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Create a metallic print effect

From: Photoshop for Designers: Color

Video: Create a metallic print effect

In this example I want to show you how we can use a Spot Color channel to create a metallic effect. Now of course we're not going to see as metallic on the screen. It's just going to be a simulation. But we're going to prepare this document so it can be printed using a Pantone metallic ink, specifically PANTONE 877. Before we go any further I need to convert this from an RGB image to a CMYK image. Even though I'm using a color managed workflow, there is some potential for confusion when working with Spot Color inks, so I'm going to actually do the conversion which is rare for me because I like to use color managed workflow and retain my images as RGB, but in this case I think it's a good thing to do.

Create a metallic print effect

In this example I want to show you how we can use a Spot Color channel to create a metallic effect. Now of course we're not going to see as metallic on the screen. It's just going to be a simulation. But we're going to prepare this document so it can be printed using a Pantone metallic ink, specifically PANTONE 877. Before we go any further I need to convert this from an RGB image to a CMYK image. Even though I'm using a color managed workflow, there is some potential for confusion when working with Spot Color inks, so I'm going to actually do the conversion which is rare for me because I like to use color managed workflow and retain my images as RGB, but in this case I think it's a good thing to do.

So I'm going to go to the Edit menu and choose Convert to Profile, rather than Image mode and then CMYK. Doing it this way I get the option of choosing the specific profile, as well as, the specific rendering intent. Most of the times the default options, assuming that you have your default setup correctly are going to work just fine, but it's worth experimenting with the different rendering intents. And the one that looks the best is the one that's the best one for the job.

Now Absolute Colorimetric does give me more contrast, is that a good thing? I'm going to say that it is in this case. So I'm going to go with Absolute Colorimetric, and then I want to actually apply the Spot Color channel, now I already have an Alpha channel prepared. So I've made a selection and I've saved it, and now I'm going to make that selection into a Spot Color channel. I will Command+Click or Ctrl+Click on Alpha 1. That selects the shape of the swan.

I actually want to inverse this so that I apply the Spot Color to the background. So Select menu and Inverse, and then from the Channels panel, I'm going to choose New Spot Channel, and it remembers the last time I went to this, I chose PANTONE 877, but that won't always be the case, so I'm just going to go through the whole procedure, click on the Color Swatch to take you to your Color Libraries, your metallics in the PANTONE Solid Library are all the way down at the bottom.

If you know the number that you want, in my case it's 877, just type that in, Click OK, and then you can adjust the Solidity 100%. It's going to mean that the ink will print flat obscuring any tonal values beneath it. And I'm going to reduce that to 30%, so that we bring in some suggestion awfully ripples in the water. So there is our metallic effect, and I would now need to make sure that this gets saved in the Photoshop file format, and that we have Spot Colors checked here, so that the Spot Colors are saved with the file.

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This video is part of

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

75 video lessons · 17257 viewers

Nigel French
Author

 
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  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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