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Blending in the CMYK mode


Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Blending in the CMYK mode

In this exercise I'm going to demonstrate another one of the little-known, little-used Blending Options inside of Photoshop. This one allows you to turn layers on and off between channels, and also show you something of a practical application inside of a CMYK image. So I've got this file right here, it's called Knockout.psd. I'm going to make a couple of changes here. I'm going to turn off this dark stars group, so that we're seeing the wrestlers directly against the parchment background. I'm going to double-click on an empty portion of that wrestler's layer, in order to bring up the Blending Options dialog box.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 27s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Watch the Online Video Course Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Design Photography
Deke McClelland

Blending in the CMYK mode

In this exercise I'm going to demonstrate another one of the little-known, little-used Blending Options inside of Photoshop. This one allows you to turn layers on and off between channels, and also show you something of a practical application inside of a CMYK image. So I've got this file right here, it's called Knockout.psd. I'm going to make a couple of changes here. I'm going to turn off this dark stars group, so that we're seeing the wrestlers directly against the parchment background. I'm going to double-click on an empty portion of that wrestler's layer, in order to bring up the Blending Options dialog box.

If you press dekeKeys, by the way, you can also press Ctrl+Shift+O, Command+Shift+O on the Mac. Notice these Channels check boxes right there. Probably, never used them, but watch what they do. If I turn off Blue, for example, then the image seems to turn kind of bluish on me. If I by contrast go ahead and turn off Red, then that makes the image even more red. Why in the world is that? Of course, if I turn off Green, we see it turn very, very green.

Well, let me show you what's going on. I'll just turn off Blue. We'll just see what this composition looks like without Blue. It's just affecting this one layer, notice that. I'll switch over to the Channels panel. If I switch to the Red channel, sure enough, we see the wrestlers. If I switch to the Green channel, there they are. If I switch to the Blue channel, they have mysteriously disappeared. Because the parchment is bright, and we're not seeing the darkness, that's normally associated with the wrestler's suits, they end out turning very blue.

So they brighten up in the Blue channel and we see that blue in the composite image. Now that might certainly make you scratch your head, and go, why in the world would you ever want to do that? Possibly, it'd be nice to have channel by channel opacity control. But instead, you have the option of just making the entire channel transparent. What's with that? Well, imagine that you want to overprint some black text, which is not normally something you can easily do inside of Photoshop. Well, you can do it this way. But you'd have to be working inside of a CMYK image.

That brings up a good point, which is, what in the world happens to all these blend modes when we switch over to CMYK? The answer, the short answer is horribly disastrous stuff. Blend modes do not survive conversions between different color modes very well. But let me show you what's going on. I'll switch over to this variation of the image. This is currently an RGB image. You can see that we've got Red, Green, and Blue channels. We've got all kinds of different blend modes that are being applied throughout this image here. Let's say we want to convert to CMYK.

Well, I'll go up to the Image menu. I'll choose mode, and I'll choose CMYK Color. I'm going to get lambasted by some alerts at this point. First of all, I'm going to be told that I've got a smart object going. That's the stars layer that has the Lens Flare effect applied to it. Do I want to Rasterize that smart object? I'm going to say no, because generally speaking, I would try your conversion without rasterization, without flattening the first time around, and see how the composition fares. So I'll say Don't Rasterize. Then I'll get this other rather upsetting error message that says, hey, Changing modes will discard an adjustment layer; because there is an adjustment layer in there somewhere that's just not going to survive the transition.

Do you want to change the mode anyway? So you can Cancel, or you could say Flatten. That will preserve the appearance of the image. If you click Flatten, you will have the best looking CMYK image you can have. It'll look as close as the RGB composite as possible, that'll fuse all the blend modes together, so that you'll get halfway descent transitions, but you will no longer have the layers available to you. You won't be able to take advantage of this overprinting technique. So I'll click OK. In other words, I don't want to do any flattening and my image ends up looking like that.

Well, I would say, that was not the most successful conversion. I mean, there is so much wrong with this at this point. Everything is dimmed down like crazy. We can see the border around the light bulb. It's just a total mess. Well, one of other things that's going on here, I'll go ahead and scroll down and I'll twirl open this future stuff group once again. Notice my stars layer. What happened to the Lens Flare effect? Well, if I expand my list of Smart Filters. We'll be seeing Smart Filters in the future chapter of course. But notice it's turned itself off.

We have this warning that says that Lens Flare cannot be applied to this document. Well, Lens Flare doesn't work in CMYK. So that didn't work out very well for us. So you know what, let's go ahead and press Ctrl+Z, Command+Z on a Mac to undo that modification. So we're back in RGB. Let's go back up, Image>mode, and CMYK Color once again. This is the kind of thing you have to do when you're trying to decide what to do with your blend modes, when you're converting between color models. In this case, I'm going to say, you know what, I got to Rasterize that smart object.

I've got to convert it to pixels, so we keep the Lens Flare effect. Then the question becomes, do you want to go ahead and keep your layers. I'll say OK. It's telling me I'm losing an adjustment layer. So I have to figure out what that is. Is it that Levels layer right there? Is it, I think there is Brightness Contrast layer in there someplace? So I'll go ahead and click OK. Sure enough that darken layer went away. So I lost my levels. I'm keeping my invert layers; that's interesting. I'm keeping my Lens Flare Effect this time. That's nice. I still have this strange thing around the light bulb. I'll go ahead and twirl open my future stuff layer right there.

I didn't lose this brightness contrast layer, but it wasn't applied either. So it wasn't turned on. Notice this invert layer right here. If I turn it off, then we have this extremely bright parchment and I just want to show you something. If I switch over to the Channels panel now, and click on the Black channel, there is barely any black associated with that parchment. Invert, I was telling you an Invert adjustment layer is going to invert on a channel by channel basis. So when you invert this Black channel, you're going to do so with a disastrous effect. You're just going to wipe out the luminance inside of this channel.

It's going to turn absolutely black. Then you're building the stars and the other stuff on top of it, but that means you're starting with a very dark layer in the first place. That's one of the reasons that this image is darkened up so considerably. All right, so I'll switch back to CMYK, the CMYK composite. I'll go ahead and turn invert back on, that invert adjustment layer. But I'll double-click in an empty portion over here on the right-hand side to bring up the Blending Options. I'll turn it off inside of the Black channel, so we're not inverting the contents of the Black channel. That fares better.

Now I'm not going to tell you that that's a good match. But it is a better match than what we had before. All right, but that's still not a good match. So I'll press Ctrl+Alt+Z a couple of times to back step to the RGB image. So what would appear, I'm going to have to flatten a few layers here. I'm just going to go ahead and grab darken, because I know otherwise I'm going to lose it. So I'll click on it, and I'll Shift+Click in the Background. So this entire range of layers, including this future stuff group right there, I'm going to fuse it together by going up to the layer menu, and choosing Merge layers, or pressing Ctrl+E, Command+E on the Mac.

That goes ahead, and creates a fusion of just about everything inside of this composition, except for the light bulb elements, because I want to show you something there, and of course, the text elements as well, because we want to create that overprint. All right, now I'll go up to the Image menu, choose mode, and choose CMYK Color. Photoshop is still going to give me a hard time about something. Changing modes can affect the appearance of layers. Well, yeah, we are pretty familiar with that by now. Don't flatten however, so click on the Don't Flatten button and that's not bad. Look at that.

This is the RGB version of the image and this is the CMYK version of the image. That's as close of a match is we're going to get, because we're switching from these richly saturated RGB colors to CMYK where those colors are effectively out of gamut. However, we do have a problem with the light bulb. Notice that we can see the rectangular edges around the light bulb. I'm going to explain why that's happening, how to fix that effect, and how to overprint your text in the next exercise.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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