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Creating an Andy Warhol look

From: Photoshop for Designers: Color

Video: Creating an Andy Warhol look

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.

Creating an Andy Warhol look

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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This video is part of

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

75 video lessons · 17716 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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