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Photoshop CS5 One-on-One: Mastery
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Shading with color


From:

Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Shading with color

In this exercise we're going to paint in some colorful shading and colorful highlights as well using the Mixer Brush, which is quite the flexible tool inside Photoshop CS5. I've saved my progress as Shaded metallic head.psd. Now the head layer should be active and it should be locked as well, that is the transparency should be locked. What I would like to do now is lift a bright yellow from the image. However, I need to make sure that I'm lifting just a single color; I'm not the least bit interested in lifting some kind of color pattern from the image.
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  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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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Shading with color

In this exercise we're going to paint in some colorful shading and colorful highlights as well using the Mixer Brush, which is quite the flexible tool inside Photoshop CS5. I've saved my progress as Shaded metallic head.psd. Now the head layer should be active and it should be locked as well, that is the transparency should be locked. What I would like to do now is lift a bright yellow from the image. However, I need to make sure that I'm lifting just a single color; I'm not the least bit interested in lifting some kind of color pattern from the image.

I just want one color at a time. So I'm going to go up here to the Options Bar, my Mixer Brush is still selected, so I'll click on this down pointing arrowhead and I'll choose Load Solid Colors Only. And now I'll press the Alt key or the Option key on a Mac and I'll click in this hot yellow, right next to the robot's hand, in order to make that the active foreground color. And now using my pressure sensitive stylus once again, I just want to you to know what I'm painting with, but you should be able to have a fair amount of firm with this even if you're using a mouse. Go ahead and paint inside of the head like so and you're basically painting sort of a vertical area of color right there, all the way from the top of his head down to the bottom.

Next we want to lift some hot red so I am going to click and hold with the Eyedropper. That is Alt+Click and hold so I have got the Alt key down here on the PC, the Option key on a Mac, until I come up with a fiery red right there, so I want to something nice and bright. And then I'll paint next door against that yellow, so closer to the outside of his head, and up here as well. Now you may end up overriding any white that you painted. That's okay, because then you can follow that up by pressing the D key and then X key to make the foreground color white, and I'll reduce the size of my cursor a little bit here, and I'll paint along this edge.

And actually, you know what, if you need a hotter effect, if you want more of the foreground color at any point in time then you can switch this setting here from Very Wet to Very Wet Light Mix. So Light Mixes are going to favor the foreground color whereas Heavy Mixes are going to favor the existing colors inside the image. All right so I'll go with Light Mix and let's try that very bright yellow once again. I'll Alt+Click or Option+Click right there, and let's go with the small brush this time around and just paint our way up to the central area of the face, like so.

I think that's ending up looking pretty darn good. You can even add some yellow highlights here and there against the edges of his head, just to communicate the amazing amount of fire that's all over this guy. Let's add some more red, as well just around this area. I am painting lightly this time around because I just want to add a little bit of red here and there. All right, that looks pretty good to me. Now, let's add some redness to the eyeballs. That's got to be done; I mean with all these veins in here, he needs some redness. So I'll click on the white stuff layer.

Again, make sure given the nature of this piece, you don't want to just start painting into a layer like that, because you're going to paint outside of it. You are not going to respect its transparency by default. So what you need to do is undo that brushstroke and go and lock the transparency of that layer either by clicking on that little checkerboard icon or pressing the Slash key on your keyboard. And now I'm going to increase the size of my cursor and paint inside of the eyeballs, like so. Now I've accidentally painted some red into the white of the neighboring eye. That's okay, we'll take care of that in the second.

So I'll go ahead and paint some red down at the base of that eye, and with a smaller brush, so I'll go ahead and reduce the size of the brush by pressing the Left Bracket key a couple of times. Let's paint in some white. So I'll press D, X, once again default color, and then switch them and let's paint some white back into that area, like so. And then finally what you can do if you want to is you can smear these color around a little bit if you wanted to sort of change the positioning of the colors. And you can do that by sticking with Very Wet, but let's go with a Very Wet Heavy Mix so that we're working with the existing colors inside the image and you even say that you don't want to load the brush after each stroke.

So we're just painting exclusively with colors that already exist inside this image. Now I'll increase the size of my brush quite a bit, so notice I am just painting inward right there, and for some reason I'm leaving a kind of residue at that location, it's kind of interesting. That's not really what I want, and the same thing is happening here. I think what it's doing is it's duplicating the size and shape of the brush right there. And that does appear to be exactly what it's doing in fact so that's a little bit unfortunate. What we need to do instead is paint in some white into that area.

So let's go ahead and turn that Load Brush icon back on, let's go ahead and favor the foreground color this time, like so, and now I'll paint along this area in order to make those ridges go away. Unless you find the ridges attractive, there is a certain humorous quality I guess in having weird red ridges around the guy's eyes, especially if he's a robot. Anyway, let's go and switch now to the mouth layer, I want to make that guy active, and I want to paint in some shading inside of the tongue. So I am going to start off by Alt+ Clicking or Option+Clicking in this dark region of red up here in order to load a dark red, and I'll now increase the size of my cursor and I'll paint into the tongue area, having of course forgotten that I need to lock down the transparency so I'll press Ctrl+Z Cmd+Z on a Mac to undo that.

Press the Slash key in order to lock the transparency and you can see this little checkerboard icon right there is now active. Now I am going to go back into the tongue region and paint away like so, and if I need something darker then I'll press the D key in order to paint with black here, increase the size of my brush and paint just in the lower region like that. And that's looking pretty darn nice. Now you could certainly shade a bunch more of this image if you want to but the only additional change I am going to make is to paint a little bit inside the irises.

So I'm going to click on the eyes layer to make it active, press the Slash key this time to go and lock it down, you'll also see a little lock icon over here on the right hand side of the layer's name. All right, so this time I am going to, once again, lift a bright yellow. So I'll Alt+Click or Option+Click in that yellow region next to the hand and then I am going to reduce the size of my brush quite a bit and paint in some yellow. That's really not the effect I am looking for, I want to a bright searing bit of yellow. So I am going to have to switch to the Standard Brush tool by pressing the B key and I'll increase the size of my brush a little bit and I am going to switch my Blend mode from Normal to Screen.

So this time the Blend mode is not affecting the layer, it's just affecting the brush as I paint with it and what that's going to allow me to do is paint in a very bright area of yellow inside of this guy's eye, and if I want to make it brighter still I could paint over it a second time, like that. Now we are not getting much of a mix between the green of the iris and the yellow that I've just painted in so let's switch back to the Mixer Brush by pressing the B key once again, and this time I'm going to go ahead and favor the existing colors inside the image so I'll set this to Very Wet Heavy Mix, like so.

And now I'll just paint back and forth a little bit, just round these edges, as I am doing here with a small brush, notice that. Then I'll press the X Key in order to paint with white and let's see if I can paint in a little brightness inside of that eye to lift things up. I am not painting in any brightness because I've got this set to a Heavy Mix, which favors the existing colors. I've got to switch this to a Light Mix, like so, in order to favor the active color, the foreground color. All right and then finally I am going to press the D key in order to bring up black as my foreground color, and I'm going to paint the bottom of the irises like so and maybe the tops a little bit too in order to darken those guys up and give them more of a sculptural appearance.

All right, so that does it for me. You, of course are welcome to continue shading the collar and the hands and whatever else you want to using the new Mixer Brush here inside Photoshop CS5.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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