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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.
I expect most of you have seen Andy Warhol screenprints of Marilyn Monroe and Elvis and other celebrities. It's a style that was reprised by the Rolling Stones for their album 'Some Girls' and we can now see how we can re-create this effect. It's very garish, very in-your-face and we can get away with being quite sloppy when we do it, so we can do it quite quickly. This is a starting point. First thing I am going to do is convert the image for For Smart Filters. And I am going to do that because the next thing I want to do is apply a Halftone Pattern, so I am going to come down to the Sketch group, Halftone Pattern, and I wasn't paying attention when I went there, because I have got this color, which is not what I want.
I need to make sure that my foreground color is black because I want Halftone dots that are black. So back to my Sketch > Halftone Pattern, press Ctrl+0 or Command+0 to have that fit-in window, and you now need to find the right combination of size and contrast. We definitely want a dot as the pattern type. I don't want too many dots that my image becomes obliterated, but I do want the dots to be clearly discernible as a Halftone dot, so this should look like a really rough Halftone.
And I want quite a lot of contrast, so that the areas of the skin have very small or no dots whatsoever. So I am going to go right about there. So it's Size at 2 Contrast at 25. Because I'm applying this as a Smart Filter, I can come and revisit the amounts that I have applied and tweak them if necessary. Next thing I am going to do is change the Blend Mode of this layer to Multiply, and I am going to do that because we are now going to put layers of color beneath this, and we want this layer to multiply on top of that color.
So I am going to Add a new layer beneath that, and I have lined up the colors that I am going to use on my Swatches panel right here, so I selected them from the Swatch and then moved to an empty area on my Swatches panel and clicked with my paint bucket to add them in a row. And that's going to be useful in case I need to revisit those colors to paint in the areas. I'll choose my Brush tool now. I want to make sure that my brush hardness is taken down to 0, and I am going to start out with the hair, now okay.
Now we need a new layer, Command+Click or Ctrl+Click on to create new layer. I am now going to use this pink for the skin, and I noticed that my Brush Blend Mode is set to Overlay, so that's not going to work. I need to set my Brush Blend Mode to Normal. I could make a selection and then fill that selection with the color, but I find it a little bit more tactile to just paint in the areas that I want. Okay, now I need some lips.
New layer, Command or Ctrl, close a very deep red for the lips, and because we have the image layer above set to Multiply, the tonal values of the image layer are showing through. So the Halftone dot pattern is showing through on to the color. And then we need some-- she doesn't have eye shadow, but I think she needs some, and the eye shadow is going to need to move up in my layer hierarchy. It needs to be above the skin. You can see that I have left the eyes white and there's our finished version.
There are a couple of variants of this technique. One, is to instead of use the Halftone Pattern Filter, use the Threshold adjustment, all right, down there, which is going to give you all black and white pixels. It's going to be a very harsh result. You are not going to see any of the implied tonality that we have with the halftone dot. A third version would be to work on a copy of the image and convert it to the Bitmap Color Mode, which is right up there.
You have to go first through the Grayscale Blend Mode in order to get there, and as you copy it to Bitmap, make it into a Halftone Pattern and then copy the result back into your composition. And that's just going to give you a slightly different quality of Halftone dot. As I mentioned that the start of this movie, we converted the layer for Smart Filters and that filter exists as a separate entity beneath the layer itself and the great advantage of that is I can now revisit the amount of Halftone Pattern that's been applied, and perhaps I will decide that we need a bit more contrast, so I am just going to up the Contrast there, or I can come back and change my mind on this as much as I like, but I think that's a slightly improved result.
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