Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Creating a faux-color, high-key effect

From: Photoshop CS6 One-on-One: Advanced

Video: Creating a faux-color, high-key effect

In this movie, we're going to take this portrait shot from the Fotolia image library, about which you can learn more at fotolia.com/deke. And we're going to assign it a kind of faux color treatment and add a high key effect as well in order to create this variation on the image. And notice that her hair and sweater as well as her pupils and eyelashes are jet black, meanwhile her face and neck are very light, but none of the highlights are blown, in other words we don't have any flat areas of white inside the image. Now, strictly speaking this is not a duotone and yet we have achieved an image that has a high degree of color homogeneity.

Creating a faux-color, high-key effect

In this movie, we're going to take this portrait shot from the Fotolia image library, about which you can learn more at fotolia.com/deke. And we're going to assign it a kind of faux color treatment and add a high key effect as well in order to create this variation on the image. And notice that her hair and sweater as well as her pupils and eyelashes are jet black, meanwhile her face and neck are very light, but none of the highlights are blown, in other words we don't have any flat areas of white inside the image. Now, strictly speaking this is not a duotone and yet we have achieved an image that has a high degree of color homogeneity.

So I am going to switch back to the base image here and I am going to start things off by pressing the Alt key or the Option key on the Mac, then click on the Black/White icon and choose the Black & White command and I'll call this new layer B&W and click OK. And now I'm going to dial in some values. Now I want her face to be very bright, I might as well drag it over a little bit here so we can see what we're doing. And because we all, regardless of skin luminance, we are all orange people, we're going to resonate the most in the reds and the yellows. So I am going to crank that Reds value up to a 130 and I'll take the Yellows value up to a 100 and that takes care of most of our work where the skin is concerned.

Now I am not really seeing any Greens inside the image, so when you don't really see a color at all you can just zero it out or in my case just to see if there are any I'll go ahead and take that value through the roof here to 300, don't look like it makes any difference. So I'll tab on to Cyans value and take that value down a little bit and then tab over to Blues and take that value up to 300 so that we brighten the background. And then finally I want her sweater which is purple to go black, so I am going to take the Magentas value down to its lowest -200 and that's it. All right.

Now I'll hide the Properties panel. Now the next step is to dodge and burn what we've created so far, and that means that we have to merge our work onto a new layer. And anytime you want to merge all the visible layers onto a new one, you have to press the keyboard shortcut that's based on a shortcut that you can see in the layers menu. You'll notice this command called Merge Visible that has a keyboard shortcut of Ctrl+Shift+E or Cmd+Shift+E. If you choose that command you'll go ahead and merge those two images together. That's not what we want, so I'll press Ctrl+Z or Cmd+Z on the Mac.

Instead what we want is to add the Alt key on the PC or the Option key on the Mac to that same shortcut. So that would be Ctrl+Shift+Alt+E or Cmd+Shift+Opt+E on the Mac, and that goes ahead and merges those two layers onto a new one, and I'll call this new layer D&B like so. All right. Now I'll go ahead and grab the Dodge tool and I'm assuming that your settings are their defaults which are a Range of Midtones and an Exposure of 50%. If that's the case then you can go ahead and brush in on the highlights inside of the image.

So I am not just brushing indiscriminately all over the face, I am trying to limit my modifications to some of the lightest details. Because if you go nuts and just start brushing all over the place, which I am not, by the way, I am not trying to demonstrate that I am, if you start doing that though, then you will flatten the face details considerably. And we want to keep the volumetric detail; we just want to make sure to brighten things up a lot. And we'll fix some of those details using the Burn tool. In fact, we might as well select the tool now. Go ahead and click and hold on the Dodge tool and then choose the Burn tool.

And by the way, at the risk of overwhelming you with tricks at this point, I should point out that you can switch from one tool to another by adding the Shift key. So if I press Shift+O, I would switch from the Dodge tool to the Burn tool. Another way to do it is to Alt+Click or Opt+Click in the current occupant of that slot, so if I Alt+Click or Option+Click on the Dodge tool it will take me to the Burn tool. All right. So I am going to burn some of these shadows along the outside edges of her face like so in order to reinstate some of that volumetric detail, so her face still looks nice and rounded.

And I might actually paint a second time over this region here. Then we want to darken up the hair and sweater and those are very dark details already, but I want to fill them in. So I am going to change my Range from Midtones to Shadows. I am going to leave the Exposures set to 50% and then I'll start painting in her hair and you can see that that hair is just going jet black now. If you need to apply a couple of passes of the tool, by all means do. You can paint many times over these areas if you need to. Don't paint into her face though; try to keep your modifications in the hair and sweater.

And I'm painting all this stuff to black as you can see and then I am just going to make sure that the sweater is nice and black as well. All right, that looks pretty darn good. Now we need to bring back in the color, so I am going to press the M key to switch back to the Rectangular Marquee tool, I'll click on the Background layer to make it active and I'll press Ctrl+Alt+J or Cmd+Option+J on the Mac in order to jump this layer and name it and I'll call the copy of the layer color. And then I'll grab that layer and drag it to the top of the stack and I will change it from Normal to the Color Blend mode, and we end up achieving this effect here.

Now the only area where this is a problem is in the blue around the outskirts of the hair. So I'm going to press Ctrl+0 or Cmd+0 on the Mac to go ahead and Zoom out. I'll press the L key to switch to the Lasso tool, and then I'll press and hold the Alt key or the Option key on the Mac. Keep that key down as you click around the face like so and through this area of hair and down into this region. And then you want to dropdown to the Add Layer Mask icon and click on it, and that will go ahead and mask the color into that face region. All right.

Now we need to create the gradient for the background. So press the Ctrl key or the Command key on the Mac and click on that layer mask that you just created a moment ago. And then I want you to go up to the Select menu and choose Inverse or you can press Ctrl+Shift+I, Cmd+Shift+I on the Mac in order to select the area outside her face. I am going to press Ctrl+Shift+N or Cmd+Shift+N on the Mac to create a New layer and I'll call it gradient and click OK. I'll go ahead and select the Gradient tool which you can get by pressing the G key and then I'll press the Alt key or the Option key on the Mac so I temporarily have that eyedropper and I'll click somewhere inside the model's face in order to lift a skin tone color.

Then I'll go over to the Color panel and I'll slightly adjust my settings. I am going to change the Hue value to 25, then I'll raise the Saturation value to 45% and I'll take the Brightness down in my case to 75%. Then armed with the Gradient tool I'll go ahead and drag from the top of the image about midway down like so and release and that ends up covering everything up, fine. I'll press the M key to switch back to the Rectangular Marquee tool, press Ctrl+D or Cmd+D on the Mac to deselect the image and finally we want to change the Blend mode in the upper left corner of Layers panel from Normal to Multiply, and that will go ahead and burn that gradient into its background. All right.

Now I'll press the F key a couple of times to switch to the Full Screen mode and just to give you a sense of what we've been able to achieve here, I'll press the F12 key, this is the original version of the portrait shot, and if I press Ctrl+Z or Cmd+Z on the Mac, this is the faux color high key effect, thanks to a bit of Black & White, Dodge and Burn as well as the Color and Multiply modes here inside Photoshop.

Show transcript

This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19368 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Photoshop CS6 One-on-One: Advanced.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.