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In this Photoshop for Designers course, Nigel French focuses on the tools and features in Photoshop designed for choosing, applying, and editing color. The course looks at concepts such as the color wheel and color harmonies as well as the practicalities of using the Color Picker, leveraging the power of color channels, and the characteristics of different color modes in Photoshop. The course includes exercises on correcting color, enhancing color, shifting and replacing colors, working with spot color channels, hand coloring black and white images, and designing with a reduced color palette.
In the previous movie you saw me apply a Spot Color to a CMYK image so that we have a five-color image. In this movie we're going to imagine a more economical printing circumstance where we only have the option of printing in two inks, black plus a second-color, we're going to use the same second-color that Honeysuckle Pink, PANTONE 205. This is going to involve us converting our image to a Grayscale Color mode, and also adjusting the contrast of that grayscale and then applying a Spot Color channel and also adding to the Spot Color channel the Type.
So I'm going to come now to the starting state and the first thing I want to do is convert to grayscale. So I'm going to come to the Image menu, Adjustments > Black & White, this is going to allow me to mix my grayscale. And I might just want to lighten the sky up here, so I'm going to move into the sky and click and drag, not to the left, to the right, just to brighten up the sky a bit and I'm also going to brighten up the magentas in the car.
So I'm going to move over the car chassis and drag to the right. So that's now my resulting grayscale. We're not yet in the Grayscale Color mode. That's an extra step. But going first through the Black & White adjustment, we get to customize the grayscale that we get. I'm going to get this warning message, no, I don't want to flatten, and it's going to tell me that I should do this through the Black & White adjustment layer, which is exactly what I've just done, so I'm going to ignore that and click Discard.
Now I'm going to come to my Channels panel, I already have the Alpha channel prepared. So the Alpha channel looks like that and we now need to make that Alpha channel into a Spot Color channel. So I'm going to Command+Click on it to load it as an active selection, and then come to my Channels panel New Spot Channel, choose the color that I'm after, which is PANTONE 205. Optionally, I can adjust the Solidity, but it's all good the way it is.
And in this case because we're working with a grayscale image, I see some traces of that color. That is not a problem with the color version, but I don't think looking so good here, so I want to zoom in and this is the thing I'm talking about. So I'm now going to work on that Spot Color Channel and I need to make sure that I have a brush and I'm painting in white with the Blend Mode of Normal, and I can just remove those traces of color.
So when you're looking that Spot Color channel, if you're printing in black, you're adding to the color, and if you're painting in white, you're removing the color. That's my result now I want to add the Type, so I'm going to come to my Layers panel, turn on my Type layer. The type is actually a Shape layer; I've converted it to a Shape layer so that we don't run into any missing font problems. I'm going to activate the selection of the type by Command+Clicking on the vector mask. I can now hide that.
Come to the Channels panel, making sure I'm on the Spot Color Channel, I'm now going to fill that selection with black, and the result is going to be PANTONE 205. So if we take a look at the Spot Color channel right now, it looks like that. That sits on top of my Grayscale channel. One other option that I might like to consider is perhaps putting a Drop Shadow around the type. I don't want the Drop Shadow to be part of the Spot Color channel, so I'm going to come and turn back on the Separate layer that was the original basis for the Type, and then I'm going to select that and go to Drop Shadow.
I add a small Drop Shadow to that, and then I'm going to go the Blending Options where I will reduce the Fill Opacity to 0. So what that's doing, and you can see what that's doing, if I turn off the Spot Color channel, always seeing there on the Grayscale channel is the shadow, and then on top of that sits the color. As I did before, I'm going to now save this and I'm going to save it in the Photoshop file format, I need to make sure that I have Spot Colors checked.
And then I'll append a different suffix, save in the same folder. Now when I switch to InDesign and I place that document, and I evaluate to using my Separations Preview, we see that we still have separations for cyan, magenta and yellow, but actually there will be no information on those separation plates.
So you just need to communicate with your printer that the cyan, magenta, yellow plates do not get printed. The Black is there, and there's our Spot Color channel.
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