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Overprinting black text

From: Photoshop CS5 One-on-One: Mastery

Video: Overprinting black text

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.

Overprinting black text

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.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43700 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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