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Hue, saturation, and darkness

From: Photoshop CS4 One-on-One: Advanced

Video: Hue, saturation, and darkness

All right, our next order is to offset this text here, both the quote at the top of the book cover and we're just interested in setting off the blue text right now. Also, the name of the legendary author down here at the bottom, Vatsuf Javbar. We're told that it just has to leap off the jacket. So, we're going to create some darkness; actually, we're going to apply a combination of Hue, Saturation and Darkness in order to create a dark area behind just the blue text as I say. All right, I've gone ahead and saved my changes as this document Blurry type.psd and I'm going to hide the Adjustments palette for a moment so that I can navigate more freely here. I'm going to switch to the Brighten screen layer right there. I want it to be active and we're going to add a Hue/Saturation layer that's going to achieve the effect we're looking for.

Hue, saturation, and darkness

All right, our next order is to offset this text here, both the quote at the top of the book cover and we're just interested in setting off the blue text right now. Also, the name of the legendary author down here at the bottom, Vatsuf Javbar. We're told that it just has to leap off the jacket. So, we're going to create some darkness; actually, we're going to apply a combination of Hue, Saturation and Darkness in order to create a dark area behind just the blue text as I say. All right, I've gone ahead and saved my changes as this document Blurry type.psd and I'm going to hide the Adjustments palette for a moment so that I can navigate more freely here. I'm going to switch to the Brighten screen layer right there. I want it to be active and we're going to add a Hue/Saturation layer that's going to achieve the effect we're looking for.

I could go back to the Adjustments palette and plow through everything up there, or I might as well work the old school way, it still works. Press and hold the Alt key or the Option key on a Mac, click on its Black/White icon and choose Hue/Saturation. Because you had Alt or Option down, you'll see the New Layer dialog box. Notice Photoshop goes ahead and automatically opens the Adjustments Layer but it's showing us the Levels options because the Levels layer is active right now. We don't have to worry about clicking this left-pointing green arrowhead to switch back or any of that jazz. We can just enter Color spin and click OK, because we are going to be spinning the colors.

In fact, let's spin them now. I'm going change the Hue value to -180 to spin the colors all the way around the wheel or halfway around the wheel, I should say. You can change this Hue value to - 180 by dragging the slider triangle all the way to the left or all the way to the right. It's totally up to you. You will get the same effect. Then I'm going to take the Saturation value down to -50 here, and that's it. Now I also want to darken things and I could try darkening with the Lightness slider, but I don't want to work that way because that's sort of like pummeling the image with a hammer, essentially. I mean we're making the lightest highlights very dark when we do this and I'd rather take a more new honest approach. So, let's leave the Lightness value set to 0 for now.

Next, in order to darken things up real good, I want to change the blend mode. So better than changing the Lightness value here, in fact, let's just go ahead and hide the Adjustments palette. I'm going to change the blend mode assigned to Color spin to the best darkening blend mode there is, which is Multiply, which we applied to the shadow layer in an earlier exercise, and now we're going to apply to this layer in order to darken up those tones in the background. It looks great. All right, now let's add a layer mask because we need to relegate this darkness to just the areas behind the blue letters. So we don't want this mid range of the image to be this dark, by clicking at the Layer Mask icon down here at the bottom of the Layers palette, there it is. Now I want you to go ahead and grab your Gradient tool, which you can get by pressing the G key, if you like, and you may see different options selected up here.

I am working from that real girl gradient; actually, it's the one that's selected here in the list. You can click on a different gradient to select it or I want you to see a few keyboard shortcuts that you should know if you're working with the Gradient tool on a regular basis. First of all, you can cycle through gradients by pressing the Comma key to go backward through the gradients, or the Period key to go forward through the gradients. Now why is it Comma and Period, because of the Less Than sign there and a Greater Than sign. So Comma takes you one direction, Period the other.

If you want to go to the first gradient, which is what I want you to do, press Shift+Comma and then Shift+Period would take you to the last gradient. But I want Shift+Comma for the first gradient and I also want to change the style of gradient. Notice that it's currently set to this guy here, for me, for you probably it isn't, but mine is set to Angle Gradient for whatever reason. I can click on Linear Gradient, which is what I want, or I can change the style of gradient by pressing a Bracket key. So [ takes you one direction,] takes you the other. I want to go this way or the Linear Gradient.

All right, I'm ready to go. I'm going to scroll to the top of my composition here. Go ahead and press the D key in order to establish your default colors here inside of this layer mask. Press the Shift key in order to constrain the angle of your drag-release and we've created a white to black gradient as you can see represented right here inside the layer mask called Alt+Click or Option+Click on its thumbnail. You can see its white at the top, black at the bottom. Why in the world does that make sense given if I Alt+Click or Option+Click again, that it's dark at the top and light at the bottom, once it's applied to the effect. Well, the effect is multiplied in where it's opaque, which is the white area, that's going to be darkness and where it's transparent, the black area, that's where it's going to be lightness.

All right, let's go to the bottom here and do something similar, but first we need to change the style of the gradient. I want you to press the Period key to advance to the next gradient, which goes foreground to transparent right there, white to transparent. Then I want you to drag from just above the letters, like so, to about this point right there and I'm pressing the Shift key once again. This is roughly the horizon line below the drive-in movie screen and I'll release. Make sure that you hold the Shift key down until after you release.

One more thing that I want to do, it's kind of silly that we're darkening on top of a brightening layer, so we are to use the same mask to mask the contents of the brightened layer too, except we're going to need an inverted version of the mask. We're going to need this area, this black area to be bright and this white area to be dark. That means turning the mask on its head. But first, I want you to press and hold the Alt key, Option key on the Mac and I want you to drag that layer mask thumbnail and see how my cursor looks like two arrows right there. That shows me that I'm going to clone the mask, because I have the Alt or Option key down, then release your mouse button in order to perform the clone and then release the Alt or Option key, then click on this layer mask, the one for Brighten screen and press Ctrl+I or Command+I to invert it.

After all this and cautioning you that you should go ahead if you can, and are you working inside of a layer composition to apply inversion as an adjustment layer. Why did I just invert by pressing Ctrl+I or Command+I which is the same as going up to the Image menu, choosing Adjustments and choosing the Invert command, which is a static modification. Well, when you're working inside of a mask, you can't put layers into masks. So masks can be assigned to layers, but layers cannot be assigned to masks. So you have to perform static modifications inside of masks and channels as well.

All right, so there it is and the great thing is now this is much darker than it was before behind this type right here, and just to give you a sense, I'll press F12 in order to revert the image to the way it appeared when we first started this exercise. This is the before version of those blue letters, this is the after version, and they are much, much darker where that is to say the area behind him is much darker, thanks to this mask Color spin layer and the inverted version of the mask applied to Brighten screen.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23903 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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