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Photoshop for Designers: Color
Illustration by John Hersey

Mapping an image to a color look up table (CLUT)


From:

Photoshop for Designers: Color

with Nigel French

Video: Mapping an image to a color look up table (CLUT)

In the previous movie, I created this very stylized image of a lighthouse using the cutout Filter and bunch of other tricks and in this movie, I am going to do something very similar but with an extra twist. Let's imagine that this is part of a series and in all of the images in this series, I want to use this same color palette. So there is some repetition here, so I am not going to go into every thing I do in this version, just the stuff that's new.
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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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Photoshop for Designers: Color
5h 18m Intermediate Jan 04, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Defining color terms
  • Using Kuler to create color palettes
  • Understanding additive and subtractive color
  • Understanding color management
  • Using the Levels, Curves, Auto Tone, and Auto Contrast adjustments
  • Color correction
  • Selecting color—from the Magic Wand to Color Range
  • Neutralizing blacks and whites with blend modes
  • Matching colors
  • Saturating and de-saturating colors
  • Increasing saturation with Vibrance
  • Designing with spot color
  • Colorizing images
Subjects:
Design Color Design Techniques
Software:
Photoshop
Author:
Nigel French

Mapping an image to a color look up table (CLUT)

In the previous movie, I created this very stylized image of a lighthouse using the cutout Filter and bunch of other tricks and in this movie, I am going to do something very similar but with an extra twist. Let's imagine that this is part of a series and in all of the images in this series, I want to use this same color palette. So there is some repetition here, so I am not going to go into every thing I do in this version, just the stuff that's new.

So I am going to now consolidate my view so I can see just this one image. Now this begins as the other one did as a photograph. Photograph looks like that, not a very remarkable photograph but it can only get better. So what I have done is I have -- let me just break it down for you. I've got a solid layer of color and then on top of that I have photograph itself but with the Cutout filter applied to it and also the colors have been shifted and there is a layer mask right there which is allowing us to see solid color sky beneath.

Just as a minor improvement, I have added a Levels adjustment layer which brightens up this church and then some type on the top. Now what's the new bit? The new bit is I want to use the same color palette that I used in the previous one and that I am supposing is going to carry through in a whole series of images, so I can tie them altogether by using the same color palettes. Well, here is how I went about it.

Going to this first image which sort of sets the pace for the rest, I went to the Save for Web & Devices and then we come up with this interface. Now what we are doing here in Save for Web & Devices is something that wasn't entirely intended for. This is a very much a byproduct of its intended use, and that is we are going to create a color lookup table from this image.

We need to make sure that the file format that we are working with is either a GIF or a PNG and doesn't really matter which. I am going to go with the GIF since that's what it gave me and here, Color Table, I need to come to this drop- down menu and choose Save Color Table. If I wanted to, I could limit the number of colors but even though 256 sounds like a lot. It's very few really. So I am not going to do that, or look we can even sort them. Let's sort them that might be useful.

Certainly it won't do any harm. Sort by Hue and then I am going to choose Save Color Table and I choose where I want to save my color table to. So I am going to come to Chapter 09 which is the photo we are currently working in and I am just going to call it clut, color lookup table. That's going to have the extension, ACT. I will click Save and my work in this dialog box.

Its interface is now done. Because of the screen resolution, I'm working at my Cancel button is hidden out of my view. So I'm just going to have to press Command+Period or Ctrl+Period and that will cancel out of there. Now I come back to the image that I am working with and what I want to do here is turn on just my original photo layer and then I am going to come to the Image menu and I am going to duplicate this image and I only want to duplicate that one layer.

So I am going to check Duplicate Merge Layers Only. And now I am going to come to the Mode menu and to Indexed Color and the palette that I want to use to index the color, to index it to a limited color palette of up to 256 colors. I am going to choose Custom, and then I am going to choose Load and you can see where I am going with this. I am going to choose the Color Lookup table that I just saved and then open that and then you are going to see the colors shift, not tremendously; the original color palette wasn't a million miles away form the one that we are working with.

We have got some very nasty posterization happening in the sky, but that doesn't concern me because we're going to be masking out the sky anyway. So I will click OK to that, click OK again. Now I am going to Select All, Command+A Ctrl+A, and I am going to copy that and I am going to copy it back into my original document, Command+V or Ctrl+V. So it lands right there, I can turn off the original background layer and now I am just going to sort of reassemble things with the elements that I already have, because the rest is repetitious from what we did in the previous movie.

But I want to apply a cutout to this and I have already got a Cutout filter applied to this layer. So I am just going to copy it. I am going to hold down the Alt key and I am going to drag it on to there and it won't work because I first need to convert this layer for Smart Filters. Having done that, drag that filter holding down the Alt key on to my now Layer 7 and that's what it's going to look like. So it's going to dramatically change the appearance, but it's working with the colors of the Color Lookup Table.

I also need to borrow the layer mask that was applied to this original layer. I am going to hold down the Option or Alt key, I am going drag that down on to there, and then we can turn on the sky layer that we have already beneath Layer 7 and I will turn back on that levels adjustment, just to brighten up the church tower and everything is back as it should be. Now let's say that there is an element in here that perhaps we need to adjust the color off; we don't want to have to be a slave to the Color Lookup table or at least we want to be able to decide exactly what colors go where.

Then we can come to the Swatches panel and from the Swatches panel, what I am going to do is I am going to load the swatches and then I am going to the Color Lookup table and we can load those 256 colors as swatches. I will click Open and you know what, rather than load, I want to replace because I want to get rid of all the original color swatches. I am going to come back there and choose Replace instead.

Should I need to make any tweaks and remember, we organized that color lookup table by Hue? That's rather interesting, isn't it rather useful for us. I am going to come and click, sample that particular color. Unfortunately, it doesn't identify which one is up here. But I would like a slightly bluish sky. So I am going to choose that color and then come down to my sky layer, Alt+Delete or Option+Delete. Oh, that's a bit too much on reflection.

So let's go back to that one, much better and there is a finished pace and I'm now going to close that and go back to my arranged documents and I will see these two side-by-side and since we are working with the same limited color part for both, hopefully, they will both look like they're from the same stable.

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