In InDesign, choose File > Place, and in that dialog, check Show Import Options.. If you embed the Photoshop image as you place it uncheck the Link option, you’ll have the option via the
Trang 1Creating a monotone print
A low-budget — but effective — way to print a
gray-scale image in a color tint is to output it as a
mono-tone (from a single plate)
To print a grayscale image using a spot color
tint:
1 Either open a file that’s already in Grayscale mode
or convert a copy of a file to Grayscale mode
➤ Before performing the actual conversion, you
can fine-tune how a layer is switched to
gray-scale via a Black & White adjustment layer.A
2 Choose Image > Mode > Duotone.
3 In the Duotone Options dialog, choose Type:
Monotone.
4 Click the Ink 1 (black) color square, click Color
Libraries, if necessary, then choose a spot
(non-process) color, such as a PANTONE color Click OK
5 In the Duotone Options dialog, click the Ink 1
curve (the square that contains a diagonal line)
6. The Duotone Curve options dialog opens In the
100% field (which controls the darkest shadow
value), enter the desired tint percentage.BKeep
0 as the 0% value and keep all the other fields
blank, then click OK twice to close the dialogs.C
7 Use File > Save As to save the file in the
Photoshop or Photoshop PDF format It can be
imported into Adobe InDesign CS4 or later
Preparing a file for commercial
printing
Computer monitors display additive colors by
pro-jecting red, green, and blue (RGB) light, whereas
commercial presses print subtractive colors using
CMYK (cyan, magenta, yellow, and black) and/or spot
color inks As you may already know, obtaining
high-quality CMYK color reproduction from a commercial
press is an art that takes experience and know-how
Nowadays, with print shops creating their own
profiles for their commercial presses, you don’t need
to concern yourself with creating a custom profile
— you can leave that step to the pros Do concern
yourself with saving the custom profile that your
print shop has given you to the correct folder (see
page 14) so it’s available in the Color Settings dialog
The profile will control the CMYK conversion and can
also be used to create a soft (onscreen) proof, which
we showed you how to do on pages 404–405
Continued on the following page
B For a monotone print, we lowered the 100% value to the desired percentage for our chosen PANTONE tint.
A We used a Black & White adjustment layer
to tweak the conversion of this image layer
to grayscale, then converted the document to Grayscale mode.
C This is a CMYK simulation of the image as if it were printed using a PANTONE Solid Color.
Trang 2
414 Chapter 25
When preparing a copy of your file to be sent to a
print shop for output on a commercial press, you
need to establish the CMYK working space, which
can either be a custom profile your print shop has
supplied you with or a predefined prepress profile
Once the working space is established, the file can be
converted to CMYK Color
To convert your file to CMYK Color mode:
1 Use the File > Save As dialog to produce a copy
of your file
2 Choose Edit > Color Settings (Ctrl-Shift-K/
Cmd-Shift-K)
3 To specify which profile will be used to control
the conversion of your image from RGB to CMYK
color mode, do either of the following:
From the Settings menu, choose the csf profile
your commercial printer has given you and that
you have installed
From the CMYK menu in the Working Spaces
area, choose either the icc predefined prepress
profile that your print shop has given you or the
profile your print shop says is the best match for
their specific press and the chosen paper type.A
4 Click OK To convert the file to CMYK color
mode, choose Image > Mode > CMYK Color
5 Save the file.
A In the Color Settings dialog, from the CMYK menu in the Workspace Spaces area, choose the correct CMYK profile.
A WORKFLOW FOR COMMERCIAL PRINTING
The steps needed to prepare a fi le for commercial printing are too complex to cover in this QuickStart Guide The basic
steps, however, are summarized below
1. Calibrate your display on a regular basis (see
pages 7–9)
2. Ask your commercial printer what type of press your
document will be printed on and if they have any
special requirements for it Ask what lines-per-inch
setting will be used on the press for your document
so you can choose the proper resolution for your
Photoshop fi les
3. Ask your commercial printer to supply you with a
printer profi le for their press, ink, and paper, then
load it into the Color Settings dialog (see page 14)
4. Use the printer profi le to create a custom proof
condition, and view a soft proof onscreen of the
image for that specifi c press (see pages 404–405)
5. Make any necessary tonal adjustments, such as improving the contrast, and perform color adjust-ments, such as removing a color cast
6. Images that are to be color-separated for commercial printing should be edited in RGB Color mode and then converted to CMYK Color mode for printing To control the conversion, use the printer profi le that your print shop has supplied you with
7. Sharpen the image (see pages 296–300)
8. Ask in which fi le format the document should be saved, then save a copy of it in that format
9. Print a CMYK color proof and analyze it Tweak the Photoshop document, if necessary, then print and analyze another proof
Trang 3
IN THIS CHAPTER
Preparing Photoshop fi les for other applications 415 Saving a fi le in the TIFF format 417 Saving a fi le in the EPS format 418
To quickly save multiple fi les in the JPEG, PSD, or TIFF format 419 Saving a fi le in the PDF format 420 Saving fi les for the Web 421 Previewing an optimized fi le 422 Optimizing a fi le in the GIF format 423 Optimizing a fi le in the JPEG format 425
26
Photoshop image, you need to save it
in the proper format for the specific
drawing, layout, multimedia, Web
page creation, or other program you’re
going to import it into.In this chapter, you’ll
learn how to save and prepare files for export to other
programs for print output, and for viewing online
Preparing Photoshop files for other
applications
Photoshop to Adobe InDesign
Photoshop PSD files can be imported directly into
Adobe InDesign Photoshop layers (and layer comps)
are preserved, and you can turn their visibility on or
off in InDesign InDesign can separate Photoshop PSD
and PDF files (RGB or CMYK), and can read ICC color
profiles that are embedded in Photoshop files And
because it’s part of the Adobe Creative Suite, InDesign
lets you use Bridge for file and color management
Alpha channels, layer masks, and transparency are also
preserved, eliminating any need to use clipping masks
If you want to import only part of a Photoshop
layer into InDesign CS5, you can use either a layer
mask or an alpha channel In Photoshop, select
an area of a layer, then create a layer mask or an
alpha channel (if you haven’t already done so) In
InDesign, choose File > Place, and in that dialog, check
Show Import Options The Image Import Options
dialog opens For a mask, under Show Layers, show the
layer that contains the layer mask and hide any other
layers; for a channel, click the Image tab, then from the
Alpha Channel menu, choose the alpha channel (the
alpha channel will clip all layers) Click OK
Photoshop to QuarkXPress
To colorseparate a Photoshop image from Quark
-XPress, you can convert it to CMYK Color mode
before importing it into Quark XPress, or you can let
Quark XPress read the embedded profiles and convert
your RGB TIFF into a CMYK TIFF Ask your output
service provider which program to use for the
con-version With the PSD Import XTension installed,
layered PSD files can be imported into QuarkXPress
6.5 and later In QuarkXPress, you can adjust the layer
blending mode and opacity If the PSD file contains
layer effects or has a higher color depth than 8 bits
per channel, all layers will be flattened upon import
Continued on the following page
Trang 4
416 Chapter 26
If you need to place only a portion of a
Photoshop image into QuarkXpress 7 or 8, select
an area of a layer, then create an alpha channel In
QuarkXPress, import the file using File > Import
Picture Controls for choosing and modifying the
alpha channel can be found on the Measurements
palette
Photoshop to Adobe Illustrator
Not surprisingly, files from Photoshop CS5 and
Adobe Illustrator CS5 are compatible in many
(although not all) respects
➤ If you drag and drop a Photoshop selection or
layer into Illustrator, the imagery will appear
on the Layers panel in Illustrator as an image
layer in Windows, or as a group with an image
layer in the Mac OS Opacity settings are reset
to 100% but are preserved visually, the
blend-ing mode is reset to Normal, and layer and
vector masks are applied to their respective
layers All transparent areas are filled with
white
➤ If you copy and paste a layer from Photoshop
into Illustrator, layer masks are discarded
without being applied
➤ Via File > Place, you can place either a whole
Photoshop image or just a single layer comp
into Illustrator If you place a Photoshop image
with the Link option checked, the image will
appear on the Layers panel on a single image
layer, and any masks will be applied If you
embed the Photoshop image as you place it
(uncheck the Link option), you’ll have the
option via the Photoshop Import Options
dialog to convert layers into objects or flatten
them into one layer This choice is also available
if you open a Photoshop image via File > Open
in Illustrator
Using the Place or Open command, if you
decide to convert layers into objects, each layer
will appear as an object on its own editable
nested layer within a group The Background (if
any) will become a separate, opaque layer All
transparency values are preserved, and
blend-ing modes that are also available in Illustrator
are preserved; both are listed as editable
appearances in Illustrator (To verify which
blending modes are available in Illustrator, click the blending mode menu on the Transparency panel.) Layer masks become opacity masks
Layer effects are applied to the layer; their visual effects are preserved We prefer the Convert Layers to Objects option because it preserves layer transparency In the Photoshop Import Options dialog, you can check Import Hidden Layers if you want to allow hidden layers to be imported
➤ The presence of adjustment layers in a Photoshop document will prevent underlying Photoshop layers from becoming individual layers in Illustrator To work around this limitation, hide the adjustment layers, or merge the adjustment layers downward Save the Photoshop file, then open or place it into Illustrator
➤ If you decide to flatten Photoshop layers into one layer, the effect of all transparency, blend-ing modes, and layer masks will be preserved visually, but won’t be editable in Illustrator
➤ When you open or place a TIFF, EPS, or PSD file into Illustrator, the file resolution stays the same, but the Photoshop image adopts the color mode of the Illustrator file Via the Effect menu in Illustrator, some Photoshop (raster) effects and some Illustrator (vector) effects can
be applied to the imported images
MAKING FILES COMPATIBLE
When you open a Photoshop (PSD) fi le in another application, ideally that target application should
be able to read layers To allow your PSD fi les to be readable by those that don’t, go to Edit/Photoshop >
Preferences > File Handling and from the Maximize
To apply the preference change, reopen and resave the layered PSD fi les A composite preview will be saved with the layered version for applications that don’t support layers, and a rasterized copy of any vector art will be saved for applications that don’t support vector data Although this option produces larger fi les that take longer to save, it’s an accept-able trade-off for the needed compatibility
Trang 5
Saving a file in the TIFF format
TIFF files are versatile in that they can be imported
into most applications and are usable in many
color management scenarios Both InDesign and
QuarkXPress can color-separate a CMYK color TIFF
Note that although Photoshop files up to 4 GB can be
saved in this format, 2 GB is the largest file size that
other applications can read
To save a file in the TIFF format:
1 Optional: If your commercial printer requests that
you convert the color mode of your document to
CMYK, choose Image > Mode > CMYK Color
2 Choose File > Save As, enter a name or keep the
current name, choose Format: TIFF, and choose
a location for the file
3. In the Save area:
Check Save a Copy to keep the existing file open
onscreen and save a copy of it to disk
Check Layers to preserve any layers in your file
Note, however, that few image or layout
pro-grams can work with layered TIFFs, and those
that don’t will either flatten the layers or ignore
the layer data We recommend unchecking this
option to allow the file to be flattened
You can also choose to save Alpha Channels,
Notes, or Spot Colors, if the file contains them.
4 Optional: Check ICC Profile/Embed Color Profile
to include the currently embedded color profile
with the file For more about color management,
see Chapter 1
5 Click Save The TIFF Options dialog opens A
6 If you need to reduce the storage size of the file,
choose an Image Compression method The LZW
and ZIP methods are nonlossy Some programs
can’t open TIFF files that are saved with ZIP
compression, so find out which file format your
target application supports We don’t recommend
choosing the JPEG compression option because
it discards some image data Note that for color
separation, output service providers prefer
uncompressed files, in which case you should
click None
Leave the Pixel Order on the default setting of
Interleaved (RGBRGB) A This is the TIFF Options dialog in the Mac OS.
Click Byte Order: IBM PC or Macintosh, for the
platform the file will be used on
Optional: Check Save Image Pyramid to save
multiple resolutions of the image in one file
Photoshop doesn’t offer options for opening image pyramids, but Adobe InDesign does
If your file contains transparency and you want
it to be preserved, check Save Transparency
To access this option, the bottommost layer in the file must be a layer — not the Background
If the file contains layers, click a Layer
Compression method
7 Click OK.
Trang 6
418 Chapter 26
Saving a file in the EPS format
If the drawing or page layout program you’re
plan-ning to export your files to can’t read Photoshop
PSD or PDF files, the Photoshop EPS format is the
next best option Note that this format flattens
layers and discards alpha channels and spot
chan-nels To access it, your file can be in any color mode
except Multichannel, but its color depth must be
8 bits per channel Printing an EPS file requires
using a PostScript or PostScript-emulation printer
To save a file in the EPS format:
1 Optional: If the file is to be color-separated
by another application and you want to see a
simulation of how it will look when converted
to CMYK mode, choose View > Proof Setup >
Working CMYK
2 Choose File > Save As (Ctrl-Shift-S/Cmd-Shift-S)
to open the Save As dialog
3. Enter a file name or keep the current name,
choose Format: Photoshop EPS, and choose a
location in which to save the file
Optional: Check ICC Profile/Embed Color Profile
to have Photoshop embed the document color
profile or current working color space into the
file (see pages 10 and 16)
Click Save Note that all layers will be flattened
The EPS Options dialog opens.A–B
4 From the Preview menu, choose TIFF (1 bit/
pixel) to save the file with a black-and-white
preview or TIFF (8 bits/pixel) to save it with a
grayscale or color preview Mac OS users, choose
a Macintosh preview only if you’re certain you
won’t need to open the file on another platform
5. If the file is to be used in the Mac OS, choose
Encoding: Binary, the default method used by
PostScript printers Binary-encoded files are
smaller and process more quickly than ASCII
files If the file is to be used in Windows, or for
applications, PostScript printers, or printing
utilities that can’t handle binary files, you must
choose ASCII85 or ASCII JPEG is the fastest
encoding method, but it causes some data loss
A JPEG file can be printed only on a PostScript
printer that is Level 2 or higher
Note: The PostScript Color Management Option
converts the file’s color data to the printer’s color
space Don’t choose this option if you’re going
to import the file into another color-managed
A In the EPS Options dialog in Windows, choose Preview and Encoding options.
B In the EPS Options dialog in the Mac OS, choose Preview and Encoding options.
Trang 7
application (such as InDesign), as unpredictable
color shifts may result
6 If your document contains vector elements,
such as shapes or type, check Include Vector
Data Although saved vector data in EPS files
is available to other applications, as an alert
will tell you if you reopen the file in Photoshop,
that data will be rasterized
7 For low-resolution output only, check Image
Interpolation to allow other applications
to resample the image pixels, to help reduce
jagged edges
8. Click OK
To quickly save multiple files in the JPEG,
PSD, or TIFF format:
1 In Bridge or Mini Bridge, click a folder, then
select the thumbnails for multiple PSD or JPEG
files or raw photos
2 Choose Tools > Photoshop > Image Processor
The Image Processor dialog opens.A
3 Optional: If you selected raw photos, check
Open First Image to Apply Settings to have the
Camera Raw dialog open for the first selected
photo, enabling you to choose settings Check
this option only if you’re certain the other
raw photos you have selected need the same
adjustments
4. To choose a location for the new files, do either
of the following:
Click Save in Same Location.
Click Select Folder, navigate to the desired
location, then click Open
5 Click the desired File Type (or types) and
applicable settings
name) to be added to the files’ metadata
7 Check Include ICC Profile to include the file’s
color profile so its display and output can be
color-managed
8. Click Run If a file opens into Camera Raw,
choose settings, then click Open Image After
the files are done processing, a folder
contain-ing the new files and bearcontain-ing the name of the
file format appears in the designated location
➤ Via the Save button, you can save the current
settings as a preset Then, to apply it to other
images, use the Load button
CREATING A COMPRESSED ZIP FILE
To reduce the storage size of a fi le without discarding any of its data, you can create a compressed version
of it, using the ZIP compression command that’s built into your system:
➤ To create a ZIP fi le in Windows, right-click a fi le and choose Send To > Compressed (Zipped) Folder from the context menu A compressed version of the
fi le will appear in a new folder within the current folder
➤ To create a ZIP fi le in the Mac OS, right-click a
fi le name in the Finder and choose Compress [fi le
A Use the Image Processor command to quickly save multiple files in the JPEG, PSD, or TIFF format.
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420 Chapter 26
PDF (Portable Document Format) files can be
opened in many Windows and Macintosh
applica-tions, as well as in Adobe Reader, Acrobat Standard,
and Acrobat Professional 8-bit and 16-bit files (not
32-bit files) in any color mode except Multichannel
can be saved in this format Photoshop will create
one of two kinds of PDF files, depending on which
preset you choose in the Save Adobe PDF dialog
The default PDF format, Photoshop PDF, preserves
image, font, layer, and vector data, but it can save
only one image per file To create a Photoshop PDF
file, you need to check Preserve Photoshop Editing
Capabilities in the Save Adobe PDF dialog This type
of PDF can be opened only in Photoshop CS2 and
later (To save multiple images in one PDF file, see
“Creating a PDF Presentation” on pages 380–381.)
Photoshop can also create generic PDF files, which
are similar in format to PDFs from a graphics or
page layout application To save a Photoshop image
as a generic PDF file, uncheck the above-mentioned
Preserve Photoshop Editing Capabilities option The
image will be flattened and rasterized, so your ability
to re-edit it in Photoshop will be very limited
To save a file in the PDF format:
1 Choose File > Save As, enter a file name or keep
the current name in the File Name/Save As field,
choose a location in which to save the file, choose
Format: Photoshop PDF, then click Save If an
alert dialog appears, click OK The Save Adobe
PDF dialog opens.A
2 From the Adobe PDF Preset menu, choose one
of the predefined settings, depending on the
output medium (press, Internet, etc.) The High Quality Print and Press Quality presets create
a large Photoshop PDF file that is compatible with Adobe Acrobat 5 and later, compress the file using JPEG at Maximum quality, embed all fonts automatically, and preserve transparency Note:
For commercial printing, ask your shop what settings to use The Preserve Photoshop Editing Capabilities option is selected for both presets,
by default:
High Quality Print (the default preset) creates
PDF files for desktop printers and color proofing devices The file won’t be PDF/X-compliant The color conversion is handled by the printer driver
Press Quality is designed for high-quality
pre-press output Colors are converted to CMYK
Preserve Photoshop Editing Capabilities is unchecked for the PDF/X and Smallest File Size presets, so they produce generic PDF files:
PDF/X-1a:2001, PDF/X-3:2002, and PDF/X-4:
2008 create PDF files that will be checked for
compliance with specific printing standards, to help prevent printing errors The resulting files are compatible with Acrobat 4 and later; PDF/X-4 files are also compatible with Acrobat 5 and later
Smallest File Size uses high levels of JPEG
com-pression to produce very compact PDF files for output to the Web, transmission via e-mail, etc
All colors are converted to sRGB
3 Click Save PDF, then click Yes in the alert dialog.
➤ To learn more about the PDF format, see “Saving PDF Files” in Photoshop Help
Saving a file in the PDF format
A In the Save Adobe PDF dialog, choose a preset from the Adobe PDF Preset menu.