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Coloring Anime Picture
Published 10/9/2006
Coloring Anime Anime may be nice in black and white, but wouldn't it be much better in color? Now you can color Anime very easy using a few steps to achieve this result! Ever wanted to color those boring black and white anime? -
Step 1 As an example, I've chosen the protagonist from DragonballZ, Goku, which, to me, is the best Anime ever! 
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Step 2 First we need to create a random background of a random gradient, then place the drawing on top of it and change the blending-mode to Multiply; 
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Step 3 EVERYTHING we're gonna do takes place UNDER the drawing;
Now grab the Magic Wand-Tool and select all the pieces of skin on the top layer;
Select your first piece of skin and then HOLD SHIFT to select multiple area's; Note:NIF YOU HAVE A WACOM OR A DRAWING-TABLET LIKE ME, YOU COULD ALSO USE THIS.
REMEMBER TO STILL COLOR ON A LAYER UNDER THE LINES...
EVEN THOUGH I HAVE A WACOM, I STILL USE THE MAGIC WAND-TOOL TO SHOW YOU HOW THE RESULT SHOULD BE! 
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Step 4 Then go to Select>Modify>Expand and expand the selection by 1 pixel; Note:WE DO THIS BECAUSE THEN THE COLORS TOUCH THE LINES, OTHERWISE THEY DON'T! 
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Step 5 Do this with all the colors and place them ALL ON DIFFERENT LAYERS UNDER THE LINES; 
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Step 6 If you want to add some nice shadow as well. 
Author : MICK MOOLHUIJSEN
HomePage : http://www.mickm.com
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Color Replacement in Photoshop CS part 2
Published 06/10/2006
Creating the effect For our image, we're going to be using the "Hue" Mode because it's the most subtle. It doesn't produce the most vibrant results usually, but it does allow you to match the subject to the overall lighting of your composition. In other words, it looks the most natural. We're going to set the Sampling to "Continuous" because, typically, it's the easiest to work with. We'll set the Limits to "Contiguous" so that we don't accidentally affect our background. My brush size will be set to 150. For the first step, I'm going to turn off the Antialiasing option and set my tolerance to a low value--5 percent--to allow me to go in and take care of a few details. I want to go after the broadside of the horse first, but I also need to eliminate a couple of problem areas first. In my image, specifically, this is the barbed wire and colored strands that cross the horse's front legs and chest and interfere a bit with the head. So I'll just go over these areas with about three strokes to block them off from the rest of the image. That way, if I'm careless later on, they shouldn't pose a problem. This process, shown below, took me three quick strokes.  Now I can go after the bulk of the horse. I'll crank up the Tolerance value to 20 percent. But I'm also going to want to vary the Tolerance in certain areas. And how can I do this without having to go back to the Tool Options bar every three seconds? Well, if I expand the Brush parameters, I get a whole list of options, including the ability to modulate Tolerance on the fly using pen pressure.  So now, with my Tolerance varied, I can apply fairly broad, careless strokes, easing up a bit on the pressure around the edges to avoid bleeding into the background.  And now it's time for the tricky part. This horse, being a fur-bearing critter, gives us some scraggly edges to deal with, specifically in the tail and mane areas. So now we'll go in and add pressure sensitivity to our brush Size as well as our Tolerance.  Going over the tail lightly and trying to follow its general contours, I wind up with something like this after six strokes. If I study it later, I'm sure I'll find a few areas that I'll need to clean up a bit, but, on the whole, I'm pretty satisfied.  So that leaves just the mane. This is another trouble spot because it's slightly blurry around the fringes and also blends pretty well with the dry brush background of the image. I gave it a once over with the same settings I used for the tail but was unhappy with the results. The effect was a bit too subtle. So, instead, I'm changing the Mode back to "Color" and hitting it again. Otherwise, I'm using all the same settings as in the previous step. And the result is much better, even if it does look a bit painted.  So all that's left now is a slight amount of touchup. This whole exercise has been fairly sloppy. In other words, there hasn't been much of a need to take care around the more complex areas because the tool itself handles most of the problems for us. Nevertheless, I will go back and fill in some details that I think were missing. For example, some of the edges on the animal were a bit sloppy. Some of the detail was lost in the tail area. Etc. So for my final few strokes, I'll leave the tool in "Color" mode and add in a little extra color where I think it's needed. Nothing major, but just paying a little more attention to the individual strands, but also careful not to overdo things. Even with a purple horse, there are limits to what a viewer will accept. And what I mean by that is that you want to be careful not to add in too much saturation where it's not called for or too much luminance where there wouldn't be any, such as in the shaded areas of the horse. If you don't have the kind of vibrancy you were expecting, it's not that big a deal. The effect is still there. But, if you want more, you should adjust the image overall when you're finished, or just make a few touches here and there to bring out details where you want them. And hopefully, when you're done, you'll wind up with something like this, something that carries out the effect but that nevertheless maintains the qualities of the composition as a whole, particularly contrast and lighting conditions.  So that's it for the Replace Color tool.
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Color Replacement in Photoshop CS
Published 06/10/2006
The Color Replacement tool is one of those new tools that doesn't receive a whole lot of attention in the vast array of new features introduced in Adobe Photoshop CS. It is, nevertheless, a handy little gizmo, one that consolidates several functions found in previous versions of Photoshop and allows you to perform color replacement tasks on your image in a single step. This week we'll take a look at the tool, its options and some techniques for making it work for your particular colorization project.
Photoshop's Color Replacement tool is, in some ways, a spinoff of the Healing Brush introduced in version 7. This in the sense that, though it works much the same as a regular paint brush, it does not overwrite all of the data on your image; rather, it manipulates the color on your image while retaining the detail--or underlying texture--of the image. Because it functions as a brush, it can be applied with more precision that other color replacement functions in Photoshop; and because it performs image analysis on the fly, it saves you the step of extracting a mask from your image before applying color changes.
For our example today, we're going to work on an image that will require some finesse. Our subject, in this case, is a horse over a background that doesn't afford a whole lot of contrast in some areas, which can make things difficult around the edges. We're going to take that horse and color it purple, while leaving the background intact.
Why are we going to turn a horse purple? Well, let's pretend that's what the client wants, and, of course, the client's never wrong. (Also, the only examples of this tool I've previously seen have been applied to pretty simple objects, and I wanted to show it off on a more complex subject.)
But first, a little introduction....
Options for the Replace Color tool
Before we begin on our project, we'll do an overview of the options available for this tool. So select the Replace Color tool in the Tools palette. (It's located beneath the Healing Brush.)
You'll notice immediately that several choices appear in the top Options bar. Among these are Mode, Sampling, Limits, Tolerance and Antialiasing, along with brush-specific options.
The various Modes define the ways in which the Replace Color tool can be applied. "Color" applies the currently selected foreground color to your image, replacing hue and saturation, while retaining luminosity; "Hue" retains saturation and luminosity but realigns the angle of the image's hue to that of the foreground color; "Saturation" simply adjusts the saturation of the image to that of the foreground color; and "Luminosity" equalizes the brightness of the image to that of the foreground color while retaining hue and saturation, so it causes the image to lose most of its detail.
Sampling, on the other hand, simply determines the source for the Replace Color brush. "Continuous" takes a sample as you go, affecting colors and tolerated colors directly beneath the tool's crosshairs. So it's continuously sampling. "Once" samples only the color sampled when you click on the image and then only affects that color (and tolerated colors) as you continue your stroke. "Background Swatch" uses the background swatch as a pre-defined sample color. Below you'll see examples of the "Continuous" and "Once" sample methods. "Continuous" replaces the colors of the entire image because I moved my brush over the entire image. "Once" replaces only the orange colors because I happened to begin the stroke on an orange portion of the layer.
Limits define where the color will be applied in relation to the sampled color within the area of your brush. So let's say you have a 150-pixel brush, and you're going to apply it to the gradients seen above. "Discontiguous" will affect all of the areas within your image and within the range of your brush that fall into the sampled color's range. "Contiguous" will only affect sampled colors that are in direct contact with the portion of your image beneath the tool's crosshairs. So with the "Contiguous" limit, as you see in the image below, areas that are bounded off by non-tolerated colors will not be affected. The "Find Edges" mode works much like the "Contiguous" mode but also attempts to preserve details at the edges of the sampled section (A fact that may not be readily apparent).
The Tolerance setting behaves just as it does with tools from previous Photoshop releases, such as Paint Bucket and Magic Wand.
And, of course, antialiasing can make your edges softer, though also less precise. If you're using the "Find Edges" Limit, antialiasing helps. Otherwise it tends to get in the way, especially when you're using "Continuous" sampling.
There are some other options related specifically to the brush itself, which we'll get to in the next section. |
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Colouring Your Abstracts
Published 05/21/2006
In this tutorial, you'll learn how to get some really deep colours applied to your images, and their far more effective than the Hue colouring that most people new to photoshop use. 1. Do whatever image you will be applying colour to. I took an old image, cropped it for size conveniance, and took off the colour balance layer. Generally, if you were doing an image, you would want to apply the colour to the render/base of the image pretty much as soon as you pasted it/finished creating it into the document. It helps the brushwork a ton  2. Now go to Layer > New adjustment Layer > Color Balance, and click OK. Now you will have this:  3. The midtones are the base of the colours, and the highlights/shadows are the modifyers. So do the midtones first, then fiddle with the rest. To get the firey styled colour, I used the following: Midtones - +54, 0, -64 Shadows - +41, 0, -44 Highlights - +47, 0, -31  Fiddle with the settings, make your own colours -EXTRA- Want to blend two colours together? 1. Make one colour. Hide that layer, and make another colour layer on top of that. Then, unhide the second layer. You'll now have a jumble of ugly colours, right? Well now, if you want a line defining the two colours, take the gradient tool, and select one of the layers colour masks. Then just gradient it where you want the line to be/how large you want the fades to be.  2.If you want to have it more blotched/your own design, take a brush, foreground colour as black, and brush on the masks.  |
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Colorize a Black and White Photo
Published 05/21/2006
In this tutorial I will teach you how to add some color to a black and white image. You can view the example and the changes we will be making to it below:
 
Open in Adobe Photoshop the document you would like to colorize. Next, go to Image / Mode and tick CMYK Color. This is very important - if you don't tick CMYK Color, it won't work.
We will add color to the man's face first. Using the lasso tool, roughly select the area of his skin you would like to colorize.
Then enter quick mask mode found on the tool bar and mask around his face in greater detail.
You should have something that looks like this:
Hit Q (or leave the Quick Mask mode), and you should have the man's fice nicely selected and feathered. Next, go to Layer / New Adjustment Layer, and click on Curves. Play around with the curve levels until you get something satisfactory, such as below:
Repeat this same process with all different colored areas of the man until you have fully colorized him. Remeber, you have to use your imagination and be creative when it comes to guessing the colors, but you'll get the hang of it eventually!
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