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Mastering CS3 for Print Design and Production Ted LoCascio Wiley Publishing, Inc... Mastering CS3 for Print Design and Production Ted LoCascio Wiley Publishing, Inc... Wikert Vice Presid

Mastering

CS3 for Print Design and Production

Ted LoCascio

Wiley Publishing, Inc

14576ffirs.qxd 6/1/07 7:49 PM Page i

Mastering

CS3 for Print Design and Production

Ted LoCascio

Wiley Publishing, Inc

14576ffirs.qxd 6/1/07 7:49 PM Page i

Acquisitions Editor: Pete Gaughan

Development Editor: Doug Nelson

Technical Editor: Walt Dietrich

Production Editor: Sarah Groff-Palermo

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Indexer: Ted Laux

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Cover Image: © Pete Gardner / Digital Vision / gettyimages

Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-11457-5

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TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley & Sons, Inc and/or its affiliates, in the United States and other countries, and may not be used without written permission Photoshop is a regis- tered trademark of Adobe Systems Incorporated All other trademarks are the property of their respective owners Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book.

10 9 8 7 6 5 4 3 2 1

Dear Reader

Thank you for choosing Mastering Photoshop CS3 for Print Design and Production This book is part

of a family of premium quality Sybex graphics books, all written by outstanding authors whocombine practical experience with a gift for teaching

Sybex was founded in 1976 More than thirty years later, we’re still committed to producingconsistently exceptional books With each of our graphics titles we’re working hard to set a newstandard for the industry From the paper we print on, to the writers and artists we work with, ourgoal is to bring you the best graphics books available

I hope you see all that reflected in these pages I’d be very interested to hear your commentsand get your feedback on how we’re doing Feel free to let me know what you think about this orany other Sybex book by sending me an e-mail at nedde@wiley.com, or if you think you’ve found anerror in this book, please visit http://wiley.custhelp.com Customer feedback is critical to ourefforts at Sybex

Best regards,

Neil EddeVice President and PublisherSybex, an Imprint of Wiley14576ffirs.qxd 6/1/07 7:49 PM Page iii

For my son, Enzo, whom I can never take enough pictures of

First and foremost, I must thank everyone at Sybex and John Wiley & Sons for making this book possible Thanks to publishers Neil Edde and Dan Brodnitz and to acquisitions editor PeteGaughan for sharing my vision on this project and for being as genuinely enthusiastic about Photoshop as I am Thanks also to developmental editor Doug Nelson for helping me organizethis title and paying such close attention to the details, and to Walt Dietrich for acting as my tech-nical editor and making sure every step, shortcut, and tip is correct

Thank you to Dr Taz Tally for his extensive contributions to the manuscript

Special thanks to my copyeditor, Sharon Wilkey, for making this book read as well as it does Imust also thank my production editor, Sarah Groff-Palermo, for working with me on the book’sschedule and keeping everything on track I would also like to thank compositor Maureen Forysfor doing such a great job of laying out the book

Loving thanks to my wife, Jill, and to my son, Enzo, for being so patient while I was busy ing this book Thanks also to Mom, Dad, Val, Bob and Evelyn Innocenti, and the rest of myextended family for being so supportive

writ-I must also thank Lynda Weinman, Michael Ninness, Garo Green, Tanya Staples, Chris Mattia,and the rest of the wonderful staff at Lynda.com for allowing me to be a part of their excellentonline instructor team and for being so much fun to work with

I would also like to thank CreativePro.com and the InDesign Magazine staff, especially Terri

Stone and David Blatner Special thanks also go out to Barry Anderson and all of the instructorsand staff at the Adobe CS Conference

Thanks also to Photospin.com for allowing me to use their images in this book

And of course, thanks to Adobe for making such great software to write about

14576ffirs.qxd 6/1/07 7:49 PM Page v

About the Author

Ted LoCascio is a professional graphic designer and an expert in Photoshop, Photoshop Elements,InDesign, Illustrator, and QuarkXPress He served as senior designer at KW Media and theNational Association of Photoshop Professionals (NAPP) for several years, and has created lay-outs and designs for many successful software training books, videos, and magazines

Ted is the author of InDesign CS2 at Your Fingertips, The InDesign Effects Book, and Combining

Images with Photoshop Elements He has contributed articles to Photoshop User magazine, InDesign Magazine, and Creativepro.com, and has taught at Photoshop World Ted is also the video author

of InDesign CS2 Essential Training, Font Management, Illustrator CS2 Creative Techniques, Creative

Suite 2 Integration: Print Project Workflow, Getting Started with Quark Interactive Designer, and Bridge and Version Cue CS3 Essential Training—all available at Lynda.com And he teaches a digital graph-

ics course at St Petersburg College in Seminole, Florida

A graphic designer for more than 10 years, Ted’s designs and illustrations have been featured

in several national newsstand and trade magazines, such as Photoshop User, Mac Design Magazine, Nikon’s Capture User, Great Output, AAA Going Places, and Florida Trend As a professional

designer, he has used Adobe software to create layouts for magazines, books, and various tising and marketing materials, including brochures, product packaging, posters and signs, andinteractive PDFs

adver-A Chicago native (born a hopeless Cubs fan) and Columbia College alumnus, Ted relocated tothe Tampa Bay area in 1994 He currently resides in Tarpon Springs, Florida, with his wife, Jill, andtheir son, Enzo

Contents at a Glance

Introduction xv

Chapter 1 • Getting Started 1

Chapter 2 • Making Good Selections 45

Chapter 3 • Working with Brushes 101

Chapter 4 • Working with Color 129

Chapter 5 • Tonal and Color Corrections 163

Chapter 6 • Enhancing and Retouching for Print 203

Chapter 7 • Combining Image Layers 249

Chapter 8 • Layer Styles and Filter Effects 299

Chapter 9 • Reducing Noise and Sharpening 335

Chapter 10 • Editing in Camera Raw 381

Chapter 11 • CS3 Integration 433

Chapter 12 • Automation 473

Chapter 13 • Saving, Printing, and Output 497

Appendix • The Bottom Line 539

Index 557

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Introduction xv

Chapter 1 • Getting Started 1

What’s New in CS3 1

New Interface 1

Enhanced Curves Dialog Box 3

Smarter Smart Objects 4

Quick Selection Tool 4

Refine Edge Dialog Box 5

Preferences for Print Designers 6

A New Dialog 6

General 6

Interface 7

File Handling 10

Performance 11

Cursors 12

Transparency & Gamut 13

Units & Rulers 13

Guides, Grid, Slices, & Count 14

Plug-Ins 15

Type 15

Setting Up a Workspace for Print Design/Production 16

Managing Palettes 16

Saving a Workspace 22

Deleting a Workspace 22

Using Screen Modes 24

Customizing Menus and Keyboard Shortcuts 27

Editing Menus 27

Editing Keyboard Shortcuts 29

Color Management: What Color Settings Should I Use? 31

What’s an ICC Color Profile? 31

Monitor Calibration 31

Color Settings 32

Synchronized Color Settings 34

Understanding Resolution for Print 36

Pixel Logic 36

What’s My Resolution? 39

The Bottom Line 43

Chapter 2 • Making Good Selections 45

Defining Good Selections 45

The Selection Border 45 14576ftoc.qxd 6/1/07 7:50 PM Page ix

The Tools Palette 46

The Marquee Tools 47

Identifying Which Selection Tools to Use 47

The Lasso Tools 50

The Magic Selection Tools 58

The Background Eraser 70

Making Color Range Selections 73

Modifying and Transforming Selections 75

Adding and Subtracting Selections 75

Changing a Selection’s Edge 80

Saving Selections with Paths and Channels 87

Saving a Selection as an Alpha Channel 87

Working with Paths and Selections 89

Using the Extract Filter 94

The Bottom Line 99

Chapter 3 • Working with Brushes 101

The Brush Tool 101

Graphics Tablet Pressure Sensitivity 103

Brush Tool Presets 104

The Preset Manager 108

Customizing and Creating Brushes 109

Brush Tip Shape 109

Shared Brush Setting Concepts 111

Shape Dynamics 111

Scattering 113

Texture 113

Dual Brush 114

Color Dynamics 115

Other Dynamics 117

Additional Brush Settings 118

Defining a Brush Preset 118

Saving a Brush Preset 121

Brushes and Layer Masks 122

History Painting 126

The Bottom Line 127

Chapter 4 • Working with Color 129

Replacing Colors 129

Hue/Saturation Adjustments 129

Blend Modes 134

Color Replacement Tool 137

Colorizing a Grayscale Image 139

Hue/Saturation Adjustment Layers 139

Brushes, Layers, and Blend Modes 141

Converting Color to Grayscale 144

Black And White Adjustment Layer 147

Channel Mixer Adjustment Layer 152

CONTENTS xi

Applying Spot Color in Photoshop 154

Spot Color Defined 154

Adding a Spot Color Channel 154

Spot Color Knockout and Trapping 156

Saving Images with Spot Colors 157

Creating Duotones and Tint Effects 158

Duotone Mode 158

Sepia and Other Tint Effects 159

The Bottom Line 162

Chapter 5 • Tonal and Color Corrections 163

Image Adjustment Fundamentals 163

Color Correction and Data Loss 164

Color Correction Tools 165

Tools to Avoid 169

Levels and Curves 171

Levels 171

Curves 175

Auto Color Correction 192

Selective Color 194

Photo Filter 197

Shadows/Highlights 199

The Bottom Line 202

Chapter 6 • Enhancing and Retouching for Print 203

Enhancing Images 203

Repairing Image Elements 204

Cloning to Cover 205

Cloning to Remove Contents 209

Cloning between Images 215

Retouching People 221

Brightness and Contrast and Color Balance 222

Retouching Linear Blemishes 226

Retouching Spot Blemishes 229

Retouching Area Blemishes 230

Detailed Retouching 232

Subtlety Is Key 238

Geometric Enhancements 238

Cropping 238

Straightening 241

Removing Lens Distortion 244

The Bottom Line 247

Chapter 7 • Combining Image Layers 249

Opacity and Blend Modes 249

Adjusting Layer Opacity 249

Applying Blend Modes 253 14576ftoc.qxd 6/1/07 7:50 PM Page xi

What Is a Mask? 267

Black Conceals, White Reveals 269

Blending with Masks and Groups 270

Gradient Blending with Layer Masks 270

Clipping Masks and Groups 282

Vector-Based Clipping Masks 286

Blending Options 294

The Bottom Line 298

Chapter 8 • Layer Styles and Filter Effects 299

Layer Styles 299

Using the Layer Style Dialog Box 300

Utilizing Layer Style Effects 303

Using the Styles Palette 310

Copying Styles 313

Clearing Styles 315

Creating Layers from Styles 316

Filters and the Filter Gallery 316

A Word of Warning 319

Applying Filters 319

Smart Filters 321

The Filter Gallery 324

The Bottom Line 334

Chapter 9 • Reducing Noise and Sharpening 335

Noise Patterns 335

Image Capture Noise 336

Compression-Related Noise 337

Halftone Patterns 337

Sharpening 338

Not All Sharpening Tools Are Created Equal 339

Unsharp Mask 341

Smart Sharpening 344

Unsharp Mask vs Smart Sharpening Revisited 348

Finding and Using Edges to Control Sharpening 352

Reducing Noise and Artifacts 356

When to Perform Noise Reduction and Sharpening 356

Removing Image Capture Noise in Channels 360

Removing Image Capture Noise in Composite RGB 365

Removing Image Capture Noise in Channels 367

Removing JPEG Artifacts 371

The Bottom Line 379

Chapter 10 • Editing in Camera Raw 381

Working with RAW Images and Camera Raw 381

Editing TIFFs and JPEGs in Camera Raw 383

Using the Camera Raw Dialog Box 385

Camera Raw Tools and Settings 386