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Adding spot colors to a grayscale image

From: Photoshop for Designers: Color

Video: Adding spot colors to a grayscale image

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.

Adding spot colors to a grayscale image

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.

Show transcript

This video is part of

Image for Photoshop for Designers: Color
Photoshop for Designers: Color

75 video lessons · 17258 viewers

Nigel French
Author

 
Expand all | Collapse all
  1. 1m 41s
    1. Welcome
      1m 0s
    2. Using the exercise files
      41s
  2. 25m 26s
    1. Defining color terms
      2m 38s
    2. Understanding the color wheel
      4m 3s
    3. Understanding color relationships
      1m 7s
    4. Using Kuler to understand color harmony rules and create color palettes
      4m 2s
    5. Using the Kuler web site
      3m 10s
    6. Colors on screen and on paper
      1m 42s
    7. Color as a signifier
      3m 14s
    8. Color inspirations
      2m 39s
    9. Color and accessibility
      2m 51s
  3. 38m 22s
    1. Demystifying the Color Picker
      2m 57s
    2. Understanding the role of foreground and background colors
      5m 39s
    3. Choosing colors
      6m 41s
    4. Managing swatches
      7m 40s
    5. Transparency
      9m 42s
    6. Color channels
      5m 43s
  4. 41m 4s
    1. Understanding additive and subtractive color
      2m 57s
    2. RGB mode
      1m 56s
    3. CMYK mode
      2m 41s
    4. Lab mode
      3m 49s
    5. Indexed mode
      2m 16s
    6. Grayscale mode
      5m 0s
    7. Color management
      14m 15s
    8. Color depth (8-, 16-, 24-, and 32-bit)
      4m 19s
    9. Monitor calibration
      3m 51s
  5. 26m 43s
    1. Evaluating color with the Histogram panel
      3m 18s
    2. Evaluating color with the Info panel
      1m 48s
    3. Boosting color with levels
      3m 48s
    4. Auto Tone and Auto Contrast
      7m 38s
    5. Manually setting the black and white point
      3m 50s
    6. Curves
      6m 21s
  6. 18m 30s
    1. What is color correction?
      5m 45s
    2. White balancing in Camera Raw
      1m 46s
    3. Color correction with color balance
      1m 34s
    4. Color balancing using photo filters
      1m 26s
    5. Color correction with variations
      4m 27s
    6. Color correction by the numbers
      3m 32s
  7. 33m 14s
    1. Selecting color with the Magic Wand
      4m 43s
    2. Selecting color with the Quick Selection tool
      2m 26s
    3. Selecting color with Color Range
      4m 0s
    4. Neutralizing whites with the Multiply blend mode
      2m 55s
    5. Neutralizing blacks with the Screen blend mode
      57s
    6. Masking colors with the Blend If sliders
      2m 54s
    7. Masking hair with a channel mask and removing contaminant colors
      2m 58s
    8. Shifting targeted colors using Hue/Saturation
      5m 4s
    9. Matching colors using Hue/Saturation
      3m 16s
    10. Matching colors using the Match Color command
      1m 36s
    11. Matching colors using the Color blend modes
      2m 25s
  8. 21m 8s
    1. Saturating colors
      4m 9s
    2. Desaturating colors
      1m 57s
    3. Desaturating in Camera Raw
      3m 1s
    4. Creating a color accent with selective saturation
      2m 38s
    5. Enhancing a sunrise with a gradient map
      5m 49s
    6. Increasing vibrance
      1m 19s
    7. Using selective color
      2m 15s
  9. 32m 42s
    1. Designing with spot colors
      12m 15s
    2. Adding a fifth color to a CMYK image
      5m 0s
    3. Adding spot colors to a grayscale image
      5m 24s
    4. Create a metallic print effect
      3m 8s
    5. Creating duotones, tritones, and quadtones
      6m 55s
  10. 30m 45s
    1. Creating a silkscreen print look with a limited color palette
      7m 59s
    2. Combining color with black and white
      2m 22s
    3. Creating a nostalgic travel poster using the Cut Out filter
      6m 27s
    4. Mapping an image to a color look up table (CLUT)
      7m 56s
    5. Converting to black and white
      6m 1s
  11. 48m 34s
    1. Creating a hand-tinted portrait (the easy way)
      3m 29s
    2. Creating a hand-tinted portrait (the harder way)
      11m 23s
    3. Creating an Andy Warhol look
      4m 44s
    4. Applying a gradient map
      4m 4s
    5. Sepia toning an image
      8m 41s
    6. Color tinting an image
      5m 15s
    7. Split toning an image
      2m 9s
    8. Working with line art
      8m 49s
  12. 23s
    1. Goodbye
      23s

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