February '16

For the Business of Apparel Decorating

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Page 73 of 118

2 0 1 6 F E B R U A R Y P R I N T W E A R || 69 see the results before the print. Depending on what program you choose, the settings may differ slightly, but the premise is the same: darken your darks, lighten your lights, and bring out the midtones. For a visual, if you were to print the portrait on page 68 us- ing Photoshop, the final result should be more than acceptable. However, if someone has worked with midtones enough, they'll instantly spot areas where the results could be better. For instance, the tonal values in the woman's hair, although moving from dark to midtone to light, are very close together. When printed, the hair won't stand out and will blend together too much. If someone were to hand-illustrate this portrait, artists are trained to not worry about every strand of hair but rather ac- centuate areas to show texture. In distinguishing dark from light areas, we will lose detail, so it's important to know how much detail is safe to lose without making the image look odd. This is done with experimentation for each design; there is no formula you can apply across the board. To help see these changes better, it's a good idea to duplicate layers and make those changes per layer instead of the original image. You can always delete lay- ers, but depending on how many changes you make, it could be more difficult to get back to your original design. To duplicate a layer in Photoshop, choose Window > Layers from the menu bar. In the open Layer panel, simply click and drag the layer to the page icon at the bottom. You should now see two layers—the original and a copy denoted as such. For the purpose of this demonstration, let's duplicate this layer again to create a third layer. We will also want to turn this layer off, since it's on the top of the other layers and will cover up anything we may be doing to the lower layers. To turn off this layer, click the eye in the Layers window, then click the layer you want to work with. In this instance, choose the copy layer. In order to control the dark, midtone, and light areas, use an image feature called Levels. To access this area, choose Im- age > Adjustments > Levels from the menu bar. In the panel that opens, there are various buttons we can use, but we are only focusing on the three sliders for 1: Darks, 2: Midtones, and 3: Lights. As we use these sliders with our preview button checked, we can see the instant effect on the image. The order of sliders to work from is darks, lights, and then midtones. Here we'll look for the level where the tone begins to "ramp" up. According to the levels window, this image already has very high darks and lights indicated as "A" and "B," but everything in between isn't balanced. At the point where it begins to ramp up, this is where we will set our sliders. After these are set, we want to set our midtones. The middle slider will do this for you. Again, every image is different but the general idea is the same. Take the While sliding each of the tones up and down, look for where the tone begins to ramp up; this is where you want to set your sliders.

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