Join Nigel French for an in-depth discussion in this video Using the Color Halftone filter, part of Photoshop for Designers: Filters.
The first of our Pixelate filters, the Color Halftone filter, simulates the effect of a color halftone. So, there's a simulation of the breakdown of the pixels into dots of cyan, magenta, yellow and black. That is, and this is the important point I want to make about this filter. Assuming that you convert the image to CMYK. And that's an important point, because if you apply this filter to an RGB image, you get a half-tone pattern made up of dots that are red, green and blue.
And that doesn't exist. I'm going to move over now to my starting image. And before I apply the color halftone filter, I'm just going to brighten it a little bit. Because applying this filter is going to make it look a bit darker. I'll convert it to a smart object. And let's just see how this will look if I apply the filter to the image while it's still an RGB image. So here's the Dialog Box. Maximum Radius, that's the size of the dot and these are the angles of the cyan, magenta, yellow, and black. You can change these angles.
Sometimes people use this filter to just have a black half tone dot. As an alternative to the half tone filter that's part of the sketch group. And if you were to do so, you'd have all four channels being the same angle. So when I Apply that and we Zoom-In, I'm going to double-click on my Zoom tool to go to 100%. You can see that the dot pattern that we have there is not an accurate reflection of how a CMYK half-tone will look.
And I'm going to now switch to a Two Up Vertical arrangement, and I will also put this document to 100% and we can compare the two. In the image that has been converted to CMYK, we have the rosette pattern and that's what we're after. We do not get that when we apply the filter to an RBG image. We need to come back to our RGB image. Let's Undo what we just did, and convert to CMYK.
And the best way to do that is actually using Convert To Profile rather than Image and mode. Convert To Profile gives you the chance of changing your destination profile. I'm assuming here that my Color settings have been set up correctly for whatever printing or screen circumstance I'm preparing these files. But I can see visual feedback on how it's going to look according to what rendering intent I use. Generally it's a tossup between Conceptual and Relative Color metric.
And I choose Color metric. There is a slight shift, I'm not sure one is better than the other. They're just slightly different. Whichever one looks best, that's the one to use. I'm going to go with perceptual I think. So we now have a CMYK image. Tells us that right there. Let's go back to our fit in Window view. The next thing I'd like to do before applying the filter is just open up the shadows a bit. And I'm going to do that through Shadows Highlights Adjustment. And since I've converted this to a small object, I can do that non-destructively, and it's going to act as if it were a filter.
I'll just use these values of opening up the shadows by 35%. Then to the Filter menu, color half tone, the last one we used. I'm going to use the same values again, so I'm going to just choose it, right there. And if we now look at that at 100% view size. And we see that rosette pattern, which is a farm more accurate simulation of how things would look when printed with a very course low number line screen half tone pattern.
- Understanding the importance of Smart Filters
- Sharpening with filters
- Creative use of filter blend modes
- Painting in the effect of a filter using filter masks
- Combining filters
Skill Level Intermediate
Photoshop for Designers: Textures (2011)with Nigel French4h 38m Intermediate
2. Sharpening: What Every Designer Needs to Know
3. Blurring for Effect
4. Artistic Filters
5. Brush Strokes Filters
6. Working with the Distort Filters
7. Effective Use of the Pixelate Filters
8. Using the Render Filters
9. Creative Use of the Sketch Filters
10. Working with the Stylize Filters
11. Using the Texture Filters
12. Creative Use of the "Big" Filters
13. Applying Camera Raw as a Filter
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