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Photoshop CS6 One-on-One: Fundamentals
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Adjusting color with the Brush tool


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Photoshop CS6 One-on-One: Fundamentals

with Deke McClelland

Video: Adjusting color with the Brush tool

In this movie, we'll use the Brush tool to even out the coloring of the flesh tones as well as knock down some of the shine on the model's forehead. And if you zoom in on the makeup underneath the model's eyes, you can see that it doesn't quite match the coloring of the natural skin tones. You can see it's even more evident over here on the left-hand side. So we're going to take care of that problem using the Brush tool, which you'll find directly below the Healing Brush, and you can get to the tool by pressing the B key. And if for some reason you see some other tool in the slot, go ahead and click and hold on that tool and choose the Brush tool from the flyout menu.
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  1. 19m 15s
    1. Welcome to One-on-One
      2m 27s
    2. Opening from the Windows desktop
      4m 7s
    3. Opening from the Macintosh Finder
      4m 9s
    4. Opening from Photoshop or Bridge
      2m 45s
    5. Opening an image from Mini Bridge
      1m 16s
    6. Opening through Camera Raw
      2m 32s
    7. Closing one image and Closing All
      1m 59s
  2. 38m 14s
    1. Navigating your image
      40s
    2. The dark vs. the light interface
      3m 12s
    3. Navigating tabs and windows
      4m 32s
    4. Panels and workspaces
      4m 27s
    5. Zooming incrementally
      4m 29s
    6. Zooming continuously
      2m 43s
    7. Entering a custom zoom value
      2m 25s
    8. Scrolling and panning images
      2m 31s
    9. Rotating and resetting the view
      2m 11s
    10. Cycling between screen modes
      3m 10s
    11. Using the Navigator panel
      3m 38s
    12. Adjusting a few screen prefs
      4m 16s
  3. 45m 58s
    1. Digital imaging fundamentals
      1m 45s
    2. Image size and resolution
      3m 3s
    3. The Image Size command
      3m 27s
    4. Common resolution standards
      3m 20s
    5. Upsampling vs. real pixels
      4m 36s
    6. Changing the print size
      6m 16s
    7. Downsampling for print
      4m 12s
    8. Downsampling for email
      3m 11s
    9. The interpolation settings
      5m 22s
    10. Downsampling advice
      4m 36s
    11. Upsampling advice
      6m 10s
  4. 53m 17s
    1. The layered composition
      1m 40s
    2. Introducing the Layers panel
      4m 12s
    3. Adding, scaling, and aligning layers
      5m 27s
    4. Dragging and dropping layers
      4m 36s
    5. Stack, reveal, and rename
      2m 58s
    6. Opacity, history, and blend mode
      6m 5s
    7. Duplicating a selected portion of a layer
      5m 32s
    8. Applying a clipping mask
      3m 58s
    9. Blending inside a clipping mask
      4m 10s
    10. Finishing off your artwork
      3m 13s
    11. Creating a new layer and background
      4m 24s
    12. Layering tips and tricks
      7m 2s
  5. 26m 19s
    1. The art of saving
      54s
    2. Four things to know about saving
      6m 0s
    3. Saving layers to PSD
      6m 38s
    4. Saving print images to TIFF
      4m 48s
    5. Saving an interactive image to PNG
      3m 41s
    6. Saving a flat photo to JPEG
      4m 18s
  6. 19m 36s
    1. Honing in on your image
      1m 43s
    2. The new and improved Crop tool
      3m 35s
    3. Editing your last crop
      3m 1s
    4. Straightening a crooked image
      2m 29s
    5. Filling in missing details
      6m 44s
    6. Using the Perspective Crop tool
      2m 4s
  7. 42m 6s
    1. First, there is brightness
      2m 12s
    2. How luminance works
      4m 18s
    3. The three Auto commands
      3m 27s
    4. Automatic brightness and contrast
      3m 19s
    5. The Brightness/Contrast command
      2m 47s
    6. The dynamic adjustment layer
      4m 5s
    7. Editing adjustment layers
      3m 52s
    8. Isolating an adjustment with a layer mask
      3m 31s
    9. Introducing the histogram
      4m 58s
    10. Measuring an adjustment
      3m 34s
    11. Using the Shadows/Highlights command
      6m 3s
  8. 44m 33s
    1. And second, there is color
      1m 31s
    2. Identifying a color cast
      3m 34s
    3. Correcting a color cast automatically
      3m 57s
    4. Changing the color balance
      6m 10s
    5. Compensating with Photo Filter
      3m 11s
    6. Adjusting color intensity with Vibrance
      3m 29s
    7. Correcting color cast in Camera Raw
      5m 46s
    8. The Hue/Saturation command
      5m 26s
    9. Summoning colors where none exist
      4m 8s
    10. Making more color with Vibrance
      4m 27s
    11. Making a quick-and-dirty sepia tone
      2m 54s
  9. 55m 46s
    1. Making selective modifications
      1m 10s
    2. The geometric Marquee tools
      6m 1s
    3. Aligning one image element to another
      4m 59s
    4. The freeform Lasso tools
      3m 59s
    5. Polygonal Lasso tool and Quick Mask
      5m 19s
    6. Cropping one selection inside another
      6m 15s
    7. Creating rays of light
      4m 44s
    8. Quick Selection and Similar
      4m 11s
    9. Making it better with Refine Edge
      4m 56s
    10. Integrating image elements
      2m 39s
    11. Magic Wand and Grow
      5m 17s
    12. Refine, integrate, and complete
      6m 16s
  10. 53m 49s
    1. Your best face forward
      1m 0s
    2. Content-Aware Fill
      6m 11s
    3. Using the Spot Healing Brush
      5m 36s
    4. The more capable "standard" Healing Brush
      5m 55s
    5. Meet the Clone Source panel
      3m 53s
    6. Caps Lock and Fade
      4m 57s
    7. The Dodge and Burn tools
      5m 1s
    8. Adjusting color with the Brush tool
      6m 35s
    9. Smoothing skin textures
      5m 58s
    10. Brightening teeth
      4m 0s
    11. Intensifying eyes
      4m 43s
  11. 51s
    1. Goodbye
      51s

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Photoshop CS6 One-on-One: Fundamentals
6h 39m Beginner Apr 26, 2012

Viewers: in countries Watching now:

Photoshop CS6 One-on-One: Fundamentals is a concise and focused introduction to the key features in Photoshop, presented by long-time lynda.com author and Adobe veteran Deke McClelland. This course covers the image editing process from the very beginning and progresses through the concepts and techniques that every photographer or graphic designer should know. Deke explains digital imaging fundamentals, such as resolution vs. size and the effects of downsampling. He explains how to use layers to edit an image nondestructively and organize those edits in an easy-to-read way, and introduces techniques such as cropping, adjusting brightness and contrast, correcting and changing color, and retouching and healing images. These lessons distill the vast assortment of tools and options to a refined set of skills that will get you working inside Photoshop with confidence.

Topics include:
  • Opening an image from Photoshop, Bridge, or Camera Raw
  • Navigating, zooming, panning, and rotating the canvas
  • Adding, deleting, and merging layers
  • Saving your progress and understanding file formats
  • Cropping and straightening
  • Adjusting brightness and contrast
  • Identifying and correcting a color cast
  • Making and editing selections
  • Enhancing portraits by retouching skin, teeth, and eyes
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Adjusting color with the Brush tool

In this movie, we'll use the Brush tool to even out the coloring of the flesh tones as well as knock down some of the shine on the model's forehead. And if you zoom in on the makeup underneath the model's eyes, you can see that it doesn't quite match the coloring of the natural skin tones. You can see it's even more evident over here on the left-hand side. So we're going to take care of that problem using the Brush tool, which you'll find directly below the Healing Brush, and you can get to the tool by pressing the B key. And if for some reason you see some other tool in the slot, go ahead and click and hold on that tool and choose the Brush tool from the flyout menu.

Now I'm going to increase the size of my brush. If I was just starting just painting inside the image, I would paint with the foreground color, which by default is black. So I create this fuzzy black brush stroke. Obviously, that's not what I want. So I'll press Ctrl+Z or Command+Z on the Mac to undo that change. However I do want a fuzzy brush. So I'll right-click inside the image. Make sure your Hardness value is set to 0% for this effect to work, and then press the Enter key or the Return key on the Mac to hide that panel. What I'm going to do is lift a flesh tone by pressing and holding the Alt key or the Option key on the Mac and that gets me my Eyedropper on the fly, and then I'll click inside the image to lift the flesh tone, as you can see at the top of the circle.

And here inside the Color panel, I'm going to adjust my Hue, Saturation, and Brightness values just a little bit. I want a Hue value of 15 degrees so that's perfect. Saturation should be more like 30% and the brightness should be more like 60%. Now if I paint a brush stroke it will be in that color. However we're not getting any interaction between the brush stroke and the image. So again, I'll press Ctrl+Z or Command+Z on the Mac. What I need to do is assign a blend mode. So I'll go up here to the Options bar and change the mode from Normal to Color.

In that way, we'll override the color of the makeup, but we'll keep all the surface detail which is conveyed by luminosity, that is the luminance information. So I'll go ahead and choose color and then paint over this region, like so. Now we're getting some colors that are awfully hot, as you can see, that is overly-saturated in the shadow detail. So we need to break color into its two parts. I'll press Ctrl+Z or Command+Z on the Mac to undo that change. If I go back to the Blend Mode pop- up menu, you'll see that there's two options above color; Hue and Saturation.

Those are the ingredients that make up color. We were having a problem with saturation. So in other words, we want to keep the natural saturation values, in which case, I'll select Hue so that the hue is the only thing we're changing. And now I'm going to increase the size of my brush just a little bit more and paint inside of this region of makeup, like so. And then I'll reduce the size of my cursor and paint over this little bit of makeup as well. It's a pretty subtle change so far. However over here on the left-hand side, it's not going to be quite so subtle. So I'll pan over to that location, increase the size of my brush and paint underneath the eye and we get a more credible effect.

So we can still tell that she's wearing makeup, but at least, the makeup is the right color. All right, now I'm going to zoom out a little bit. You may recall that the model has some shine on her forehead and on her cheek over here on the left-hand side. What you might do to solve this problem is switch over to the Burn tool and then instead of burning the midtones, which is the default range, you'd burn the highlights instead. However when you burn highlights in Photoshop, you usually get some pretty bad results because Photoshop doesn't have any real color information to work with inside those highlights.

I'll go and press Ctrl+Z or Command+Z on the Mac to undo that change. Your better approach is to switch back to the Brush tool and let's lift a very light color from the forehead here. I'll Alt+Click or Option+Click at this location and that brightens up the foreground color significantly, as you can see along the top of the circle. And once again, I'm going to adjust my HSB values. I'll take the Hue value up to 20 degrees and then I'll lift the Saturation value to 15% and the Brightness value should be around 85%.

All right, now I'm going to switch to a different blend mode, because we want to darken, the best blend mode for our purposes will be Multiply. I'll go ahead and select that mode. Press the Escape key so the mode is no longer active here on the PC and then press the right bracket key a few times in order to increase the size of my brush and just paint along that highlight, like so. I've gone way too far. Let's press Ctrl+Shift+F, Command+ Shift+F on the Mac in order to bring up the Fade dialog box. I'll reduce the Opacity to 50%. See how that looks. You might want to take it farther down actually, so I'll take it down to 30% in order to create the effect you see in the video, and then I'll click OK.

And I might try it again, actually. Paint up with a smaller brush stroke along the highlight and then press Ctrl+Shift+F or Command+Shift+F on the Mac, and let's take the Opacity value down to 20% and that looks pretty darn good. Now I'll click OK in order to accept that effect. Let's go ahead and do the same thing here in the cheeks. So we'll just paint along the cheek and then I'll press Ctrl+Shift+F. Let's start at 20% and see how things look. And then I'll go ahead and raise it to 30% and that looks great. And notice, by the way, that Photoshop is smart enough to know that I used the Multiply Blend mode, so I could switch it out to a different mode if I wanted to on the fly.

For example, if I wanted to color the cheek instead of darkening it, I would switch to the Color mode. It's not what I want though. I'll go ahead and switch things back to Multiply and then click OK to accept that change. Just a couple of other items that I might want to modify. By the way, you could change the Opacity on the fly. So I could say, gosh, you know, I'll press the 5 key to reduce the Opacity value to 50% and then I'll paint over this area. The problem is that it's easier to do the Fade from the Fade dialog box because you can see it happen as opposed to trying to anticipate what it's going to look like.

So now, I'll press Ctrl+Shift+F, Command+Shift+F on the Mac. It shows me that my Opacity value is 50%, which is awesome. I'll take it down to 30% and click OK. And then I'll paint along just under the left eyebrow, and actually that looks good at 50%. So I'll leave it as is. All right, and I'll switch back to the Rectangular Marquee tool. Let's go ahead and reset the View once again. And just to give you a sense of what we were able to accomplish here, I'll press the F12 key in order to revert the image to its saved appearance and you can see that we have some awfully bright shine up on the forehead and this off-color makeup, for example, under the left eye.

And then if I press Ctrl+Z or Command+ Z on the Mac in order to reinstate my changes, the skin tones are looking a lot more organic to the model's natural coloring. And that's how you use the Brush tool to adjust the coloring of a portrait shot here in Photoshop.

Find answers to the most frequently asked questions about Photoshop CS6 One-on-One: Fundamentals.


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Q: Where can I learn more about graphic design?
A: Discover more on this topic by visiting graphic design on lynda.com.
Q: When I double click the welcome.psd file included with the exercise files, I get the following error message:

"Some text layers contain fonts that are missing. These layers will need to have the missing fonts replaced before they can be used for vector based output."

Unlike the TIF and JPEG files which display and open correctly, all the icons for PSD files are blank but other than the welcome.psd file, they seem to open correctly without the error message. Is this a problem that I should address (perhaps re-download the files or find the missing fonts)?
A: The TIFF and JPEG files are flat, so they don't contain fonts and the operating system can interpret them (and generate thumbnails) without help from Photoshop. The PSD files have two issues:

First, they may contain editable text complete with font info. The files are designed with fonts that ship with Photoshop, so you don't get error messages, but Adobe sells some versions of Photoshop without fonts. This may be your issue.

Second, the PSD files contain no flat previews. This makes for smaller files, but it means the operating system, Mac or Windows, cannot generate previews. That won't effect your experience in Photoshop, but it does mean you can't see the file until you open it.
 
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