First Time Colouring in Photoshop Advice

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First Time Colouring in Photoshop Advice

Postby Eagle » Fri Jul 26, 2013 5:09 am

I'm going to repost some stuff from a thread on Digital Webbing because I think it's good and might help somebody here too. Some of this stuff's been covered multiple times in various threads on here over the years, but finding it would be a huge hassle.

Ace Corona wrote:I've got the July/August 2010 issue of Photoshop User magazine (I found out about it on Penciljack), but I'm having a problem with the first three steps. If anyone has used this issue to color, can you try to figure out what I'm doing wrong? I'll briefly list the steps, 1 through 3:

1) Go to Image>Mode>Grayscale

2) Open the channels panel (Windows>Channels), right-click on the gray channel, and select duplicate channel. Name the new channel "line art" and click ok to save it. Make sure the gray channel is selected in the channels panel by clicking on it. The background layer needs to be white, so select it in the layers panel, then choose Select>All, then Edit>Clear, then Select > Deselect.

3) Go to Image>Mode>RGB Color. In the channels panel, click on the box to the left of the line art channel to make it visible. If the line art appears to be red or light gray, double-click on the thumbnail of the line art channel. In the resulting Channel Options dialog, click on the color swatch, change the color to black in the select channel color dialog, and click ok. Back in the channel options dialog, change the Opacity to 100%, and if the name of the channel changed after you selected black as the new color, type "line art" in the name field and click ok.

************************************************** ***************

I followed all of these steps to the letter, but instead of white, the image is black, and I can't figure out what I was doing wrong. I'm supposed to have five channels, one named RGB, one named Red, one named Green, one named Blue, and one named line art. All of the rectangles are supposed to be white, and in the line art box, it is supposed to be white with black artwork inside; this is not what I have.

All four boxes are completely black, including the line art box. Initially, after reaching step three, I had a black background in the line art drawing with the drawing in red ink. Can someone please help me try to figure this out? Thanks!

MBirkhofer wrote:CYMK mode limits the tools available to you in Photoshop.
Many blending modes only work in RGB.

I like hardlight, and overlay alot for example.

Ray, your clipping mask method for holds. That does not work with using multiply for the lineart layer, correct? Because if I try to do a white hold, over a clipping mask of the black lineart, which is set to m ultiply, it replaces that black lineart with white lineart, which then multiplies white... and thus vanishes.
the lineart layer needs to be set to NORMAL, for that to work.

Ace, I have never heard that method.

1. Convert the image to RGB.
2. go to channels. all channels should be selected already.
Load channel as selection.
3. go back to layers. New layer. invert selection. shift+ctrl+i
Fill black. (paint bucket with default black.)
4.Lock transparency.

This works for pencils, or inks.
If pencils, you will want to set the layer to "multiply".
If inks are proper 50/50 threshold, you don't have to, but can.

Doing holds. I recommend, just duplicating the lineart layer. lock transparency. color what you want colored. Select the black, and delete it, invert selection, and delete the black under the colored area.

There are other ways as well. ^that is not my current method for example.
I basically use John's honestly. I was using a method that was similar, but his method was better, so I modified how I was doing it.
But this also, does not work for all kinds of art. This color blends EVERYTHING. if you want black lineart, you have to go back and specifically paint black back into it.

Obviously, there is no ONE right way of doing it. Holds, highlights, glares, drawing right over the lineart etc.

Eagle wrote:Which version of Photoshop are you using?

What kind of file are you starting with, before you do absolutely anything to it? Is it a TIF, PSD, JPG, what?

If it's a layered file, is the lineart on a layer other than Background?

In your colour picker, is black on the foreground or the background?

This is what it looks like with the black on the foreground:


If it's not like that, you can click the tiny icon directly above and to the left.

Note that the colour math in the layers work space is actually in colour, while the colour math in the channels workspace is entirely grayscale. That's why the colour picker will change when you switch between the two spaces, like so:


I don't know if the article explained the reason for putting the lineart in a channel. If it did, it's probably outdated information about CMYK crap anyway. The reason nowadays is so it's out of the way while flatting [if you try to grab colours with the eyedropper--or by holding Alt--while there's a lineart layer, you may just grab black, which is annoying], and so you can make a proper lineart layer that doesn't have to be in Multiply mode. Once you're ready to do the actual colouring, you Ctrl-left-click on the lineart channel thumbnail in the Channels palette to make a selection of just the lines. Create a new layer in the Layers palette and fill with black [set your foreground color to 100% black and hit Alt-Backspace]. Then lock the transparency by clicking this little checkered icon on the Layers palette, so the little padlock icon appears on the layer:


Using a layer with both the black and white on it, set to Multiply, makes holds a huge pain in the ass and inflates the file size without making your workflow any easier.

Make an action to automate the creation of the lineart channel.

The first time you create a channel out of lineart, there's a very strong possibility that it does so invertedly: You're probably getting white where the lineart is supposed to be, and black where the white is supposed to be.

If your colour picker has black as the background colour when you clear the lineart layer [the end of step 2 in the article], the layer will be filled with black.

If your lineart channel is also inverted, all you're going to see is black and the thumbnail in the Channels palette may look totally black.

Try this:

With your lineart channel selected in the Channels palette, click this in the menus:


If your lineart is pencil, you may also want to double-click on the lineart channel thumbnail in the Channels palette and set it to "Spot Color": This deepens the darkness of the channel, making it look more like the lineart layer you had before, and ensuring it will stay visible more persistently than regular channels do. I do this even with bitmapped ["bitmapped", in this context, means every pixel is either 100% black or 100% white; there are no gray antialiased pixels between] lineart just so it'll show automatically the next time I open the file.

After you've inverted the lineart channel, select the "RGB" channel so all of the other channels are active [now you're working in layers, not in channels, technically]. Make sure it's white.

You should see the lineart as black now.

Once you're done flatting, you do what I mentioned earlier: Ctrl-left-click the lineart channel's thumbnail in the Channels palette, create a new layer in the Layers palette, and fill with black, then lock the transparency.

It's probably a good idea to delete your lineart channel [drag it to the little trash can icon at the bottom of the Channels palette] at this point. If you're trying to do holds, you won't see the lineart layer through the channel if it still exists.

As I mentioned briefly, the first time you make a new channel out of one in the layers space [in Grayscale mode, that's the "Grayscale" channel on the Channels palette; in RGB mode, that's the "RGB" channel], Photoshop will probably invert it.

If you immediately Image->Adjustments->Invert it back to the way you want it, save the file, close Photoshop, reopen it, and make a lineart channel in another file, it should do it correctly this time and every time thereafter.


Fuck if I know.

It's been doing this to me for years, every time I install or reinstall Photoshop.

Also, just because I happen to be typing at the moment anyway, do this now:

Edit->Color Settings->More Options->UNCHECK "Use Dither"

And look in there at least once every couple weeks to see if it's turned itself back on, because it WILL turn itself back on. And at some point after it does, this option WILL FUCK YOU. And it will do that when you least expect it.

Here's what it does:

If you've got a file all flatted and ready to be coloured. The file's in RGB. For some reason, you convert the file to CMYK mode. Or it's in CMYK and you want to work in RGB mode. BAM! Suddenly your file's 200 megs big and Photoshop's chugging like it runs on steam. That's because the "Use Dither" option took your nice, uniform flats layer and dithered the shit out of it. You won't be able to see it with your naked eye, but every single pixel will be less than 1% different than every pixel around it. If you take your Magic Wand, set it to 0 tolerance, and click on your flats, you'll only pick some of the pixels in those nice, big, flat-looking areas. You won't realize this happened right away, of course. You'll end up pulling your hair out and screaming in frustration, begging for help somewhere online.

It'll even do this occasionally if you don't switch between CMYK and RGB modes. I DON'T KNOW WHY. I have no idea how or why I've triggered this nightmare besides switching modes, but I do know it's happened.

That's the default advice I tack onto any other advice I ever happen to give anyone relating to Photoshop, just because of how nightmarishly shocking it's been to me every time it's popped up.

Here's some more advice, since you're talking about colouring:

It's 2013. For the love of all that's good in the world, don't bother working in CMYK. CMYK has severely bastardized, frustratingly demented colour and layer math. Work only in RGB. Then, if it's absolutely required, when you're completely done colouring the file and are ready to send it off to be printed, save a separate copy of the file so you always have the layers intact, flatten all the layers into one, convert to CMYK and send the flattened copy. Since Photoshop saves PSD files a lot faster than TIF files [this is important because it's necessary to save frequently just in case, although CS6 now has background saving that lets you keep working while it writes the file; it'll still jangle your system a little while it's saving, though, so brush strokes may not be as smooth as you want], you can have your layered file as a PSD and your flattened file as a TIF for easy organization.

You can pretty much just send in RGB files these days anyway. It doesn't matter. Printers still work.

Don't worry about trapping. It's not an issue anymore. Except for really shitty printers that no publisher should be working with anyway.

There's no reason to send files in with multiple layers [traps, colours, lines, effects, whatever the old standard setup checklist was]. Just send in flattened files. They're a hell of a lot smaller and you don't have to worry about layers fucking up in CMYK.

If you end up with an editor that screams and cries about trapping and CMYK, get out. They're still living in the nineties and nobody should work with people who care more about some checklist they read about a decade ago than the quality of your actual art. Technology's advanced since that checklist was written: Editors should too.

While you're working in RGB, View->Proof Colors and View->Gamut Warning can tell you all you need to know about what your file will look like in CMYK without having to switch to CMYK and potentially fucking up your file. Except Proof Colours doesn't display your colours in the demented, broken way that actually being in CMYK mode does.

Edit->Preferences->Transparency & Gamut->Set the "Gamut Warning" to something a hell of a lot more obvious than a mid-range gray. I use the most saturated hot pink because I'm not likely to use hot pink in my colours [it's an unprintable colour anyway], so it stands out really clearly. For example:


Gamut Warning will, unfortunately, force you into using really shitty, dull, unsaturated colours a lot of the time. You will very quickly become frustrated with how restricted you feel. Fortunately, it's not 100% accurate. You can ignore it to some degree. It's still a great indication of areas that may or may not look a little wonky in print. It depends on the printer. Different publishers will give you different results.

Calibrate your monitor. Your monitor is not displaying colours honestly. I use a Spyder2Pro because manual methods are tedious.

John Rauch's line hold method is beautiful, easy and can work in a lot of cases, but not all. It depends entirely on the drawing and what you feel works best for it. How can you tell if it's the best option? Experience. Period.

Practice your ass off. You will not be any good. It may take a few years before anyone else feels as satisfied with your work as you do.

If you're fiddling with a channel you've created in an RGB file [a lineart channel, for example], don't just switch to the Layers palette and think you're working in the layers work space. You have to first select RGB in the Channels palette: Now you're working in the layers work space.

Ray Dillon wrote:I think a lot of the time people get caught up in procedures, publishers certainly do and get stubborn about it even though other methods print just fine. We have the technology to print almost anything these days and have it look great. In fact, DIGITAL WEBBING PRESENTS back in the day is what set me on the path of not worrying about it all so much. Ed had us send in flattened .Tiff files and they printed great! Lettering wasn't blurry like I was warned about, line art didn't shift under the color. I'd heard so many horror stories from people about how things just can't possibly print unless you follow procedure. So when I started working at Image the same thing happened and it worked great, then IDW, then I had to convince Archie who had archaic methods of setting up pages and later Marvel and DC. Now they all just let me send flattened .tiff files and they print great. I had people warn me that if I didn't follow certain procedures for trapping and black plates and whatever that it just wouldn't print (and I'll probably get argued with here) but that just isn't true. Prints fine.

If you're starting out coloring for the first time, don't freak out over technical procedures, just find a simple method and work on coloring!

Don't hesitate to ask if you've got any questions, folks. A lot of the tutorials and stuff about comic colouring out there today are many years old and describe grossly inefficient methods that were necessary because of weak hardware and such. There are better, more updated ways to do things nowadays, but it's hard to think of what needs to be said if nobody asks questions.

Granted, there have been some questions around here that went unanswered over the past few years, but I've decided to pay more attention to these forums again. Hopefully some others will make the same decision if there's demand.
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Re: First Time Colouring in Photoshop Advice

Postby latlansky » Tue Oct 21, 2014 12:06 pm

Thank you for sticking this all in one spot, this is great!
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Re: First Time Colouring in Photoshop Advice

Postby Eagle » Tue Oct 21, 2014 5:58 pm

You're welcome.

May as well add this here too:

Eagle wrote:View->Gamut Warning [Shift-Ctrl-Y]

By default, Photoshop will turn anything that can't be printed into gray.

Personally, I changed the gray to a hot pink because it's more obvious since I never colour with hot pink [it's outside the gamut].

You can change yours to whatever you like with Edit->Preferences->Transparency & Gamut

On my screen, this image becomes:


With experience, you'll end up getting a feel for which colours probably won't work, but you can always turn the warning off and on to confirm.

Colours that trigger the warning are usually pretty obvious and feel weird.

Yes, that means your colour choices are somewhat limited. Fortunately, those limits actually tend to make colour work look much better. More natural. Colours outside the gamut range tend to be too plastic, neon. Things that can't exist around you in the real world.

If you work all on one layer, it can be very difficult to change your colour choices after the fact, so work in layers and masks.

Copy your flats layer. Change the new layer's colours quickly and easily by using Image->Adjustments->Hue/Saturation and/or Image->Adjustments->Color Balance on the whole layer. Add a mask to it. Fill that mask entirely with black. Magic Wand the area you want to work inside of on the new layer's mask. You can wand while working on a layer's mask and Photoshop will assume you're wanding the layer, not the mask. Brush in white where you want the new layer to show. Or use cut-and-grad. Whichever rendering method you prefer.

Using Hue/Saturation and Color Balance will not give you the colours you actually want on the new layer, but it will change the colours on the new layer so you can see the difference from the background layer. This way, you can work out your rendering however you please. To change the colour in an area on the new layer to what you actually want, Magic Wand it, click on the layer's thumbnail so you're working on it, then use Hue/Saturation and/or Color Balance on that one area. Fix each area's colour as you work your way through rendering the entire image.

Personally, I work with two or three duplicated and masked copies of my flats layer per light source in an image. Some material textures and light sources require more, some require less. I dump the layers for each light source into a separate layer folder and label each folder and layer so I can easily find my place.

-->Layer 3
-->Layer 2
-->Layer 1


->Front Light
->Rim Light
->Side Light

Depending on how you feel like handling a particular image, you can set each layer to Normal, but Hard Light and Screen are also worth considering. Experiment. Keep an eye on the Gamut Warning.

When I'm starting out on an image, I'll work out what general colour I want to lean towards for each light source. When creating the layers for a specific light source, I'll start with Color Balance and slide a slider towards the colour range I want for that group. Then, in Hue/Saturation, I'll slide the bottom slider [Lightness] a bit to the right. Copy that layer. Slide Lightness and Saturation to the right some more. And once more if I feel like I'll need three layers for that light source. Then I'll individually play with an area's colour on each layer while I'm rendering there.

Don't forget to wand the whole area you want to change before using Hue/Saturation or Color Balance, else you may only change part of it or the whole layer and that's just awkward.

In this set up, your original flats layer becomes your base colour layer. I like to think of it as my shadow layer: Wherever a light source isn't shining directly on an object, it will be that bottom colour. This way, you're rendering only in light, not in shadows. Keep in mind that shadows are never fully black: They're full of ambient bounced light from all surfaces around. What colour is the sky? What colours are the objects nearest to that shadow?

A light of a certain colour will affect what we see on the surface of an object of a certain colour. Certain light colours augment or wash out certain local colours [the object's colour].

You can end up with a bunch of layers by this method, but you will always be able to individually change any area of rendering and any area of colour without damaging or losing the other: Changing the rendering does not change the colour. Changing the colour does not change the rendering.

Compared to some other methods that end up with one spot of rendering per layer, you may also considerably cut down on your amount of layers.

For information on what masks are and how they work, please refer to the CtrlPaint library:

There are several videos on the subject. Along with many videos on many other subjects that may also be of use to you.

With experience and confidence, you can eventually do away with layers entirely and render directly on one layer. I'm not there yet.

This method can look somewhat plastic as it doesn't necessarily account for subsurface scattering and such. To add pink to noses and cheeks where skin tends show blood vessels, I'll just create a layer, fill that area with red, set its layer mode and mask in the spots I want to show and label that layer appropriately.

It also doesn't account for really naturalistic, painty techniques. It's very much only a comic book sort of method. But you can still use it to sketch out your basic palette for an image in one window, then grab colours from it to paint in another window.

The idea is efficiency and being able to make changes easily at any time without completely breaking your flow later.

After you're done rendering the image and you think your colour choices are good, create an adjustment layer that's either Curves, Color Balance or something else [experiment]. These will help you bring an image together without wrecking any of your rendering work.

Adjustment layers come with masks by default. They don't have to be applied uniformly to an entire image. They can help you find new possibilities and directions you may not have considered.

Photoshop is a canvas, but it is also so much more than just a canvas. Don't let yourself be limited to analog lines of thinking. Use layers. Uses masks. Use channels. Use adjustments. Explore. It's fun!

Work in RGB. Not CMYK.

Save your layered file as a TIF. Save a flattened copy, ready for print, as a PSD. That way, you can make any changes you may need in the TIF and save another flattened PSD as needed.

If a CMYK copy is necessary [it never actually is, but some editors haven't been keeping up with the times], flatten and convert to CMYK and save it as a separate file. Do not keep your layers in the CMYK copy. Photoshop's ganked CMYK math will fuck up your layers.

You will eventually brain-fart and lose your layered file. Sorry. Life goes on. Keep moving. One image, especially just for practice or your portfolio, is insignificant. What's important is what you learned while working on it. You don't lose what you learned as long as you keep moving. If what you lost was paying work, start over. You'll get through it quicker the second time since you've already done all your second-guessing and self-doubting. If you've got a thumbnail, grab colours off it so you don't have to rechoose them.

Ignore the Layer Setup in CMYK thread. Work in RGB. Send in flattened copies.

Try out John's line hold method: viewtopic.php?f=26&t=10784

Experiment. Find what works for you. Keep moving. Don't waste time on ancient, outdated DC books that teach how to colour in CMYK.

Use CMYK colour sliders while working in RGB if you absolutely must:


It'll give you in-gamut colours every time, but that doesn't mean much if you're playing with layer modes.

You don't necessarily need to play with layer modes. Normal is fine, as long as your colour choices are good. If you see a colour you like while playing with layer modes, wand it and fill the area you want, then set the layer back to Normal. Check the Gamut Warning. Hue/Saturation and Color Balance the area as needed. You can use the arrow keys on your keyboard to move sliders by single digits. Often times, sliding the Saturation slider down a couple points will eliminate the gamut warning.

If you're getting a gamut warning on a few pixels here and there, don't worry about it. Ink mixing and spreading on and in paper will wipe those out.

You can Ctrl-click on a layer's mask to make a selection of it.

You can Wand an area on a layer, make a new layer, and fill with whatever colour happens to be selected as your foreground. It doesn't matter what colour. You just need the shape on its own. Once you've made a selection out of your layer's mask, you can then hold Alt and click in the empty space outside the area you just created. Now you have your area's rendering as a selection. You can then use that selection to work inside of on another layer's mask. This can be good for preserving a texture you're happy with.

Delete the new layer once you've got the selection you want.

You can use these selections to mask a special effects layer set to Screen above the lineart layer, then Gaussian Blur that mask. Touch up the results as needed with a soft round brush.
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Re: First Time Colouring in Photoshop Advice

Postby HYst00 » Tue Dec 12, 2017 12:04 am

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