Changing the Color in Translucent Objects
so a couple of the things that are quite interesting when we have translucent objects and I love translucent objects just because they give you lots of problems. And I love problems because that's how we get through and solve them. So one of the things I'd like to do is I'd love to be able to go in and, like, take this blue bottle and make it a different color. Or better yet, this is even better. Go in and I would love to, like, change the color of my water here, and I could go in and I could try to do color matching on this. But I would just like to change the color of the water just, you know, make it like a little bit more blue or turquoise E Something like that. And one of the cool things that weaken dio is This is a little bit different than color matching, but it is kind of changing. The color water and reflective and metallic surfaces are really tricky because you're reflecting things that are in your environment or in this case you're actually refracting the light. So it all tu...
rns blue so I could go in and I could put a color in here, and I could color adjust to that to see if it actually work. You know, let's see if we can go ahead and make this orange right here and see if we can actually make it look good. Let's try something different than orange. Let's go in and let's try a blue. Here it is already blew. That doesn't help, does it? Here. Let's make something we've already done. I'm going to grab the green from my leaf right here. Grab my eyedropper tool, sample that color and we're gonna make this water green. Okay? So we can figure this out. So I go in with my info panel, check out this color green right here, and we've got 1 28 1 77 and 41. And if I were to you, look at my water here, you know, where do you measure the water? It's like OK, so with this, it's like what's realistic? I mean, what what's a real blue? I have no idea. So we're just going to start off with us, and I'm going to go in and do my hue and saturation and I'm gonna change it, Teoh Kind of the green area. And there's my hue and saturation, and I'm gonna kind of get it greenish. You know, I don't really have to do much color matching. I mean, I could go in and do that, but I could just change that hue and saturation. Overall, I could always mask this out so that I get just kind of the green water in there as well. I could go in and de saturate this if I want Teoh make it just kind of slightly green as well. Kind of easy when you have something translucent. But one of the things that I like to do to is I like to go in and actually dio just a what? I call a paint over layer on this to just change the color of this as I paint over it. And that's what gonna dio I'm actually gonna take my green right here that I have on get that sample. I'm gonna put a new layer right about this water layer and I take my paintbrush in a paint with green on here. Want to make sure I paint normally? So there it is, and I paint over my water and it's like, Wow, that's awesome. You know, this is Photoshopped skills at its absolute best, and people like I don't know why it doesn't look good. Maybe use less opacity. Um, with something like this, what I like is being able to go in and actually change your blending modes so that the color will actually blend onto your object. Now, unlike the shirt, which is saturated color, we've got this translucent object, and I would like to go in and just add color on Lee to the color that's there. And there's different methods. I could use my hue and saturation, but in this method, what I want to do is I got my layer. Here I go through my blending modes, and if you've seen classes before, blending boats could be really fun. And there's my color layer that I did not a great job on. But anyway, I'm gonna go through my blending boats in the easiest way is to go to your move tool, and then shift. Plus is gonna walk you through your blending boats. And what's awesome about blending Bodes is that they're going to go in and they're going to allow you to blend differently based on your object below the color and the spectrum of the object below and the color up above. And there are some absolutely rock and cool things that you can do with translucent objects. So as I start off here under normal mode, clearly you know no one would pay for this class of this is what we delivered. But if I go through my blending mode there, there's dissolved, there's dark end, there's multiply, there's color burn, and it's like, seriously, and it's like That's pretty cool to go in and do that. No amount of color adjusting is going to get you to that point really easily, but it makes it really dark and ominous right there. And you just go through your color modes. I don't know what all these color modes dio. I mean, that one looks kind of nice is just kind of an overlay where I get just kind of ah, more of a greeny look to the water. There people are like, yeah, but I specifically want to know what they dio walk through. Find out what they dio when it happens, and you'll like it great. You know, there's certain things that are exact. I mean, I could go through the whole scientific meaning of them, but what's awesome is that okay? There's one with the divide where it's actually taking the difference between the two That looks pretty awesome. Go through and do that when it's like, Seriously, it's like, Well, there's saturation and it's like, Yeah, so I could go in and saturate that Maura's well, fun, isn't it? So I could do this with that blue water bottle. I could go in, and I could very easily change that color of them. And this is actually using color on a layer and changing the blending modes. So again, this is nondestructive. Okay, I could always change the color. I could always turn that off. I could always change the blending modes here to get a very different look and feel of this weaken. Do this method as well in a destructive way, and we could paint directly on the object. So if I'm gonna jump over here to my blue bottle right there, I could go in, and I could make this a totally different color if I wanted to do this destructively. I wouldn't recommend it, but I'm gonna show it to you anyway. I can use my brush, and my brush tool also has blending modes as well. So these blending modes are identical, blending modes toe layers, but with a layer blending modes, it's actually blending the layer on top with a layer that's down below nondestructive, because you can always turn that layer off. This one is actually destructive. So when I paint with my paintbrush, I'm actually editing the pixels directly on my object. And I know Overlay is gonna work very well for this. So if I paint with this and I paint with my green right here, I do my overlay, and this allows me to go ahead and the more saturated it is, the more I'm going to get that green look and feel with my object pretty cool, so I could go ahead and create a different cast with this as well. And there's all different types of blending boats that you can use. Hugh is one of them as well. That's always a great one, where it literally goes in just like hue and saturation. I could go in and I could very quickly change the color of the object so it's no longer blue. I didn't have to mask anything out. And what's interesting with these blending modes specifically with this is that if I have 30 40 50% color and I paint with my paintbrush on here, it just changes the hue with that exact same amount of color. Right there simply just changes the color to another color. And it's like, Wow, you know, I just change the bottle. Sure. I mean, I did it destructively so I wouldn't be able to go back and undo this. Unless, of course, I knew that I could go use my eraser and I could go and choose My awesome erased a history which will allow me to go back and erase back to my history so I could actually erase an undue what I've done. Interesting, huh? I know, I know. If anybody told you about erase the history, it's really cool. Erased A history is one of those things that, of course I don't show it very often because I try to teach people how to do things non destructively and erase the history works when you do things destructively, which is not what we really want you to dio. But he raised the history in this particular regard is I have a flat image, a painted on the image, and I would like to undo what I've done without walking back in history and undoing everything else that I've done. So he raised a history will allow me to go in and specifically erase right back to my original image. Okay, so there you have it. So now we have a question here on the the last example. Can you save the curves and then load them on your the object or the thing you want to change the color? Can you then load if you're doing a lot of work and it's the same color, so you can you certainly can. And there's There's two different ways you could do this. You could go in and take anyone off your adjustment options right here. And you can always go in and save Click on the cheese grater, and you can save that preset. So if you are doing the same thing time and time again, you can save that preset. And if I save this preset. It'll come up. It'll ask you where you want to save it. I could just save it to my desktop here and then any time I would want to go back in and I create a new adjustment layer. Say, on top of this I could go in. I could do a new curves adjustment layer. It comes up. Click on the cheese grater, load that particular preset go in. There's my curves and it applies it right there. So simple and easy to be able to dio. You can also drag this curves adjustment layer into any other open file. So, just like weaken, drag one layer from one document to another document. We can also drag on adjustment layer because they are literally just layers. So we could do this. It's nice to save it for future purposes. But if you've got something, just drag it from one to another, just like we would any other layer in a document. No question here. Ah, yeah, I had a question. What if you don't have a source file to pull from, but someone says, Oh, um, can you turn this shirt to this specific Pantone or so sure Pantone color If you go to your color picker, people have said I say color picker, Funny color picker. Anyway, when you click on your color picker, you can go in and we get the normal color picker we can go into and click on our color libraries here and we go into our color libraries. This is going to give us all of our spot and all of our different matching systems right there. When we choose this, we can just go ahead and type in the actual number. There is no place to type the number in. You just simply type the number. Okay, so if they say to you just type in 256 and it brings you right to it. People like here's the place to put the value in. You don't okay? And so that's your color. You've got that you click. OK, this tells me it's out of gamut. Yes, I understand because I can't match that Pantone color and RGB It just doesn't work anyway, so there would be my closest representation of it. Now there's one interesting thing that photo shop ELISA to do with the eyedropper tool on that brought me to that really interesting point. What I want to do is I would love to be able to go in here, and I want Teoh set this up. So I want to be able to set up by grab something from my desktop here. And so if I weren't into sample color from something, this is so cool. Um, I've got this. I'm gonna move this out of the way here so I can see somebody says, Oh, you know what? I love that color of that little folder that sits there on my hard drive. A photo shop has this unique capability to go in and sample any color that you want, even if it's outside of photo shop. So if you call up a website or something and you have it there or you have a picture on your desktop or whatever, you don't have to open that up. And this is so cool. And somebody had said, Well, you know, that's not fancy. It's like, Yes, it is. Check this out. So I want to go in and I want to sample this color. How would you do that? You take a picture of your desktop, you'd open it up in photo shop. You then sample that color and do that or somebody you know. You call up a website and it's like I want this color of this product. You have to go to the website, get the product, save it to your desktop, opening up in photo shop and sample the color. No, this is how you do it. I want to sample the color of this folder. Call a photo shop. You take your eyedropper tool and I'm going to a little bit smaller average. They don't want average in the desktop as well. You click and you hold while you're in photo shop, you drag onto the photo shop window and it will pick up no matter what it is, even when you're not in the photo shop window. So check that out. OK, I'm outside of my photo shop window and it's clearly picking up the color of that folder or the mountain. So let me move this out of the way so you can see. So start inside your photo shop window, keep your mouse held down, go outside and hover over this, and as long as you started off inside an active photo shop window. Wherever you take your eyedropper tool, you can sample that. Okay? And the sampling size still holds true to no matter what you touch, so you can have your browser up in the corner here with the window kind of tucked away, Click inside here and start drag over here. And it's like, Oh, I really like that color of that folder. There it is. There's the color of the folder right there. Sweet. Now you don't have to go through that entire process. Yeah, just another cool thing with photo shop. Got a question from online Jason about the previous technique. Will the same technique you're using now with trance with the translucent object like water, also work on a bridal veil, since we may need to see the background colors from buying the veil Church, well, it's interesting with a bridal veil because it's white. And when you have white, of course, you have virtually no color to go ahead and work with. So if you take a white or very light object and you try to apply color to it, then you get into a whole lot of trickiness Then you have to go into your channels and you have to isolate those areas and apply color to them, which gets the whole different type of interesting kind of thing. Yeah, yeah, but that is going to require channels to get in there because you're going to specifically have to target the absence of color, and then you're gonna have to add color to it, which is always tricky, but it can be done. Got a question here in the audience. What is the benefit of creating an original adjustment layer? If you're just going strictly by the numbers anyway, I'm just in case we have to go back and edit them because we may come back and we may want to go a little bit darker overall or lighter overall on them. I always make sure we do adjustment layers because the second you're like, oh, I'm never gonna need to change it. You can be guaranteed. You're gonna need to change it. And if they go back and they like, Oh, yeah, you know, we had this color last year and, um, I want to change it or, you know, we've got this exact same color on this shirt and now we have the same color in this jacket. It's like, Great, I can just drag this adjustment layer, Drop it right on there and I'm done So working non destructively is the key to working in Photoshopped. The more you can do non destructively, the more adjustments you have and the more you can go and get back. Because if the client wanted to see everything back to normal, I could go in and turn everything off. And it's like, Okay, there's everything back to normal right there, and we have it nice and easy. Yep, And it's like, Wow, you mean we don't have to do this? Nope. I think the most complicated one ever did was a client gave me shrimp, and it was all cooked with a tail on. It was to be cooked with a tail off, and they said, Well, we don't have time to cook it. Can you take the shrimp and color? Match uncooked shrimp with a tail off to cook shrimp with a tail on? And the answer is yes. That was tricky because, you know, cook shrimp turns orange and you know non cooked shrimp is kind of gray. That was fun, but it worked