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Photoshop CS4 One-on-One: Advanced

Infusing elements with different colors


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: Infusing elements with different colors

As a final effect, let's say that we want to take this young lady's irises and we want to color them differently than the rest the image; we want them to appear sort of greenish blue, for the sake of contrast. We can even use this layer mask right here, that's associated with the Monochrome layer, that we created in advance a few exercises go. We can cannibalize it, repurpose it with these other layers. So here's how it works. I'm still working along. I've gone ahead and saved my changes as Gradient girl.psd. We need to clean things up a little bit, so that we have some room to spare in our Layers Palette, as we're working inside the Adjustment Palette in just a moment.
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  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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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Infusing elements with different colors

As a final effect, let's say that we want to take this young lady's irises and we want to color them differently than the rest the image; we want them to appear sort of greenish blue, for the sake of contrast. We can even use this layer mask right here, that's associated with the Monochrome layer, that we created in advance a few exercises go. We can cannibalize it, repurpose it with these other layers. So here's how it works. I'm still working along. I've gone ahead and saved my changes as Gradient girl.psd. We need to clean things up a little bit, so that we have some room to spare in our Layers Palette, as we're working inside the Adjustment Palette in just a moment.

So I'm to group our existing layers into pairs. So I've got sepiatone right now selected. I'll Shift+Click on B&W so both of those layers are selected. Then I'll go up to this little menu icon right there, click on it to bring up the Palette menu, and I'll choose this command, New Group from Layers. Brings up the dialog box and I'm going to call these two layers sepiatone, because really together they make up the sepiatone, even though that layer is already called sepiatone, I really don't care. I'm going to click OK in order to create that new group. Then you can twirl it open if you want to. It looks like a folder and it contains these indented files to show that they're inside the folder, and then you can twirl it close again, just by clicking on that triangle.

Now, I can take this Layer Mask and I can just drag it onto the group. That goes ahead and exposes the original colors of the irises. It moves the mask, so it moves it off of Monochrome, moves it onto the sepiatone group, so that it's affecting both sepiatone and B&W, which is very important. So we need a group to pull off that affect. Alright. This next group isn't absolutely necessary, but it's just going to help us tidy things up. I'm going to click on monochrome to make it active, Shift+Click on spooky, and then we'll go ahead and group these layers as well.

Another way to group layers is to just press Ctrl+G or Command+G on the Mac, groups them together. Awesome! Then you can name whatever you want. I'm going to call mine unused, like so, and now we've saved ourselves quite a bit of space inside of this document. Alright. The next thing that I want to do is I want to change the color of her irises, and I'm going to do that using a Hue/Saturation adjustment layer. So let's go to the Adjustments Palette, make sure the background layer is active, and then I want you to Alt+Click or Option+Click on that Hue/Saturation icon right there. That's bring up the New Layer dialog box, and we'll call this greenblue eyes, or something along those lines, and then click OK.

Now, I'm going to change the Hue value. Notice as I rotate the Hues what happens here. I can change the Hue value and I'm saying different Hues, different colors inside of her irises. Then at about this point things start to go really cafluey. We really start to darken up the image, and it gets pretty intense and creepy and stuff like that at 140, which is what I want. Now, why in the world is the image getting so dark? The answer is, because we've now really changed the colors that are being used by the B&W adjustment layer above them. So here, I'm going to go ahead just hide this unused layer.

Then I'm also going to hide sepiatone, so that we can see she has totally got a different color scheme going. As soon as B&W hits that; if we look at the B&W settings, we're telling it to really sort of darken up the Cyans, and we are hitting the Cyans at this point, her flesh is turning Cyan, so she is going very dark. I guess I could brighten Cyan if I wanted to, or I could retrieve my previous settings; actually, that's looking pretty good, I like that, or though, I could go ahead and retrieve my previous settings by doing this. This is pretty interesting what we're about to do.

I'm going to hide my Adjustments Palette, just so I have a little bit more room. I'm going to grab the greenblue eyes layer, and I'm going to Alt or Option+drag it, so I have my Alt key down, my Option key down on the Mac, and drop it onto the sepiatone group right there; don't drop it inside, drop it on it, like that. That way it will go to the bottom of the stack here inside of the folder. If you drag it to some other location, it will go to that location in the stack, but I want it at the bottom before B&W hits it. This is greenblue eyes copy, we're now going to rename this restore hues, and then I'll press the Enter key or the Return key on the Mac. Let's check out our settings in the Adjustments Palette, and I'll change this value to -140, and that goes ahead and reestablishes the settings we had before.

Now, I'll go ahead and turn off B&W by the way, and I'll turn off the sepiatone layer here inside this group. I'll Shift +Click on the Layer Mask to turn it off for a moment. Notice that we have gone ahead and established the original color scheme. So basically what's happening here is that restore hues completely cancels out greenblue eyes. So why in the world would we do that, why would we just cancel out one layer with another layer? Then of course B&W then traps it properly and goes ahead and creates the gray scale effect that we were looking for. sepiatone does its thing.

So how in the world were we able to preserve the colors of the eye still, and that's because this Layer Mask, if I Shift+Click on it in order to turn it back on, is affecting the entire contents of the folder, which includes restore hues. So restore hues is being masked in the eyes and therefore the greenblue eyes are revealed right there at that location. But as I say, I'm sort of looking at this effect going, gosh, I don't know about this, its okay, but it does have some posterization that I'm suddenly quite aware of here. I really liked the effect I had achieved just a moment ago, so I'm going to turn restore hues off. I'm going to go back to B&W; and this is the kind of stuff you can do with adjustment layers, you can just decide, I thought that was going to work but it doesn't really work the way I want it to. I'll just turn it off in case I decide to come back to, in case I change my mind.

Let's go to B&W and adjust its settings, because I can, and I'm going to raise that Cyan setting now to, let's say, 85, and we get this effect here, which I think looks really great. So now I'll go ahead and twirl close that folder, and this is the final effect folks. I think this is enough. I think we've worked inside of this project file enough now. I'm going to go ahead and fill the screen with this image. Doesn't she look awesome? Actually, let's bring back the Layers Palette, let's move her over a little bit so we can see her. I'll Alt+Click or Option+Click on the eyeball in front of the background layer. This is the original version of the image. Looks very good of course, very nice looking image. But this is the stylized version of the image, which looks even cooler, thanks to our use of several different adjustment layers working together, all nondestructively, all editable all the time.

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