I have fixed up any
errors using the Eraser tool.
| | 02:40 | Now let's say that we want to change the color.
| | 02:43 | Let's say that we want not a blue
dress but we want a purple dress.
| | 02:48 | I just come and choose a new
foreground color, I make sure I'm on the right
| | 02:52 | layer, and I either lock the
transparency and then press Option or Alt and the
| | 02:59 | Backspace/Delete key, or I forget about
locking the transparency altogether and
| | 03:05 | I press Option+Shift or Alt+
Shift and the Backspace/Delete key.
| | 03:10 | And that's going to apply paint to the
non-transparent pixels, i.e., you cannot
| | 03:15 | paint outside the lines.
| | 03:17 | And then you can adjust the different
colors, the different percentages of
| | 03:21 | those colors to your liking and in
no time at all, you have a beautiful
| | 03:27 | hand-painted portrait.
| | Collapse this transcript |
| Creating a hand-tinted portrait (the harder way)| 00:00 | We previously saw a very easy example
of hand-tinting a historic photograph.
| | 00:06 | This is a much more involved example,
and this example is going to involve the
| | 00:10 | use of various different masks, where we
can color in the different areas of the image.
| | 00:16 | It's also going to involve some of
what we saw in the previous movie as
| | 00:19 | well, some hand-painting.
| | 00:21 | And what areas you choose to hand-paint,
and what areas you choose to color,
| | 00:26 | based upon the mask, that may vary from
image to image, and in reality, from one
| | 00:33 | day to the next, even if you
were working on the same image.
| | 00:36 | This is how it was done.
| | 00:39 | This is a starting state, and I start
off by actually removing the sepia tone by
| | 00:44 | setting it to a Black & White.
| | 00:46 | And then I'm using another adjustment
layer, another Black & White adjustment
| | 00:51 | layer in combination with a mask that
makes the background this steely blue.
| | 00:56 | And then I have another Black & White
adjustment layer with a hand-tint on it.
| | 01:00 | I'll just open the Adjustments panel,
you can see that I'm using Black & White
| | 01:04 | adjustment layer, but applying a color
tint to the layers based upon the mask.
| | 01:09 | In fact, what I'm going to do here so
that we can see this a little bit better
| | 01:13 | is I'm going to tear off my Layers
panel and we'll stick that right in the
| | 01:17 | middle, and then expand it and we can
look at the adjustments at the same time.
| | 01:23 | And then I have a whole separate
folder for the hair, two small masks, and
| | 01:30 | we're looking at the version on the right
here, so we can see I am applying to the hair.
| | 01:34 | Now as you build this up, it's
difficult to gauge how much color you need, and
| | 01:39 | you need to see the whole image
colorized to really evaluate the context of each
| | 01:45 | of the colors, and he is wearing a
yellow tie, which he probably wasn't on the
| | 01:50 | day, but bit of artistic license there.
| | 01:54 | Separate layer group for the bouquet
and the flowers, the lips, the suit has
| | 01:59 | more contrast, this is done with a Hue/
Saturation adjustment layer reducing the
| | 02:05 | lightness, the eyes, and we'll
need to zoom in, so we can see those.
| | 02:09 | He has got green eyes
and she has got brown eyes.
| | 02:12 | Again, artistic license there, and as
is common with portraits in this style,
| | 02:19 | they have ruddy cheeks and he has got
some sort of flower in his lapel and she
| | 02:25 | has around her collar.
| | 02:28 | And then just one final thing that
I've added is a vignette to darken the
| | 02:34 | corners and just really draw
attention to the two figures.
| | 02:38 | Having deconstructed that, let's now
switch over to the starting state and I'm
| | 02:43 | going to see just that image, so I'm
going to go to my Arrange Documents and
| | 02:47 | choose Consolidate All.
| | 02:49 | So here we are at the starting point.
| | 02:51 | Now bear in mind, we're not going
to get exactly the same results here.
| | 02:56 | I'm going to end up using different
colors inevitably, but the overall effect
| | 03:00 | will be much the same.
| | 03:02 | So to begin with, a Black & White
adjustment layer and then we're going to have
| | 03:07 | another Black & White adjustment layer.
| | 03:09 | But before I activate that one, I'm
going to go to my Channels panel, which I'm
| | 03:15 | going to tear off as well and put
that underneath the Layers panel, because
| | 03:19 | we're going to need to see what
we have in the way of channels.
| | 03:22 | So I've saved the larger masks, so
they're already pre-prepared, of course
| | 03:28 | you would need to prepare your own
selections and save them, if you're
| | 03:32 | working on your own image.
| | 03:34 | But what I'm going to do now is I'm
going to activate the Background channel by
| | 03:38 | Command+Clicking or Ctrl+Clicking on it
and then back to the Layers panel, and
| | 03:43 | I'll choose Black & White and
then click on my Tint checkbox.
| | 03:48 | Now I want to cool down the background, so
I'm going to change that to a shade of blue.
| | 03:56 | Next let's do the skin.
| | 03:58 | I'll activate the skin
channel by Command+Clicking on it.
| | 04:02 | If you're making your own selections,
make sure that when you do the skin
| | 04:06 | channel, you do not include the eyes.
| | 04:09 | It's important that whites
of the eyes remain white.
| | 04:13 | So, once again, another
Black & White adjustment layer.
| | 04:16 | I could also do this with Hue/Saturation.
| | 04:18 | That would work as well.
| | 04:20 | The slight advantage of using Black &
White is that in addition to changing the
| | 04:25 | tint, I can also adjust the contrast by
moving these sliders, which in this case
| | 04:30 | I'm going to forego that option,
but it's nice to know that I have it.
| | 04:34 | And I'm just going to stay with the tint
that it has given me, which is a fairly
| | 04:38 | good skin tone to begin with.
| | 04:40 | And next, we'll do the suit.
| | 04:42 | So I'm going to Command+Click on the
channel for that and this time, I'm using
| | 04:48 | not a Black & White adjustment layer,
I could do this with several of these
| | 04:52 | tools, but I'm going to opt for Hue/
Saturation, and then get the Lightness
| | 04:58 | slider and bring that to the
left so just to darken up his suit.
| | 05:03 | That leaves us with one more selection
that's already built and that's the bouquet.
| | 05:07 | Command+Click or Ctrl+Click on that,
create another adjustment layer, Black &
| | 05:13 | White, choose the Tint, click on
the color, and we'll go for a green.
| | 05:21 | Okay, I'm now going to zoom in and at
this juncture, I'm going to hide the
| | 05:26 | Channels panel, since we don't need that any
longer, since that's the end of our Save Channels.
| | 05:32 | From now on, we're going to be
painting in this more details, although,
| | 05:37 | arguably, it might be a good idea to
make a selection for the hair, but I'm just
| | 05:42 | going to paint in the hair in this case.
| | 05:44 | So to do that, I'm going to create a
new layer, and then choose my Brush tool.
| | 05:49 | I want to make sure that my Brush
Opacity is not completely soft, probably
| | 05:54 | about a Hardness of 25%.
| | 05:56 | Come over to my Swatches, he is going
to have a sort of yellow to begin with.
| | 06:02 | So we'll paint this in and then at
some point, the Blending Mode needs to
| | 06:07 | get changed to Color.
| | 06:09 | As I go around his hairline, I'm
adjusting the size of my brush as necessary.
| | 06:15 | And then if that just looks a little bit
too weird, we can reduce the Opacity of
| | 06:20 | that, take that a long way down.
| | 06:22 | Okay, I'm going to name that layer, I'm
now going to create a new layer for her
| | 06:31 | hair color and she is going to have
darker hair, a fairly arbitrary decision.
| | 06:36 | Once again, I'll just start painting and
then as soon as I've started, I need to
| | 06:40 | change that to the Color blend mode and
then I'm going to end up changing this
| | 06:45 | hair color just as soon as I
finish painting in the area.
| | 06:49 | I think she looks kind of
good as a red head though.
| | 06:52 | Maybe we'll go a little bit darker.
| | 06:54 | Now let's say I want to replace my
current hair color with my currently
| | 06:58 | chosen foreground color.
| | 07:00 | To do that, I need to make sure that
I lock the transparency of my active
| | 07:06 | layer, currently Layer 1.
| | 07:08 | And I can do that either by clicking on
that locking checkbox or I can use this
| | 07:14 | keyboard combination, Alt and the
Backspace/Delete key, or Option,
| | 07:18 | Backspace/Delete key,
and also add the Shift key.
| | 07:21 | And then when I do so, that will only
fill the pixels where there's already
| | 07:27 | paint on that layer, and
that wasn't much of a change.
| | 07:29 | Let's just do something a little bit
more dramatic there and let's say that
| | 07:33 | we'll go for just temporarily, we'll
give her some green hair, but of course,
| | 07:37 | she is going to end up with brown hair.
| | 07:41 | Now I'm going to name that layer as well,
and then I'm going to put the pair of
| | 07:45 | these two layers into a layer group.
| | 07:48 | When you're doing something like this, it's not
uncommon to end up with rather a lot of layers.
| | 07:52 | So, a good idea to name
them, keep things organized.
| | 07:56 | That way it's going to be easier for you
to work on things and especially if you
| | 08:00 | have to open this document up at any
point in the future or pass this document
| | 08:05 | onto anybody else for editing.
| | 08:07 | So with those two selected, I'm going
to press Command+G or Ctrl+G. That will
| | 08:11 | make them into a layer group and then
I'll name the group, hair, and I'm just
| | 08:16 | going to come and reduce the
Opacity of her hair color. Okay.
| | 08:20 | I'm going to be using the
same approach for the eyes.
| | 08:24 | Create a new layer and he
is going to have green eyes.
| | 08:28 | Zoom into a comfortable view size,
I'll just stop painting in the eye;
| | 08:32 | let's switch to Color as the blend mode.
| | 08:35 | Yeah, of course, that looks a little
bit shockingly green, so then we can just
| | 08:40 | reduce the opacity to
something a bit more plausible.
| | 08:45 | And I will name that layer, create a
new layer for her eye color, and she is
| | 08:53 | going to have blue eyes, change the
blend mode to Color, adjust the Opacity as
| | 08:59 | necessary, name the layer, select the
two layers that make up the eye color for
| | 09:05 | him and for her, Command+G or Ctrl+G
to make it into a layer group, and then
| | 09:10 | we'll name the layer.
| | 09:11 | Now I don't think you need to see me
do any more in this ongoing version,
| | 09:15 | because the rest is just
repetition for the different elements.
| | 09:18 | Just painting in the color of the tie,
the color of the flowers, any other
| | 09:23 | elements that you want to add color to.
| | 09:25 | But the one thing that I haven't yet
done is add the vignette and there are
| | 09:29 | numerous ways to add a vignette to an image.
| | 09:33 | I'm going to use this approach.
| | 09:35 | On a new layer, I will use my
Elliptical Marquee tool, draw an ellipse around
| | 09:41 | the figures, inverse that selection,
Command+Shift+I or Ctrl+Shift+I, make black
| | 09:47 | my foreground color.
| | 09:48 | I press D to do that, you may need to
press D and X depending on where you
| | 09:54 | were with your colors.
| | 09:56 | And then fill that selection with
black, Option+Delete or Alt+Delete.
| | 10:02 | It will look like that.
| | 10:03 | Then come to the Filter menu, Blur,
and apply a heavy blur to that.
| | 10:10 | I'm going to go up to 100 pixels or thereabouts.
| | 10:16 | Then change the blending mode to
Multiply, and reduce the Opacity to
| | 10:22 | whatever works for you. Let's go with 33%.
| | 10:26 | So if I now turn that off, there's the
before the vignette, and there's after
| | 10:30 | the vignette, and I'll just now pop back
to the finished version where we've got
| | 10:34 | various other elements colorized.
| | 10:37 | There's the start, there's the finish.
| | 10:41 | It's all done with adjustment layers,
mainly Black & White adjustment layers for
| | 10:46 | the larger areas using masks to
control where the color tinting goes for the
| | 10:51 | smaller areas, like in this case, the flower.
| | 10:55 | Literally just painting on an empty
layer and then changing the blend mode of
| | 11:00 | that layer to Color and
reducing the Opacity as necessary.
| | 11:04 | If we were to see that layer by
itself, Option+Click or Alt+Click on the
| | 11:08 | flower layer and change its blend
mode to Normal and its Opacity to 100, it
| | 11:15 | looks as crude as that.
| | 11:16 | But seen in the context of the
whole image, it looks like that.
| | Collapse this transcript |
| Creating an Andy Warhol look| 00:00 | I expect most of you have seen Andy
Warhol screenprints of Marilyn Monroe and
| | 00:05 | Elvis and other celebrities.
| | 00:07 | It's a style that was reprised by the
Rolling Stones for their album 'Some
| | 00:12 | Girls' and we can now see how
we can re-create this effect.
| | 00:15 | It's very garish, very in-your-face and
we can get away with being quite sloppy
| | 00:19 | when we do it, so we can do it quite quickly.
| | 00:21 | This is a starting point.
| | 00:23 | First thing I am going to do is
convert the image for For Smart Filters.
| | 00:28 | And I am going to do that because
the next thing I want to do is apply a
| | 00:31 | Halftone Pattern, so I am going to
come down to the Sketch group, Halftone
| | 00:35 | Pattern, and I wasn't paying attention
when I went there, because I have got
| | 00:41 | this color, which is not what I want.
| | 00:43 | I need to make sure that my foreground
color is black because I want Halftone
| | 00:47 | dots that are black.
| | 00:49 | So back to my Sketch > Halftone
Pattern, press Ctrl+0 or Command+0 to have
| | 00:56 | that fit-in window, and you now need to find
the right combination of size and contrast.
| | 01:02 | We definitely want a dot as the pattern type.
| | 01:05 | I don't want too many dots that my
image becomes obliterated, but I do want the
| | 01:10 | dots to be clearly discernible as a
Halftone dot, so this should look like a
| | 01:15 | really rough Halftone.
| | 01:18 | And I want quite a lot of contrast,
so that the areas of the skin have very
| | 01:23 | small or no dots whatsoever.
| | 01:25 | So I am going to go right about there.
| | 01:28 | So it's Size at 2 Contrast at 25.
| | 01:31 | Because I'm applying this as a Smart
Filter, I can come and revisit the amounts
| | 01:35 | that I have applied and tweak them if necessary.
| | 01:39 | Next thing I am going to do is change
the Blend Mode of this layer to Multiply,
| | 01:43 | and I am going to do that because we
are now going to put layers of color
| | 01:46 | beneath this, and we want this
layer to multiply on top of that color.
| | 01:50 | So I am going to Add a new layer
beneath that, and I have lined up the colors
| | 01:56 | that I am going to use on my Swatches
panel right here, so I selected them from
| | 02:01 | the Swatch and then moved to an empty
area on my Swatches panel and clicked with
| | 02:06 | my paint bucket to add them in a row.
| | 02:08 | And that's going to be useful in case I need
to revisit those colors to paint in the areas.
| | 02:13 | I'll choose my Brush tool now.
| | 02:15 | I want to make sure that my brush
hardness is taken down to 0, and I am going to
| | 02:20 | start out with the hair, now okay.
| | 02:24 | Now we need a new layer, Command+Click
or Ctrl+Click on to create new layer.
| | 02:28 | I am now going to use this pink for the
skin, and I noticed that my Brush Blend
| | 02:36 | Mode is set to Overlay, so
that's not going to work.
| | 02:39 | I need to set my Brush Blend Mode to Normal.
| | 02:44 | I could make a selection and then fill
that selection with the color, but I find
| | 02:48 | it a little bit more tactile to
just paint in the areas that I want.
| | 02:51 | Okay, now I need some lips.
| | 02:55 | New layer, Command or Ctrl, close a
very deep red for the lips, and because we
| | 03:02 | have the image layer above set to
Multiply, the tonal values of the image layer
| | 03:08 | are showing through.
| | 03:10 | So the Halftone dot pattern is
showing through on to the color.
| | 03:14 | And then we need some-- she doesn't have
eye shadow, but I think she needs some,
| | 03:19 | and the eye shadow is going to
need to move up in my layer hierarchy.
| | 03:23 | It needs to be above the skin.
| | 03:24 | You can see that I have left the eyes
white and there's our finished version.
| | 03:28 | There are a couple of
variants of this technique.
| | 03:30 | One, is to instead of use the
Halftone Pattern Filter, use the Threshold
| | 03:35 | adjustment, all right, down there, which is
going to give you all black and white pixels.
| | 03:43 | It's going to be a very harsh result.
| | 03:44 | You are not going to see any of the implied
tonality that we have with the halftone dot.
| | 03:50 | A third version would be to work on a
copy of the image and convert it to the
| | 03:56 | Bitmap Color Mode, which is right up there.
| | 04:00 | You have to go first through the
Grayscale Blend Mode in order to get there, and
| | 04:04 | as you copy it to Bitmap, make it
into a Halftone Pattern and then copy the
| | 04:09 | result back into your composition.
| | 04:12 | And that's just going to give you a
slightly different quality of Halftone dot.
| | 04:16 | As I mentioned that the start of this
movie, we converted the layer for Smart
| | 04:21 | Filters and that filter exists as a
separate entity beneath the layer itself and
| | 04:26 | the great advantage of that is I can
now revisit the amount of Halftone Pattern
| | 04:30 | that's been applied, and perhaps I will
decide that we need a bit more contrast,
| | 04:35 | so I am just going to up the Contrast
there, or I can come back and change my
| | 04:39 | mind on this as much as I like, but I
think that's a slightly improved result.
| | Collapse this transcript |
| Applying a gradient map| 00:00 | Here I am going to use a gradient map
to unify the colors in a composite image.
| | 00:06 | And what we have, and let's click at the
Layers panel, I am going to break it down.
| | 00:12 | We have got this background sky;
| | 00:15 | on top of that we have this image of
the Cadillac Ranch in Amarillo Texas.
| | 00:22 | It has a layer mask applied to it so without
that layer mask, there is the original sky.
| | 00:27 | So I felt the original sky was just not
interesting enough, applied a layer mask
| | 00:31 | to it, allowing us to see
the more dramatic sky beneath.
| | 00:37 | And then what I did was applied a gradient map.
| | 00:40 | Because I wanted to tie everything
together, it looks too disorganized if
| | 00:44 | you like at the moment.
| | 00:45 | I needed to unify the colors, so I
applied a Gradient Map and I didn't like the
| | 00:50 | result of that because it makes
everything look for very flat.
| | 00:53 | So in order to get an even
distribution of the colors, of the Gradient Map,
| | 00:59 | because what the Gradient Map does is
it maps the colors in the gradient and if
| | 01:04 | we have a look at the Gradient Map,
these are the colors that I am using.
| | 01:07 | It maps these colors to
specific tonal regions of the image.
| | 01:11 | Now at the moment, there is too
much color in the shadow area.
| | 01:15 | That's because if we look at the
Histogram of the image, that's where all
| | 01:21 | the information is.
| | 01:22 | It's this dark color that is
gloaming on to all of these shadow areas.
| | 01:27 | And we are not seeing any of the
lighter color applied to the highlight areas,
| | 01:32 | because they're none.
| | 01:34 | So if we go back to the Layers panel,
I address that problem by merging these
| | 01:39 | two layers into one and then applying
the equalize adjustment to them, and
| | 01:45 | that's the end result that we get.
| | 01:47 | So let me now just switch
over to our starting point.
| | 01:51 | And I will run you through those steps.
| | 01:52 | So I have got the two lawyers
selected and I am going to hold down
| | 01:56 | Command+Option+Shift and press the E key
or Ctrl+Alt+shift+E and that's going to
| | 02:03 | merge those two layers into one.
| | 02:06 | And then anticipating the problem,
before it even happen I am going to go to
| | 02:11 | Adjustments and Equalize.
| | 02:14 | And let's just look at the Histogram at
the moment and then we'll see how that
| | 02:19 | is changed when I apply the Equalize command.
| | 02:23 | And now, I'm going to add the Gradient Map.
| | 02:26 | And the Gradient Map is in the
adjustment layer, and of course, we need to
| | 02:31 | change the colors of the Gradient
Map, so I am going to click on it.
| | 02:33 | That takes me to my Gradient Editor.
| | 02:36 | And it's currently using a Foreground to
Background, which is not what we wanted;
| | 02:40 | I am just going to put in
exactly the colors that I used before.
| | 02:44 | Of course, use any colors that you
like, but so that I can replicate the
| | 02:48 | example, I am going to use the same.
| | 02:50 | So I am going to click on my Color Stop
on the left-hand side of the gradient.
| | 02:55 | This is going to apply to the shadow
areas, click on my Color Swatch, and then
| | 03:00 | the color that I am after is Red 26,
Green 13, and Blue 13. Click OK.
| | 03:14 | And then I am going to add a Color
Stop at Location 50% and the color that I
| | 03:20 | want here is Red 102, Green 76, Blue 51.
| | 03:30 | And then finally, the ending Color
Stop, Red 128, Green 128, Blue 64 and
| | 03:45 | there is our end result.
| | 03:47 | So just to summarize, we've applied
Gradient Map to unify the colors in this
| | 03:52 | composition, and so that we get an
even distribution of the colors in the
| | 03:57 | Gradient Map across the composition,
I've applied the Equalize command.
| | Collapse this transcript |
| Sepia toning an image| 00:00 | In this movie, I'm going to discuss five
different ways to make a sepia toned image.
| | 00:05 | Sepia toning is very associated with the
late 19th Century, so by applying sepia
| | 00:10 | tone to your image, you give
it an instant nostalgic feel.
| | 00:14 | There's one sepia toning technique that
I will not be discussing in this movie,
| | 00:18 | and that is using the Duotone Mode.
| | 00:20 | I do discuss Duotones in another movie,
but all of these techniques allow us
| | 00:25 | to retain our image as an RGB image, so we
actually can keep the original color values.
| | 00:32 | These are all nondestructive methods.
| | 00:34 | The Duotone technique involves you
converting your image to the Grayscale Color
| | 00:39 | Mode, which is going to discard your Red,
your Green, and your Blue channels in
| | 00:44 | favor of one Grayscale channel.
| | 00:46 | There are numerous ways we
can do this in Photoshop;
| | 00:49 | I am sure there are way
more than five techniques.
| | 00:52 | These just happen to be five that
come to mind, in no particular order.
| | 00:56 | Perhaps the easiest, apply a Black &
White adjustment layer, and I have chosen
| | 01:03 | a desert landscape here, because they
seem to lend themselves, as well as would
| | 01:07 | historic portraits, or any sort of
portrait of people dressed in period clothing.
| | 01:12 | That would certainly lend
itself to a sepia toning.
| | 01:14 | A Black & White adjustment layer, and I'm
just applying a Tint to it, method number one.
| | 01:23 | Method number two is a Photo Filter.
| | 01:30 | This is also an adjustment
layer. It's right there.
| | 01:35 | You can see I've got very
different sort of sepia tone here.
| | 01:38 | I could amp this up a bit if I wanted
to, but I'm actually using the Photo
| | 01:46 | Filter called Sepia.
| | 01:48 | Now, in addition to that adjustment
layer, in order to get the result that I
| | 01:52 | desire here, I need to add a Black
& White adjustment layer that is a
| | 01:57 | desaturating the image.
| | 01:59 | I could desaturate the image in other
ways, but this is as good a way as any.
| | 02:03 | So I am desaturating in one step and
then applying a Photo Filter adjustment
| | 02:08 | layer in a second step.
| | 02:11 | A third approach, also a very
automated approach, is to apply an Action.
| | 02:21 | So let's see how this is going to work.
| | 02:24 | An Action is a recorded sequence of
steps, and there is a Sepia Toning Action
| | 02:28 | that comes with Photoshop.
| | 02:30 | So I am going to turn off that Action
layer group, and then I am going to come
| | 02:35 | to what's currently Layer 0.
| | 02:37 | I am going to duplicate this layer,
Command or Ctrl+J, and I will then Rasterize it.
| | 02:45 | Because it's currently a Smart Object
and the Action may not work with that.
| | 02:49 | So I am going to come to the Layer menu
> Smart Objects, and choose Rasterize.
| | 02:56 | So now it's just a regular Image layer.
| | 02:58 | And from my Window menu I can choose my
Actions, let's just move those over there.
| | 03:07 | There it is, right there, Sepia Toning (Layer).
| | 03:08 | So you need to be on the right layer,
and then it's just a question of
| | 03:14 | playing this selection.
| | 03:16 | And that will make for you a
Hue/Saturation adjustment layer.
| | 03:19 | It will desaturate and adjust the Hue,
and of course you can come in and tweak
| | 03:24 | that Hue Slider and the
Saturation to your liking.
| | 03:29 | So if you did have a batch of images
that you wanted to apply this technique to,
| | 03:34 | the Action would be an automated way of
doing this, because you could from using
| | 03:40 | this option, File > Automate > Batch,
you could specify that you want this
| | 03:47 | Action applied to a specific folder.
| | 03:50 | You would need to Choose the
folder where you had your images stored.
| | 03:54 | So that's another approach.
| | 03:56 | I am now going to turn off those.
| | 03:58 | And a fourth approach is to just
mess around with the Color Curves.
| | 04:04 | So if I turn on that folder group, we can
see another type of sepia toning effect.
| | 04:12 | This, again, requires two adjustment layers.
| | 04:16 | The first, Hue/Saturation, is just
taking the color out, desaturating the image.
| | 04:21 | I could have done that with Black
& White, in this case I am doing it
| | 04:23 | with Hue/Saturation.
| | 04:24 | So you pull the Saturation
Slider all the way over to the left.
| | 04:29 | And then the second, the Curve.
| | 04:31 | This involves working on the Red
and the Blue curve independently.
| | 04:38 | On the Red curve, bring it up to
increase the amount of Red, and on the Blue
| | 04:45 | curve, bring it down to
decrease the amount of Blue.
| | 04:49 | Put another way, to increase the amount
of Yellow, and that's our overall effect.
| | 04:54 | There are four approaches to sepia toning;
| | 04:58 | a Black & White adjustment layer with
the Tint, changing the Curves, applying an
| | 05:02 | Action, applying a Photo Filter.
| | 05:05 | A fifth approach involves
using the Camera Raw plug-in.
| | 05:09 | So I am going to now pop over to
Bridge, where I have the same image in my
| | 05:14 | Bridge Content Window.
| | 05:15 | I am just going to increase
the size of those Thumbnails.
| | 05:18 | Now, this is a JPEG, so
it's not a Camera Raw image.
| | 05:22 | But I can still edit it in the Camera
Raw plug-in by clicking on this icon right
| | 05:28 | here, or File > Open in Camera Raw.
| | 05:34 | So if you have a JPEG or a TIFF and you
want to take advantage of the benefits
| | 05:39 | of working in the Camera
Raw interface, you can do so.
| | 05:44 | Now, what I want to do here is two steps.
| | 05:46 | Firstly, I need to convert
this to a grayscale image.
| | 05:51 | I can do that right there, Convert to Grayscale.
| | 05:55 | And then secondly, I will see this
technique used for a different purpose in
| | 06:00 | another movie, Split Toning.
| | 06:02 | This is going to allow us to apply one
Tint to the Highlights, another Tint to
| | 06:06 | the Shadows, and then adjust whether we
fade more of the Highlight color or more
| | 06:11 | of the Shadow color.
| | 06:14 | So to start out with I am going to
change the Hue to a warm orange, I am going
| | 06:20 | to increase the Saturation,
this is for the Highlights.
| | 06:25 | And then for the Shadows, I am going to
move more to the yellows, almost to the
| | 06:33 | greens, and then
increase the Saturation on that.
| | 06:42 | And let's say I want that to go more
towards the Highlight color, I will move
| | 06:48 | the Balance Slider to the right.
| | 06:51 | So there is the fifth approach to sepia toning.
| | 06:54 | Just one other thing to point out in
my finished version, just to further
| | 07:00 | accentuate the nostalgic feel that sepia
toning is going to give us, in addition
| | 07:06 | to the tinting I also applied a Vignette.
| | 07:12 | And I did this in a different way
to how I did it in a previous movie.
| | 07:17 | In this case, I converted my layer to
a Smart Object by coming to the Layers
| | 07:21 | panel menu, Convert to Smart Object.
| | 07:25 | I can now come to the Filter menu and
use my Lens Correction, and in this case I
| | 07:32 | want to do a Custom Correction.
| | 07:34 | And what I am after is right here,
Vignette, the Amount and the Midpoint,
| | 07:39 | and these need to both move to the
left, the further to the left the
| | 07:44 | stronger the effect.
| | 07:48 | So whichever of those techniques you
favor, entirely up to you, the results
| | 07:52 | ultimately will depend upon how you
adjust the sliders that are appropriate to
| | 07:57 | the individual techniques.
| | 07:59 | One other point I would make with the
Black & White adjustment layer, which was
| | 08:03 | the first one we looked at, and which
I think I would probably favor if I had
| | 08:08 | to choose one, and that is of course
with the benefit of Black & White you get
| | 08:13 | to mix the Contrast to determine how
the colors of the original image go to
| | 08:19 | make up Black & White.
| | 08:20 | And in this case, what I did with this
version that differs from the others is I
| | 08:25 | made the sky more dramatic by
moving the Blue Slider to the left.
| | 08:30 | So that's an additional option
that you have if you use the Black &
| | 08:34 | White adjustment layer.
| | 08:36 | But five different approaches
to creating a sepia toned image.
| | Collapse this transcript |
| Color tinting an image| 00:00 | I am going to make a very color tinted
portrait, a very stylized color tinted
| | 00:04 | portrait, inspired in a roundabout
way by the cover artwork for Joni
| | 00:09 | Mitchell's album Blue.
| | 00:12 | So this is where I am aiming for.
| | 00:13 | And here is our starting point.
| | 00:16 | Step number one, I need to desaturate
the image, and I am going to do this by
| | 00:21 | choosing a Black & White adjustment layer.
| | 00:23 | So we now have a Black &
White version of this image.
| | 00:26 | Then I'm going to tint it by clicking
on the Tint checkbox and click on the
| | 00:30 | Color Swatch to specify the
color of the Tint that I want.
| | 00:34 | I am going to key in the numbers that
I used in the final version, so we can
| | 00:37 | get the same result.
| | 00:39 | And those numbers are 24 Red, 61 Green 135 Blue.
| | 00:50 | The problem I see with the image right
now is that the Highlights are too bright.
| | 00:54 | So I am going to add another adjustment
layer, a Curves adjustment layer and to
| | 01:00 | give the image most somber tone, I
am going to flatten the Highlights.
| | 01:04 | By coming to my Curve I am going to
bring the Highlights of the Curve down
| | 01:09 | to output level 148.
| | 01:11 | So you can see that's pretty flattened
the highlights, especially on the face.
| | 01:17 | If we zoom in, we no longer have quite the
same hotspots on the faces we did before.
| | 01:25 | But the highlights is still a bit too
hot, so in the next step what I am going
| | 01:31 | to do is now turn off my two adjustment
layers, go to my background layer, and
| | 01:40 | I'm now going to load the Luminance
channel by holding down the Command or Ctrl
| | 01:44 | key and Clicking on the RGB
channel, the composite channel.
| | 01:49 | So this will load the bright pixels in
the image as a selection, I am then going
| | 01:54 | to copy that selection to a new layer,
Command+J or Ctrl+J. And if we take a
| | 02:00 | look at that layer by
itself, that's how it looks.
| | 02:03 | Now the purpose is this, is I
am going to do two things here.
| | 02:09 | My objective is I want to get rid of
the pores on the cheek and soften the
| | 02:14 | highlights on the nose.
| | 02:16 | I am going to come to the Image menu
and to Adjustments and first of all I am
| | 02:21 | going to apply the Equalize adjustment.
| | 02:24 | And secondly, I'm going to go to Filter
and apply a Blur to that layer, just a
| | 02:31 | small amount of blurring to
soften out the pores in the skin.
| | 02:35 | Let's just backup, here's the before,
here's the after, when we see that in
| | 02:44 | the context of our Black & White and
our Curves adjustment layer, this is how
| | 02:49 | the image now looks.
| | 02:57 | I would like to do two more things.
| | 02:59 | One is to deepen the shadows and
the other is to brighten the midtones.
| | 03:06 | So to do this I am going to show just
the background layer in isolation by
| | 03:10 | holding down the Option or Alt key and
clicking on it's eyeball and then come
| | 03:14 | to the Select menu and to Color Range, and
I am going to choose first of all Shadows.
| | 03:21 | That's a selection of all the shadow areas.
| | 03:24 | I am then going to return to the
background layer, Command+J or Ctrl+J to copy
| | 03:30 | those shadows to a new layer and then I am
going to change the Blending Mode of that new layer.
| | 03:36 | That's how the shadows look by them selves.
| | 03:37 | I will turn on all of the layers that I
have so far, let's name that layer and
| | 03:46 | then change Blend Mode to Color Burn.
| | 03:50 | That's going to make the shadows a lot deeper.
| | 03:53 | Then, same procedure, but this time
for the midtones, turn off all the layers
| | 04:00 | that you have, so that we are looking
at just the background layer so that we
| | 04:04 | are sampling the midtown values
from the original background layer.
| | 04:08 | Color Range > Midtones and Command+J or
Ctrl+J to copy the midtown values to a
| | 04:17 | separate layer, and now I am going to
put the midtones above the shadows and
| | 04:24 | just to be consistent, I am going to
name that layer and then I am going to
| | 04:28 | change the Blending Mode of the midtone
layer to Color Dodge, which is going to
| | 04:33 | lighten the midtones.
| | 04:35 | Now that's lightening the midtones,
perhaps too much, depending on how
| | 04:39 | stylize we want this to be.
| | 04:41 | So I'm going to then reduce the Opacity
of that layer to about 20%, and there is
| | 04:52 | our finished version,
here is what we started with.
| | 04:56 | So we have two adjustment layers, one
to desaturate and apply the Color Tint,
| | 05:03 | the other to flatten the tonal values,
and then three additional layers, one to
| | 05:08 | deepen the shadows, one to brighten
the midtones, and one to soften the skin.
| | Collapse this transcript |
| Split toning an image| 00:00 | Split Toning is an effect similar to the
effect that you can get using a Duotone.
| | 00:04 | It's an effect which has its origins
in the days of film and it involves
| | 00:08 | tinting the highlights of the image of
a Black & White image, in one color and
| | 00:13 | the shadows in another.
| | 00:15 | And the Camera RAW plug-in has
its own Split Toning command.
| | 00:20 | It's this one right here, but
before we go to that, we need to convert
| | 00:24 | this image to Grayscale.
| | 00:26 | You can't use Spilt Toning on a colored
image, but it's really design to be used
| | 00:30 | with a Grayscale image.
| | 00:31 | So I am going to come to my HSL and
Grayscale sliders and check Convert to Grayscale.
| | 00:37 | And I am just going to go with the
Grayscale that it gives me and then go to
| | 00:41 | Split Toning, where we have got
sliders for the highlights, sliders for the
| | 00:46 | shadows, and a balance slider.
| | 00:48 | So I choose the color that I
want to apply to my highlight areas.
| | 00:54 | And I am going to use a sort
of blue color in the Highlights.
| | 00:59 | And I am going to increase the
Saturation of that and you can see that I am
| | 01:03 | tinting my image with that blue color.
| | 01:12 | Now, I need to choose a color for my Shadows.
| | 01:15 | So I am going to use the Hue
that we start out with, the Red.
| | 01:19 | I am going to increase
the Saturation of that red.
| | 01:23 | And you can see we begin to get this
lovely -- well, no other way to describe it
| | 01:28 | really, Split Toned effect,
combining the blue and the red.
| | 01:33 | And I can now just to finish it off,
decide, do I want to swing the balance in
| | 01:38 | favor of the shadows, in which case I
move this slider to the left, and things
| | 01:43 | become more red, or do I want the swing
to balance in favor of the highlights,
| | 01:49 | in which case I move it to the right,
and I am going to go for the Highlights.
| | 01:53 | And I think Split Toning this image
has really given a new lease of life.
| | 01:57 | It was before just a fairly
unmemorable street scene that's taken in Havana,
| | 02:03 | but now I have this very nostalgic
feel to it, as a consequence of the Split
| | 02:07 | Toning effect.
| | Collapse this transcript |
| Working with line art| 00:00 | Here we're going to see how we can turn
this piece of line art into a piece of
| | 00:03 | colored line art, very easy and
very effective and pleasing technique.
| | 00:09 | So this is our starting point.
| | 00:11 | Firstly, if you've scanned this, or
if you've inherited this from somebody
| | 00:15 | else, maybe it's in the Grayscale
Blend Mode, in which case it needs to be
| | 00:19 | converted to RGB or CMYK.
| | 00:22 | Possibly it's even in the Bitmap
Blend Mode, in which case you'll need to
| | 00:25 | convert to Grayscale and then to RGB or CMYK.
| | 00:30 | Step number one here is, we
need to clean up the outline.
| | 00:33 | If you've scanned a pencil sketch,
this is particularly appropriate, you're
| | 00:37 | going to find that you have dark and light
gray lines and you want to simplify the line.
| | 00:41 | We don't have too much of that going on,
but the black outline is not really
| | 00:47 | 100% black and the white
area is not 100% white either.
| | 00:52 | We can confirm that with our Info panel,
if we move over the area of the petals.
| | 00:57 | We're not seeing 255, 255, 255 for our
Red, Green, and Blue values, which would
| | 01:02 | indicate pure white.
| | 01:04 | Nor are we seeing for our outline, 0, 0,
0 which, would indicate pure black.
| | 01:12 | So I am going to go to a Levels
adjustment, and I'm going to bring my Black
| | 01:17 | point towards the center, darkening up
the outline, and I'm going to bring my
| | 01:22 | White point towards the center,
forcing the light grays to white.
| | 01:29 | And we can just confirm that with our Info panel
where we see the before and after colors. Very good!
| | 01:43 | We may also need to do a little bit of repair
on the outline, as we need to do right here.
| | 01:50 | Before I do that, I am going to merge
the result of my adjustment applied to the
| | 01:56 | Background layer, I'm going to merge
into one layer, Command+Option+Shift+E, and
| | 02:01 | then I'm going to turn
off Background and Levels.
| | 02:04 | We may never need those again,
they're just there in case we do.
| | 02:08 | So now everything is happening on Layer 1,
and I'm going to rename this outline.
| | 02:13 | I'm going to switch to my Brush tool by
pressing B, change my Brush Blend Mode
| | 02:18 | to Overlay, my Foreground Color to Black,
and then I'm going to paint over that outline.
| | 02:23 | And you can see that darkens it up.
| | 02:28 | Remember, what Overlay does is if it
is darker than 50%, it will be affected
| | 02:35 | by painting in black.
| | 02:36 | If it's lighter than 50%, you can
lighten it up further by painting in white.
| | 02:41 | You may notice that when you look very closely,
we see some color fringing on the outline.
| | 02:47 | Obviously we don't want that, so another
step is to desaturate the outline, like so.
| | 02:53 | Our line art is now ready to be painted.
| | 02:56 | And to paint it, we are going to
add the color on separate layers.
| | 03:01 | So I'm going to add a layer
beneath the Outline layer.
| | 03:04 | I'm going to hold down the Command
key, click on Create New Layer, and I
| | 03:09 | could just paint this.
| | 03:10 | I could just get my paint brush and
start painting and that will work fine, and
| | 03:13 | that's what we're going to do
for the areas of smaller detail.
| | 03:16 | But for the petals, for the larger
area, I'm going to select it using my
| | 03:20 | Selection tools, Quick Selection or Magic Wand.
| | 03:24 | I'm going to use the Magic Wand in this case.
| | 03:26 | And rather than select the petals, I'm
going to select the background, and I'm
| | 03:32 | turning off Anti-alias and
I'm also turning on Contiguous.
| | 03:37 | So I want my selection to go all the
way up to that black outline, so that now
| | 03:42 | when I inverse it, I have a
selection that includes that black outline.
| | 03:47 | And that's important, because the
black outline, when it sits on top of the
| | 03:51 | painted area, will overwhelm it, and
we want to make sure that we don't have
| | 03:55 | any misregistration problems of the color
going almost up to the outline but not quite.
| | 04:01 | Now, I do have more selection there
than I need, so I'm just going to choose my
| | 04:06 | Polygonal Lasso tool here, hold down the
Alt key, and get it nice and tight with
| | 04:12 | that bit right there, surround that, and
that's now removed from the selection. Okay.
| | 04:22 | I now need to just subtract this area
in the center, and I think it's probably
| | 04:27 | going to be just as easy to paint
that out as using any other method.
| | 04:30 | So I'm going to choose the color that
I want to paint in, hold down Option or
| | 04:35 | Alt and press the Delete key.
| | 04:37 | And yes, we can see it there on the Layers
panel, but no, no effect in the image itself.
| | 04:43 | So I'm going to come to the Outline
layer, and here's the most important part
| | 04:48 | of this whole movie, and that is that,
if you're working with line art and you
| | 04:53 | want the lines to show through on top of the
colors, use Multiply as your Blending Mode.
| | 04:58 | Multiply neutralizes the white, all we see
are the black areas of the Outline layer.
| | 05:02 | So I can now come into Layer 1, make
sure you're on the right layer, and using
| | 05:09 | my Eraser tool I can paint
out the bits that I don't want.
| | 05:15 | I'm not even going to do that yet.
| | 05:17 | I'm just going to add another layer on
top of Layer 1, and I'm going to choose
| | 05:22 | my Brush tool and come and choose
a color that I want to paint in.
| | 05:27 | And that's just going to
go right on top of the red.
| | 05:33 | We don't even need to delete the red.
| | 05:39 | But I need to make sure my Blending
Mode is set to Normal and not Overlay,
| | 05:45 | because that's not going to work.
| | 05:49 | So let me just go around these elements.
| | 05:51 | I am working with a brush that is
set to 100% Hardness by the way.
| | 05:57 | I don't want to introduce any
softening anti-alias lines to the edges.
| | 06:03 | Where I've painted too much of that
color, I can switch to my Eraser tool
| | 06:07 | by pressing E. I'm using my Eraser in Pencil
Mode, again, so that it is not anti-aliased.
| | 06:12 | Let's zoom in nice and tight so that
we don't get any softening of edges.
| | 06:22 | Just paint out those areas
where I was a bit sloppy.
| | 06:26 | And now another new layer, and
basically repeat the whole process.
| | 06:32 | Switch back to the Brush tool.
| | 06:38 | And while it would be perfectly
possible to select these by area using the
| | 06:42 | Selection tools, I find for these areas
of small detail it's more fun and just
| | 06:48 | as quick, often quicker, to just paint
them in by hand, especially if you have a
| | 06:56 | tablet and stylus, which I don't at the moment.
| | 06:58 | I am just doing this with a mouse, but
the mouse is perfectly up to the task for
| | 07:04 | something simple like this.
| | 07:07 | Again, you can fix up any areas
where you went wrong using the Eraser.
| | 07:10 | Now, all that remains to be done is
for me to add the green of the stalk.
| | 07:15 | I am not going to do that, but I am
going to do this, just point out that once
| | 07:19 | you have applied a color, it's
very easy to change that color.
| | 07:24 | If you need to paint more in that color,
first of all, you might just want to
| | 07:28 | turn off all other layers, Option+Click
or Alt+Click on that layer, and then you
| | 07:32 | can press I to go to your Eyedropper
enabling you to sample that color and then
| | 07:36 | go in and paint in that color.
| | 07:39 | Or if you just need to switch one
color for another, make sure you're on
| | 07:44 | the right layer, choose the color that you
want to switch to, and let's go for a green there.
| | 07:51 | And then the press Option+Shift+Delete or
Alt+Shift+Delete, and that's what you'll get.
| | 07:59 | And the reason that's working is that
Option or Alt and Delete fills your layer
| | 08:04 | with your Foreground Color.
| | 08:05 | Holding down the Shift key is equivalent to
clicking on this button to lock the Transparency.
| | 08:11 | I'm going to undo that, I
don't like that as much.
| | 08:13 | But very easy to switch your
colors once they have been applied.
| | 08:19 | So three points there.
| | 08:20 | The first is that you need to take a
little time to clean up your line art outline.
| | 08:25 | The second is that you need to have the
Outline layer above your color layers,
| | 08:31 | and that it needs to be
in the Multiply Blend Mode.
| | 08:34 | And the third is that once applied,
colors can easily be shifted or switched for
| | 08:41 | other colors by locking the
transparency of the layer and then filling that
| | 08:46 | layer with another color.
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ConclusionGoodbye| 00:00 | So that brings us to the end of our journey
with color in Photoshop, for now at least.
| | 00:05 | I hope you found it useful.
| | 00:07 | I hope it's given you some good ideas
that you can apply to your own designs.
| | 00:11 | Please check out my other courses in
the Photoshop for Designers series.
| | 00:14 | I have one on Shape Layers, Layer
Effects, Type Essentials, and Textures.
| | 00:19 | My name is Nigel French.
| | 00:21 | Thanks very much for watching!
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