ptg 402 Chapter 24 Creating tool presets If you’re looking for an eective way to streamline your workow, consider creating some tool presets. For any tool, you can choose a preset (such as a brush or gradient), Options bar settings, and a Foreground color (if applicable), then save that col- lection of settings as a tool preset. ereafter, upon selecting that tool, you simply choose your preset from the Tool Preset picker on the Options bar or from the Tool Presets panel; it contains all the set- tings that you saved with it. Tool presets are a great timesaver and are worth the eort to set up, even for minor variations. To acquaint yourself with the Tool Presets panel, uncheck Current Tool Only. e tool presets for all tools display. Click a tool preset, and the tool that uses that preset becomes selected automatically. Now check Current Tool Only. Only presets for the current tool display. Via the panel or picker menu, you can load more presets (see the preceding page). e DP, M Tool, Mixer Brush Tool, and Splatter Brush Tool preset libraries are new. ★ To create a tool preset: 1. Choose and customize any tool. Or to create a variation of an existing tool preset, click the preset, then choose custom settings for it. 2. Do either of the following: At the far left end of the Options bar, click the Tool Preset picker thumbnail or arrowhead. A Display the Tool Presets panel. B 3. Click the New Tool Preset button on the picker or panel. e New Tool Preset dialog opens. 4. Optional: Change the name of the tool preset, if desired. Also check Include Color, if that option is available and you want to save the current Fore ground color with the preset. 5. Click OK. e new tool preset will appear on, and can be chosen from, the Tool Preset picker and the Tool Presets panel. 6. To preserve your user-created tool presets for future use in any document, save them as a library by choosing Save Tool Presets from the picker or panel menu. ➤ To restore the default presets for all tools, save any custom tool presets as a library rst (if desired), choose Reset Tool Presets from the picker or panel menu, then click OK in the alert dialog. B Tool presets can also be accessed from the Tool Presets panel. A Click this thumbnail or arrowhead on the Options bar to open the Tool Preset picker. SOME SUGGESTIONS FOR TOOL PRESETS Take note of which tools you use most frequently, and which settings you choose most frequently for them. Here are a few suggestions for presets you can create: ➤ Brush panel settings, Options bar settings, and a Foreground color for the Brush or Mixer Brush tool ➤ Standard photo sizes for the Crop tool ➤ Character panel or Options bar settings for the Horizontal Type or Vertical Type tool, including a color ➤ Frequently used settings for the healing tools, such as the Healing Brush or Spot Healing Brush tool, or for the Clone Stamp or Sharpen tool ➤ Frequently used settings for the selection tools, such as some Fixed Ratio settings for the Rectangular Marquee tool ➤ A basic preset for the Gradient tool, with the “Black, White” gradient chosen ptg print 25 When you’ve nished editing your Photoshop image, it can be output to a color printer (such as an inkjet device) or an imagesetter. In the rst task in this chap- ter, you will create a custom proof setting for your specic inkjet printer and paper and use it to view a soft (onscreen) proof of your print output. Following that, we provide instructions for outputting a docu- ment to an inkjet printer. You will also learn how to choose settings for a le to be printed as a monotone, and how to convert your le to CMYK Color mode for commercial printing. (To export your le to another application or to optimize it for the Web, see the next chapter.) When preparing les for an output service provider, be sure to consult with those experts about which specic settings and formats they need you to select in Photoshop. For additional information beyond the scope of this chapter, refer to Photoshop Help, which contains a wealth of specialized technical information, and to the documentation for your specic printer model. And keep in mind that for both desktop and commercial printing, you can gain a lot of valuable feedback from trial and error. e experts become expert by learning from experience. FOR INKJET PRINTING, KEEP YOUR DOCUMENT IN RGB COLOR MODE When printing to a desktop inkjet printer, keep your image in RGB Color mode. Although these printers print using six or more process ink colors, their drivers are designed to receive RGB data and perform the conver- sion to printer ink colors internally. Be sure to use the installed profi le that conforms to your printer model and paper (we’ll show you how). IN THIS CHAPTER Proofi ng colors onscreen . . . . . . . . .404 Printing a fi le on an inkjet printer . . .405 Creating a monotone print . . . . . . . .413 Preparing a fi le for commercial printing . . . . . . . . . . . . . . . . . .413 ptg 404 Chapter 25 In this next step in color management, you’ll create a custom proof setting for your specic inkjet printer and paper, and use it to view a soft proof, or onscreen simulation, of your print output. Although the soft proof won’t be perfectly accurate, it will give you a rough idea of how your colors will look (with- out costing you a penny). To proof a document as an inkjet print onscreen: 1. From the View > Proof Setup submenu, choose Custom. e Customize Proof Condition dialog opens. In the next steps, you will choose custom proong settings for your output device. A 2. Check Preview, then from the Device to Simulate menu, choose the correct color prole for your inkjet printer and paper (the prole you either downloaded from a manufacturer’s website or installed with your printer driver le). 3. Uncheck Preserve RGB Numbers, if available. Photoshop will simulate how the colors will look when converted to the output prole. is option is available only if the color mode of the output prole that you chose from the Device to Simulate menu matches that of the current le (e.g., if your image is in RGB Color mode and you chose an RGB device as the Device to Simulate). 4. Choose a Rendering Intent to control how colors will change as the image is shifted from one pro- le to another (see the sidebar on the next page). We recommend choosing either Perceptual or Relative Colorimetric. You can evaluate a couple of options via the preview and by making some test prints. Check Black Point Compensation to allow adjustments to be made for dierences in black points among dierent color spaces. With this option chosen, the full dynamic range of the image color space is mapped to the full dynamic range of the color space for the output device (the printer). With this option o, black areas in the image may display or print as grays. We recommend checking this option for inkjet printing. 5. Optional: For Display Options (On-Screen), check Simulate Paper Color to preview the white of the printing paper as dened in the printer prole; or if you’re going to print the le on uncoated paper, check Simulate Black Ink to preview the full range of black values that the printer can produce. 6. To save your custom proof setup, click Save, enter a name, keep the .psf extension, keep the location as the default Proong folder, then click Save. 7. Click OK. Saved proof setups are available on the Custom Proof Condition menu in this dialog and at the bottom of the View > Proof Setup submenu. View > Proof Colors will be checked automatically, so you can see the soft proof. And for the moment, the Device to Simulate prole is listed in the tab of the current document. Remember, the Proof Setup options control only how Photoshop simulates colors onscreen. Colors in the actual le won’t be converted to the chosen prole until you convert the docu- ment to a dierent color mode (such as from RGB to CMYK) or send it to an inkjet printer. Proofing colors onscreen A To generate a soft proof of our document, in the Customize Proof Condition dialog, we’ve chosen the prole for our Canon Pixma inkjet printer as the Device to Simulate. ptg Print 405 Choosing a Proof Setup preset will cause Photoshop to soft-proof (simulate) the colors in your RGB le onscreen as if it were printed using CMYK inks or displayed online on a Windows or older Macintosh display. To proof colors onscreen for commercial printing or online output: 1. From the View > Proof Setup submenu, choose the preset for the output display type that you want Photoshop to simulate: Working CMYK to simulate colors for the commercial press that is currently chosen on the CMYK menu under Working Spaces in the Edit > Color Settings dialog in Photoshop. Legacy Macintosh RGB (Gamma 1.8) or Internet Standard RGB (sRGB) ★ to simulate colors for online output using the legacy Mac gamma (1.8) or Windows gamma (2.2) as the proong space. Monitor RGB to simulate colors using the custom display prole for your monitor. 2. View > Proof Colors will be checked automati- cally. To turn o soft proong at any time, simply uncheck it (Ctrl-Y/ Cmd-Y). Printing a file on an inkjet printer In this section, we will show you how to output your le to an inkjet printer and obtain a quality color print that closely matches the document you have been viewing onscreen. You will complete the color management setup that you started in Chapter 1 by choosing settings in the Print dialog. We have divided the steps for using this dialog into three parts: choosing settings for the printer driver, choosing settings in the Print dialog for Photoshop, and nally, turning o color man- agement for the printer and printing the le in Windows or the Mac OS. CHOOSING A RENDERING INTENT ➤ Perceptual changes colors in a way that seems natural to the human eye, while attempting to pre- serve the appearance of the overall image. It’s a good choice for continuous-tone images. ➤ Saturation changes colors with the intent of preserving vivid colors, but in so doing compromises color fi delity. Nevertheless, it is a good choice for charts and graphics, which normally contain fewer colors than continuous-tone images. ➤ Absolute Colorimetric maintains the color accuracy only of colors that fall within the destination color gamut (i.e., the color range of your printer) but in so doing sacrifi ces the accuracy of colors that aren’t within that gamut. ➤ Relative Colorimetric, the default intent for all the Adobe predefi ned settings in the Color Settings dialog, compares the white, or highlight, of your document’s color space to the white of the destina- tion color space (the white of the paper, in the case of print output), shifting colors where needed. This is the best rendering intent choice for documents in which most of the colors fall within the color range of the destination gamut, because it preserves most of the original colors. Note: Consult your printer manual when choosing a rendering intent. For example, some inkjet printers favor Perceptual over Relative Colorimetric. Continued on the following page ptg 406 Chapter 25 4. e menu names vary with the chosen printer model, so we will refer to them generically: In Windows, in the Main (or other) tab, choose the best-quality option for photo printing. For the paper options, choose the source for your paper, the specic type of paper to be used, and the paper size ( A , next page). In the Mac OS, the inkjet printer you chose in step 2 will be listed on the Printer menu. Choose the desired paper size for the print (for a borderless print, pick a size that includes the word “borderless”). From the fourth menu down, choose the print quality and paper options category (e.g., Quality & Media or Print Settings). From the media or paper type menu, choose the type of paper you will be using ( B , next page), and from another menu, choose a print quality option ( C , next page). 5. Click Save to close the [Printer Name] Properties/OS-level Print dialog and return to the Print dialog for Photoshop. Now you’re ready to choose print settings for Photoshop (see page 408). In Photoshop CS5, all the necessary printing options are in the Print dialog. And unlike in pre- vious versions of Photoshop, clicking the Print button sends your le directly to the printer. Upon opening the Print dialog, the rst step is to tell Photoshop what type of printer you will be using. You will also click the Print Settings button to gain access to the print dialog for your operating system, in order to specify the paper size, paper type, and other printer-specic options. To choose settings in the Print dialog for inkjet printing: ★ Part 1: Choose settings for your printer driver 1. Open the le to be printed, then choose File > Print (Ctrl-P/Cmd-P). e Print dialog opens, complete with a preview. A 2. From the Printer menu, choose the inkjet printer you’re planning to use. 3. Click Print Settings to open the [Printer Name] Properties/Print dialog for your operating system. e driver for your chosen printer and your operating system control which options are available in this dialog. A In the Print dialog for Photoshop, choose your inkjet device from the Printer menu, then click the Print Settings button. ptg Print 407 A i s i s t h e P r i n t S e t t i n g s > [Print Name] Properties dia- log for an Epson printer, in Windows 7. We chose a Quality Option and Paper Options. B i s i s t h e P r i n t S e t t i n g s > P r i n t d i a l o g f o r a n E p s o n printer in the Mac OS. We chose Print Settings from the fourth menu down, and are choosing a specic paper type from the Media Type menu. C Next, in the same dialog, we clicked Mode: Advanced and chose a Print Quality option. ptg 408 Chapter 25 installed (as per our instructions on pages 14–15), or choose a prole that matches the paper type you chose when you clicked Print Settings (see page 406). e proles for the currently chosen printer should display at the top of the menu. If you don’t see your custom installed prole there, scroll downward on the list. 6. From the Rendering Intent menu, choose the same intent that you used when you created the soft-proof setting for your inkjet printer, which most likely was either Perceptual or Relative Colorimetric (see the sidebar on page 405). ➤ You could run one test print for the Perceptual intent and one for the Relative Colorimetric intent, and see which one produces better results. 7. Check Black Point Compensation. is option preserves the darkest blacks and shadow details by mapping the full color range of the docu- ment prole to the full range of the printer prole, and is recommended when printing an RGB image. 8. Below the preview, do the following: Check Match Print Colors to display a color- managed soft proof of the image in the pre- view, based on the chosen printer and printer prole settings. Uncheck Gamut Warning. This option previews out-of-gamut colors as gray. It is necessary only when printing to a commercial CMYK printer. Check Show Paper White to have the paper color be simulated in any white areas in the preview, based on the current printer profile. 9. Before printing the image, you need to turn o color management for your printer. To do this, carefully follow the steps on page 411 for Windows or on page 412 for the Mac OS. ➤ Click Done in the Print dialog if you want to save all of your settings for the current docu- ment and close the dialog. After choosing print settings by following the steps on page 406, the next step is to choose position, scale, color management, and output options in the Print dialog for Photoshop. Part 2: Choose settings in the Print dialog ★ 1. In the Print dialog for Photoshop ( A , next page), click the portrait or landscape ori- entation button. Check Center Image to posi- tion the image in the center of the paper. Or to reposition the image on the paper, uncheck Center Image and enter new Top and Left values (note the preview); you can also check Bounding Box, if desired, then drag the bound- ing box in the preview. 2. Optional: To scale the print output slightly (not the actual image), do one of the following: Check Scale to Fit Media to t the image auto- matically on the paper size you chose in step 4 on page 406. Uncheck Scale to Fit Media, then change the Scale percentage or enter specic Height and Width values (choose a unit from the Units menu). e three values are interdependent; changing one causes the other two to change. Note: Use these features to scale the print by only a small amount (i.e., fractions of an inch or a few percentage points). If a larger scale change is needed, cancel out of the dialog, use Image > Image Size to scale the image (see pages 122–124), then resharpen it. 3. From the menu in the upper right, choose Color Management, then click Document to use the color prole that’s embedded in the image, which will be Adobe RGB (1998) if you’re continuing with the color management workow that you began in Chapter 1. 4. From the Color Handling menu, choose Photoshop Manages Colors to let Photoshop handle the color conversion. is option will ensure optimal color management. (See the sidebar on the next page.) 5. From the Printer Profile menu, choose the printer, ink, and paper prole that you have . dialog and return to the Print dialog for Photoshop. Now you’re ready to choose print settings for Photoshop (see page 408). In Photoshop CS5, all the necessary printing options. management, and output options in the Print dialog for Photoshop. Part 2: Choose settings in the Print dialog ★ 1. In the Print dialog for Photoshop ( A , next page), click the portrait or landscape. divided the steps for using this dialog into three parts: choosing settings for the printer driver, choosing settings in the Print dialog for Photoshop, and nally, turning o color man- agement