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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I've saved my progress as CMYK issues.psd, found inside the 28_blending folder. We are indeed working in the CMYK mode. I've had to fuse together quite a few layers inside of this image in order to make the transitions work. We still have a problem however. Notice this big rectangular area around the light bulb scan, and I'm going to go ahead and twirl-open the lightbulb group right there. That's that sharpie lines item. If I turn it off, you can see that the light bulb's doing fine, and the little burst inside of the light bulb's looking pretty good as well, but those sharpie lines are not faring so well.
Now, you might wonder why. They're black, right? So, we had already made the background black, and when you set black to any of those quality lightening modes, whether we're talking about Screen or Color Dodge or Linear Dodge, it's going to drop out and become transparent. And that's true. So, why when I choose Screen does the effect remain? I can still see that area of black. When I advance to Color Dodge, it's a problem, and when I advance to Linear Dodge, it's still a problem, what's going on there? Now, one of the things you could do here is you could press Shift+Alt+N or Shift+Option+N on the Mac in order to switch the layer back to the Normal mode.
Then I'm going to press the I key to get my eyedropper. I'll bring up my Color panel here. I'm going to switch over to my CMYK sliders. You'll see here that currently for whatever reason, I've got my colors reversed, my foreground and background colors reversed. So I'll press the D key in order to establish the default colors. Notice that black; whereas when I see it as an RGB color, it's 0, 0, 0, so it's absolute black. When I switch over to CMYK, it's not quite absolute black. It should be 100 across the board, so 100 for all four values.
Now, of course, if we actually assigned that dark of a black, it would be beyond a commercial printer's ability to reproduce it, because there would be too much ink on the page, and the inks would actually run. However, for purposes of blend modes, you need absolute black, or you're going to see a little bit of lightening out of those lighten modes. So, let's check out what the color of this black is. I'll go ahead and click on it. Sure enough, we do not have a 100 for a single value here; we've got 93 for Cyan, we've got 68 for Magenta.
That's really light. We've got 67 for Yellow, and we've got 90% for Black. So that means when we go and set this back to Color Dodge, which is where it was before, we're getting residual lightness out of some of the color channels. So if I switch to the Cyan channel, we're barely seeing that rectangle, because Cyan's pretty dark. But when I switch to Magenta, we're really seeing it because Magenta is pretty darn light. So, what we need to do for this layer, watch this, this is going to totally take care of the problem, is we'll go back to Layers panel, make sure the sharpie lines layer is active there, and then I want you to go up to the Image menu and choose Auto Tone.
You may recall that that'll go ahead and snap the darkest color of the layer to black on a channel-by-channel basis. As soon as I choose that option, the effect goes away. So, just something to bear in mind, when you're working inside of CMYK and you're working with things that you think are black, and you're applying lighten blend modes and you're still seeing the effects of that blackness, the reason is because it's not quite black, go ahead and choose Auto Tone from the Image menu and you should be fine. Anyway, another reason we're here is I want to show you how to overprint black.
So I'm going to go ahead and zoom out, and I'll scroll down to the bottom of the image, so I can see that Work in outer space layer right there. If I switch over to the Channels panel, you'll notice that the text is showing up in every single one of the channels. So, we see in the Cyan Channel, the Magenta Channel, the Yellow Channel, and the Black Channel. What that means is that if there's any lack of registration between the Channels, when we commercially reproduce this document, then we're going to see a little bit of color haloing around the letters.
So, what you typically do to eliminate that, if we were in a different program like Illustrator or InDesign, you would set your black text to overprint. Well, that's not a direct option inside of Photoshop, so here's what you do instead. Switch back over to that Layers panel and you might think the thing to do is to go ahead and define the blackness of the text differently. So, for example, I'll go ahead and select my text, I'll switch to the Type tool by pressing the T key, and then I'll go up to the Options bar, and I'll click on the color swatch.
So, instead of dialing it in as this mixture of black, every time, it seems to be a little different here. I'll dial it in as 0% Cyan, 0% Magenta, 0% Yellow, and 100% Black, so that we can then take that blackness and overprint it on top of the other channels. So, I'll click OK, we get what's known as a weak black, incidentally, but that's fine because that's the kind of black you need for overprinting purposes. Then I'll do the same thing for the border effect right there. I'll double-click on that Stroke in order to bring up the layer Style dialog box.
I'll click on the color swatch and I'll dial in 0, 0, 0, and 100 for my CMYK values. Click OK, click OK, and we're out. Problem is that doesn't look like overprinting because that blackness looks pretty light down here at the bottom of the image. Sure enough, if I switch over to the Channels panel, I do have black text, absolutely black text in the Black Channel, but then when I go to the other channels, I don't have any text appearing inside the Yellow Channel. I have a knockout showing up here inside the Magenta Channel and I have a knockout, a very obvious knockout here inside the Cyan Channel as well.
Well, we are knocking out in Yellow, it's just that this area is very light in the Yellow Channel, so we're not seeing it. All right, what we need to do is an overprint so that we don't knock out specifically inside the Cyan and Magenta Channels, but we'll turn off Yellow as well, and here is how you do it. Click on CMYK once again to make it active, so you're seeing the color composite image. Let's go back to Work in outer space, and if you've got a blank area over here on the right-hand side, double-click on it, or you can right-click on the layer and you can choose Blending Options, or if you loaded dekeKeys, you can press Ctrl+Shift+O, Command+Shift+O on the Mac.
I'll just go ahead and choose Blending Options, and for the text, I'm going to turn off the Cyan Channel, turn off Magenta, and turn off Yellow. Now, before when I was showing you that in a previous exercise, we actually turned off the wrestlers here inside of the Blue Channel, they disappeared and things became lighter. In our case, when we turn Cyan, Magenta, and Yellow off, the text becomes darker. So, watch the text, I'm going to turn off the Preview check box for a moment. That's how it looked when we first arrived inside this dialog box just a moment ago, light text. Now it darkens up, thanks to the fact that I turned off those channels.
Well, that's because I'm turning off the Knockouts. So, the white of the text that we saw on those Channels is disappearing, and we're only seeing the black of the text, which is the only ink that we have assigned to our text you may recall, we're only seeing it in the Black Channel. So, I'll click OK to accept that modification. I need to do the same thing for my border layer. So I'm going to select that layer and press Ctrl+Shift+O or Command+Shift+O on the Mac. I didn't have to do this separately for each one of these layers because they're contained inside of a group. I'm going to cancel out here.
In fact, I'm going to go ahead and undo that last modification. I'll choose Undo Blending Options, or press Ctrl+Z, Command+Z on the Mac. That will reestablish my light text with its dropouts intact. Let's go the text elements group, double-click on it, and you can see how we have a much smaller Group Properties dialog box available to us. Instead of all those Blending Options, they all disappear except for my Channels check boxes. I'll turn off Cyan, turn off Magenta, and turn off Yellow, and that gets rid of the Knockouts for both the letters and the stroke. Now I'll click OK.
So, just the K check box is turned on, click OK, let's go the Channels panel and check our work. Sure enough, if I go to the Cyan Channel, that stuff is disappeared, Magenta, it's disappeared, Yellow, we couldn't see it in the first place, but it's disappeared, Black, there it is. So, it's going to overprint, and that's going to ensure a couple of things: we're not going to have any registration issues with that text, and we're not going to have any trapping issues either. So, everything is going to look great. Switch back to CMYK, and that is the final version of that composition, thanks in part to our ability to hide the effects of layers inside specific channels.
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