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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.
Here I'm going to create a Duotone. The Photoshop Duotone color mode encompasses Tritones, Quadtones as well as Duotones. Tritones, being three inks, quadtones being four inks and a duotone being two inks. A duotone is essentially a grayscale image. It has one channel, so it's economical in terms of its file size. The reason that you might want to work with a duotone is if you're working with a budget print job and you're printing in only two colors or possibly three colors.
If you're printing in four colors, you can get some interesting affects with the quadtone that you can probably get those effects more easily retaining the image as an RGB or CMY image. To get to a duotone you'll notice that under the Image menu the Duotone color mode is actually dimmed. We have to first go via the Grayscale color mode and the best way to get Grayscale as Photoshop is about to remind me is not to go directly to a Grayscale conversion but rather to use the Black & White adjustment layer.
So, I'm going to Cancel that and then I'm going to come to my Layers panel and I'm going to add a Black & White adjustment layer. And this gives me the benefit of being able to mix the original colors of the image to control the contrast of my resulting grayscale. Now, if I just turn off that Black & White adjustment layer, you can see that we got some blues and cyans in there. So, I'm going to go to my Cyans slider, and I'm going to bring this over to the left, and you can see how that adds more contrast and I also do the same for the Blue.
So, now that I've got a good looking Black & White image, I can go to the Image menu and choose Mode and then convert to Grayscale. Changing modes will discard an adjustment layer; change mode anyway? Now, if I click OK this is a rather confusing warning message I think. If I click OK, it's just going to discard that adjustment layer like it never happened, which is not what I want at all. So, what I want to do is Flatten so that it incorporates that adjustment layer. Discard color information? And it's telling me to do something that I've already done.
So after a while you'll want to definitely check, Don't show again for this warning box, but now I'm going to choose Discard, and we have a single channel gray image. Now that it's a single channel image, I can go to Duotone, and I can choose one all of my Duotone Presets or I can just click on my second, or if I want to make it a tritone, my third and my fourth color, I am going to -- first of all let's have a look at a quadtone.
Now, it's a bit difficult to tell from these presets, which are the quadtones, which are the tritones and which are the duotones, the majority of them are duotones but the CMYK, are as the four ink colors would suggest, these are all quadtones. If I choose one of those, that's what we're going to get. So, the whole premise of a duotone, tritone or quadtone is that you get an expanded tonal range, because you have not one ink, but you have two, three or four inks.
You can't direct where the ink goes to, in terms of what areas of your image, you can only direct what tonal range is it goes to. If you want to direct what areas it goes to, then you need a Spot Color channel as I discussed in the previous movie, and we will be discussing some more in upcoming movies. But you can click on any one of these curves and you can affect the curve. You can pull it around like so, or because these curves operates slightly differently to the curves you may be used to, as the curves adjustment, you can do this numerically.
So, if you want to bring down the amount of ink at the 60% mark, you can just type in the number that you want right there. That's actually quite an interesting effect that I've gotten there unwittingly. I was going to say that the next thing I would do, would reduce that one so that we have a more standard shape of curve. So, you can experiment with those, you can also change to any color ink that you like, you just click on the color swatch and choose the color that you're after.
Bear in mind that if this we're going to be incorporated into a CMYK print job, if you were to add spot colors here, then you run the risk of incurring additional printing expense by adding an extra Ink. What I'm going to do though in this scenario is I'm going to assume that using this image in a publication that has the ink, as the second ink color pantone 144, which is an orange, and up here there is a preset for PANTONE 144.
I have four of them, and it's a little bit counterintuitive I guess, but the lover the number, the more of the second color that you're going to get. So, the first preset for 144 Orange, and that gives us a lot of orange and the fourth one gives us a lot less orange. So, I'm going to go with number 2 preset for the PANTONE 144. I can come tweak those codes if I wanted to, but I actually quite like the way that looks.
So, I'm going to click OK and I'm now going to Save this and when I save it, I'm going to save it in the Photoshop file format, and I'm going to call it duotone1 because I've got one in there already so I don't want to overwrite. Now, I'm going to place the image in an InDesign layout, and I just want to point out something that is important when working with Duotones. I'm going to select my empty picture frame right there.
Before I do so, we'll take a look at my Swatches panel. We can see that we've got the standard default color swatches on my Swatches panel, and when I place my duotone, I'm going to fit it to the frame. What we get is the second color that's used in that duotone appears on my Swatches panel. My point here being that if you're using a Duotone in this way, if you're using it as a part of a layout that's going to be put together in InDesign or Illustrator, you need to make sure that the color that you use for your duotone corresponds to the second color that you're in your layout.
And now that color is on my Swatches panel, I can use it on other elements in my layout.
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