Bonus: Rothko and Workspace
I got a couple extra tidbits here that either you could probably consider bonus content or maybe, I don't know, maybe I wanted to put it in there and I just glanced over it 'cause we had a hundred lessons to go over and it just slipped my mind. (laughs) Either way you look at it, this bonus content is gonna be some tips and tricks that we kinda just missed along the way that I think are really important, that I don't want to leave you with without getting these things and understanding these things. So let's just go ahead and get started. We're gonna jump into Photoshop, and I'm gonna first set this up with talking about the interface of Photoshop. So, let's go all the way back to Lesson Number Three, where we talked about setting up our interface. Photoshop has three, four, four different interfaces that you can choose from as your background or your backdrop to Photoshop. You have white, you have like a medium white between medium gray, a darker medium gray, and then a dark backgroun...
d. Now, what I wanna point out about that is, if you go up to Edit and you go up to Preferences or, what was that keyboard shortcut, Control K, you're gonna see under Interface, here's where you can select what color you want as your background. Now I'm gonna just trip you up a little bit here with some color theory, okay? So what I've done is I've taken all of the different interfaces that you can have for Photoshop and I've done some color theory kind of studies on this. If you wanna look into a painter that does this kind of stuff, his name is Mark Rothko. He's a color field painter more in the modern era of painting, and what Mark Rothko would do is he would takes these giant swatches of color and put them on, put smaller swatches of color on these giant swatches of color, and we're talking like a canvas that might be 15 feet by 30 feet tall, huge canvases. It would just be one color on another color, and you're sitting there thinking to yourself, like, "This is ridiculous, this is really what we call "modern-day painting?" it's not until you experience it, until you see it, that you can actually appreciate what he was going for there, just looking at it on the computer really doesn't help. But all what the color field painters do is they look at how colors interact with other colors. The thing about this is if we look at these two different colors here, this color fill layer that we have on the top of this, and you can play around with this, 'cause I'll leave this as a .PSD document, just like this, so you can experiment with it. This color fill layer right here is the exact same color. It's not changing, you can see that it's a color fill with the masks. If we were to put this into full screen mode and allow you to see this, look at what's happening with this blue color when it's set to gray and look at what happens when it's set to this darker gray. Here it appears more bright, more vibrant, more intense. Here it appears more dull and actually closer to that gray background. Then if we go and do the lightest and darkest interfaces, look at the extreme difference that we have here. Here this gray-blue swatch almost appears like a white color because it's on this black, whereas this grayish-blue swatch appears much darker. It's a big difference that's happening between this color and this color. Now how does this, where am I going with this is what you might be asking, Blake, right? Well, the whole point of this is that the colors that are surrounding your image or the interface that's surrounding your image will have an effect on what you do with your photographs as you edit them, because you have to think about how our eyes get adjusted to things and what we average as we're looking at that. Our eyes are gonna be calculating the darkness of the interface and the image that we're working on. So, play around with this. Double-click on this color a little bit here, change this color to something like an intense blue and see what happens with that intense blue. With that intense blue, on this lightest and darkest Photoshop interface, when it's on white, it almost doesn't appear quite as intense, does it? It looks like it's kinda just fading into that lighter gray background, but here it looks like a really deep, really intense color that's coming through. So now if you can imagine an entire photograph that you're working on now, very colorful photograph that you're working on now, and you're working on that on a light background, it's not gonna be quite as colorful as you would imagine. Looking at it on a darker background, it's gonna appear a lot more colorful, so you will make different decisions with your images based on the interface that you work with. With that being said, which interface is the best? I don't know if there's necessarily a best interface to work with, it's just the interface that works for you. You can see that throughout this entire course I've been using the, not the darkest gray, but the lighter gray and this, all of this stuff is color theory related, so play with this color swatch, change the color on here to see what happens when you use different colors, different variations of colors, look at that right there, that's an interesting one. On the darkest one it almost appears white. Over there it appears almost like a light magenta. Color theory is really important stuff, it's really powerful stuff, it said this is how colors interact. This is a color field-type of assessment of what happens with the interface background that you choose and the colors that you're gonna use on your image.