adobe Photoshop 6 Bibles phần 9 ppsx

813 Chapter 18 ✦ Printing Images Choosing a printer To select a printer, choose Start ➪ Settings ➪ Printers. Right-click your printer of choice and select Set As Default on the resulting pop-up menu, as shown in Figure 18-1. If you want to add a printer, double-click the Add Printer icon, and be sure to have either your Windows CD-ROM or a drivers disk from your printer manufacturer. Figure 18-1: Specify your default printer from inside the Printers window. Printer drivers help the PC hardware, Windows, and Photoshop translate the con- tents of an image to the printer hardware and the page-description language it uses. You generally want to select the driver for your specific model of printer. But you can, if necessary, prepare an image for output to a printer that isn’t currently hooked up to your computer. For example, you can use this technique prior to submitting a document to be output on an imagesetter at a service bureau. Most high-end Windows graphics applications can take advantage of PostScript printer description (PPD) files. A single driver can’t account for the myriad differ- ences between different models of PostScript printers, so each PPD serves as a lit- tle guidance file, customizing the driver to accommodate a specific printer model. Windows lets you attach a PPD file globally to your PostScript printer, for which you need both the PPD file and the INF file to tell Windows what to install. (Adobe offers its own printer driver called AdobePS — available via www.adobe.com — which doesn’t require INF files. The setup program works only for Adobe-licensed PostScript printers, however.) 814 Part V ✦ Color for Print and the Web Windows also lets you switch printers from inside an application. Just choose File ➪ Page Setup (Ctrl+Shift+P) inside Photoshop and select the printer you want to use from the Name pop-up menu. Setting up the page The next step is to define the relationship between the current image and the page on which it prints. In Photoshop 6, you handle most aspects of this part of the print- ing process in the new Print Options dialog box, shown in Figure 18-2. To open the dialog box, choose File ➪ Print Options or press Ctrl+Alt+P. When you first open the dialog box, the options shown at the bottom half of the figure aren’t visible; select the More Options check box to display them. Figure 18-2: The new Print Options dialog box enables you to precisely position the image, scale the image, and handle almost all other print setup chores. The settings in the Print Options dialog box, however, relate to the printer, paper size, and page orientation you select in the Page Setup dialog box. So unless you want to use Page Setup options that you already established, click the Page Setup 6 Photoshop 6 Tip 815 Chapter 18 ✦ Printing Images button to transport to that dialog box. Alternatively, you can open the dialog box by choosing File ➪ Page Setup or by pressing Ctrl+Shift+P when the Print Options dialog box isn’t open. The next section explains the important choices you need to make in the Page Setup dialog box; after that, I discuss a myriad of other print settings. Some of Photoshop’s print options may appear in several different dialog boxes. For example, you may find image scaling controls in the Page Setup dialog box, as well as in the Print Options dialog box. For most print attributes, Photoshop doesn’t care where you specify your print options. But if you want to scale the image for output, use the Scaled Print Size controls in the Print Options dialog box. If you scale the image in the Page Setup dialog box, the Scale, Height, and Width values in the Print Options dialog box may not reflect accurate values. The Page Setup dialog box The Page Setup dialog box varies depending on what kind of printer you use. I usu- ally show the Page Setup dialog box for a standard PostScript printer. But this time around, I reckoned a color ink-jet printer might be more in keeping with the current state of the art. Therefore, Figure 18-3 shows the Page Setup options for Epson’s Color Stylus 800. Figure 18-3: Use this dialog box to choose the printer, page size, and image orientation. Note 816 Part V ✦ Color for Print and the Web Even though the Page Setup dialog box offers different options for different print- ers, you should always have access to the following (or their equivalents): ✦ Paper size: Select the size of the paper loaded into your printer’s paper tray. The paper size you select determines the imageable area of a page—that is, the amount of the page that Photoshop can use to print the current image. For example, the Letter option calls for a page that measures 8.5× 11 inches, but only about 7.5 × 10 inches is imageable. ✦ Source: Virtually all printers include paper cartridges, but some permit you to manually feed pages or switch between cartridges. Use this option to decide where your paper is coming from. ✦ Orientation: You can specify whether an image prints upright on a page (Por- trait) or on its side (Landscape) by selecting the corresponding Orientation icon. Use the Landscape setting when an image is wider than it is tall. Printer-specific options In addition to the options in the Page Setup dialog box, you may be able to control certain print attributes specific to the selected printer. To explore these options from inside the Page Setup dialog box, click the Properties button to display a multipaneled dialog box of additional choices. In the case of the Color Stylus 800, for example, clicking on the Properties button displays the dialog box shown in Figure 18-4. Here I can modify the print quality, select whether to print in black- and-white or color, and specify the type of paper I’m using. Figure 18-4: Click the Properties button to access still more settings that are specific to the kind of printer you’re using. 817 Chapter 18 ✦ Printing Images Position and scaling options All of the options I’ve described so far are constant regardless of what application you’re using. However, the settings inside the Print Options dialog box (shown ear- lier, in Figure 18-2) are unique to Photoshop. The top half of the dialog box includes controls that are new to Photoshop 6. These welcome additions enable you to position the image on the page and perform a few other handy printing adjustments: ✦ Position: Enter values into the Top and Left option boxes to position the image with respect to the top-left corner of the page. You can select from four different measurement units for these options. If you want the image to print smack dab in the middle of the page, as it did in previous versions of Photoshop, select the Center Image check box. And if you’re not overly concerned about placing the image exactly at a certain spot, deselect the Center Image check box and then just drag the image in the preview on the left side of the dialog box. The preview updates to show you the current image position. In the preview, the white area represents the printable region of the paper; shadowed areas indicate the margins required by the selected printer. ✦ Scaling: If you want to adjust the image size for the current print job only, use these controls. They have no affect on the actual image file — they merely scale the image for printing. You can enter a scale percentage; anything over 100 percent enlarges the image, and values under 100 percent reduce the image. Or enter a specific size in the Height and Width option boxes. If you want Photoshop to adjust the image automatically to fit the page size, select the Scale to Fit Media check box. The Show Bounding Box option, when selected, displays handles at the cor- ners of the preview image. For quick and dirty scaling, you can drag the han- dles until the image is the approximate print size you want. ✦ Print selection: If you selected a rectangular area before opening the dialog box, you can print just the selection by turning on the Print Selected Area check box. Any scaling and position settings still apply to the printed output. Photoshop prints only visible layers and channels, so you can print select layers or channels in an image by hiding all the other layers or channels. (To hide and display layers and channels, click the eyeball icon next to the layer or channel name in the Layers or Channels palette, respectively.) To print a single layer or channel, Alt-click the eyeball. Output options To display the special print options shown at the bottom of Figure 18-2, earlier in this chapter, select the Show More Options check box and then select Output from the pop-up menu immediately below. (If any options are dimmed, your printer doesn’t support them.) 6 Photoshop 6 Tip 6 Photoshop 6 818 Part V ✦ Color for Print and the Web The five Output buttons work as follows: ✦ Background: To assign a color to the area around the printed image, click this button and select a color from the Color Picker dialog box, described in Chapter 4. This button and the one that follows (Border) are designed specifi- cally to accommodate slides printed from a film recorder. If you select either of these options, Photoshop updates the preview to show them. ✦ Border: To print a border around the current image, click this button and enter the thickness of the border into the Width option box. The border auto- matically appears in black. ✦ Bleed: This button lets you print outside the imageable area of the page when outputting to an imagesetter. (Imagesetters print to huge rolls of paper or film, so you can print far outside the confines of standard page sizes. Most other printers use regular old sheets of paper; any bleed— were the printer to acknowledge it — would print off the edge of the page.) Click the Bleed button and enter the thickness of the bleed into the Width option box. Two picas (24 points) is generally a good bet. (Bleeds are defined in the “Understanding Printing Terminology” glossary at the beginning of this chapter.) ✦ Screen: Click this button to enter a dialog box that enables you to change the size, angle, and shape of the printed halftone cells, as described in the upcom- ing “Changing the halftone screen” section. ✦ Transfer: The dialog box that appears when you click this button enables you to redistribute shades in the printed image, as explained in the upcoming sec- tion, “Specifying a transfer function.” Most of the Output check boxes —all except Negative, Emulsion Down, Interpolation, and Include Vector Data —append special labels and printer marks to the printed ver- sion of the image. Figure 18-5 illustrates how they look when printed. For all options except Interpolation and Include Vector Data, Photoshop shows the result of select- ing the check box in the image preview. ✦ Interpolation: If you own an output device equipped with PostScript Level 2 or later, you can instruct Photoshop to antialias the printed appearance of a low-resolution image by selecting this option. The output device resamples the image up to 200 percent and then reduces the image to its original size using bicubic interpolation (as described in the “General preferences” section of Chapter 2), thereby creating a less-jagged image. This option has no effect on older-model PostScript devices. ✦ Calibration Bars: A calibration bar is a 10-step grayscale gradation beginning at 10 percent black and ending at 100 percent black. The function of the cali- bration bar is to ensure all shades are distinct and on target. If not, the output device isn’t properly calibrated, which is a fancy way of saying the printer’s colors are out of whack and need realignment by a trained professional armed with a hammer and hacksaw. When you print color separations, the Calibration Bars check box instructs Photoshop to print a gradient tint bar and progressive color bar, also useful to printing professionals. 819 Chapter 18 ✦ Printing Images Figure 18-5: An image printed with nearly all the Output check boxes turned on. ✦ Registration Marks: Select this option to print eight crosshairs and two star targets near the four corners of the image. Registration marks are imperative when you print color separations; they provide the only reliable means to ensure exact registration of the cyan, magenta, yellow, and black printing plates. When printing a composite image, however, you can ignore this option. ✦ Corner Crop Marks: Select this option to print eight hairline crop marks — two in each of the image’s four corners — which indicate how to trim the image in case you anticipate engaging in a little traditional paste-up work. Registration marks Cranky kiddo.tiff Hey, don’t mess with me, man. I’m grumpy ’cause I can’t change the font for this caption. Aargh! Center crop marks Corner crop marks Modern youngster Label Caption Calibration bar 820 Part V ✦ Color for Print and the Web ✦ Center Crop Marks: Select this option to print four pairs of hairlines that mark the center of the image. Each pair forms a cross. Two pairs are located on the sides of the image, the third pair is above it, and the fourth pair is below the image. ✦ Caption: To print a caption beneath the image, select this option. Then press Enter to exit this dialog box, choose File ➪File Info, and enter a caption into the File Info dialog box. The caption prints in 9-point Helvetica. This is strictly an image-annotation feature, something to help you 17 years down the road, when your brain starts to deteriorate and you can’t remember why you printed the darn thing. (You might also use the caption to keep images straight in a busy office where hundreds of folks have access to the same images, but I don’t like this alternative as much because I can’t make fun of it.) ✦ Labels: When you select this check box, Photoshop prints the name of the image and the name of the printed color channel in 9-point Helvetica. If you process many images, you’ll find this option extremely useful for associating printouts with documents on disk. Incidentally, Figure 18-5 shows the actual labels and marks exactly as they print. I started by printing the Photoshop image to disk as an EPS (Encapsulated PostScript) file (as I describe later in the “Printing pages” section). Then I used Illustrator to open the EPS file and assign the callouts. This may not sound like much, but in the old days this would have been impossible. Figure 18-5 repre- sents a practical benefit to Illustrator’s (and Photoshop’s) ability to open just about any EPS file on the planet. ✦ Emulsion Down: The emulsion is the side of a piece of film on which an image is printed. When the Emulsion Down check box is turned off, film prints from an imagesetter emulsion side up; when the check box is turned on, Photoshop flips the image so the emulsion side is down. Like the Negative option, dis- cussed next, this option is useful only when you print film from an imageset- ter, and this option should be set in accordance with the preferences of your commercial printer. ✦ Negative: When you select this option, Photoshop prints all blacks as white and all whites as black. In-between colors switch accordingly. For example, 20 percent black becomes 80 percent black. Imagesetter operators use this option to print composites and color separations to film negatives. ✦ Include Vector Data: If your image contains any vector objects or type for which outline data is available (not outline or protected fonts), select this check box to send the actual vector data to a PostScript printer. Your vector objects then can be scaled to any size without degrading in quality. Including the vector data increases the image file size, which can slow printing and cause other printing problems. But if you turn off the check box, everything in the image is sent to the printer as raster data. This reduces the file size, but you no longer can scale the vector objects or type with impunity. They’re subject to the same quality loss that occurs when you enlarge any pixel-based image. 6 Photoshop 6 Note 821 Chapter 18 ✦ Printing Images ✦ Encoding: Select an option from this pop-up menu to control the encoding method used to send the image file to the printer. In normal printing situa- tions, leave the option set to the default, Binary. If your network doesn’t sup- port binary encoding (highly unlikely in this day and age) or your printer is attached through the local parallel printer port, instead of the network, select the ASCII option to transfer PostScript data in the text-only format. The print- ing process takes much longer to complete, but at least it’s possible. If your printer supports PostScript Level 2 or later, you can also choose to use JPEG compression to reduce the amount of data sent to the printer. (This option is applicable to PostScript printers only.) Color management options After you select the Show More Options check box in the Print Options dialog box, you can display color-management settings by selecting Color Management from the pop-up menu, as shown in Figure 18-6. These options enable you to convert the image color space for printing only. You may want to do this to print a proof of the image on a printer other than the printer you’ll use for final output. To convert the color space of the actual image file, you need to use the techniques discussed in Chapter 16. Figure 18-6: Use these options to dictate which color-management settings you want Photoshop to use when printing. You can select from two Source Space options, Document and Proof. These options tell Photoshop whether you want to print the image according to the color profile officially assigned to the image file or according to the Proof Setup profile (the so- called “soft proofing” profile). Document uses the actual color profile; Proof uses the profile currently selected in the View ➪ Proof Setup submenu. The Profile options control whether Photoshop converts the image to a different profile during the print process. If you select Same As Source from the Profile pop- up menu, no conversion occurs. To convert to a different profile, select the profile 6 Photoshop 6 6 Photoshop 6 822 Part V ✦ Color for Print and the Web from the pop-up menu. You can then specify the rendering method by selecting it from the Intent pop-up menu. You can convert to any color space offered by either Photoshop or Kodak’s ICC CMS. Ideally, you want to select the specific profile for your brand of printer. If you can’t find such a profile, you’ll probably want to stick with the RGB Color space (specified with Edit ➪ Color Settings in Photoshop 6). Another option is to choose Working CMYK, which prints the image just as if you had converted it to the CMYK color space. Unfortunately, most consumer printers are designed to accommodate RGB images and fare pretty badly when printing artwork converted to CMYK. (This is precisely the reason I frequently select RGB Color even when printing a CMYK image — it flat out produces better results.) If you own a color printer, I encourage you to take an hour out of your day and con- duct a few tests with the other Print Space options. For example, if you select Apple RGB, your printed image will darken several shades. This might throw you. Because the Apple RGB profile features the lightest of the monitor gammas —1.8 — you might expect the image to print lighter. But what Photoshop is really doing is con- verting the colors as if the printer were as naturally light as an Apple RGB monitor. In order to maintain consistent color, the conversion therefore darkens the image to account for this unusually light device. Select the Wide Gamut setting and the colors appears lighter and washed out, again accounting for this hyper-saturated Space setting. So think opposite. Yet another alternative is to convert an RGB image to the grayscale color space during printing. But it’s generally a bad alternative. Asking Photoshop to convert colors on the fly dramatically increases the output time, as well as the likelihood of printing errors. It’s better and much faster to simply convert the image to the grayscale mode (Image ➪ Mode ➪ Grayscale) and then print it. Again, if you’re unfamiliar with any of these terms or just don’t know which options are best for your printing situation, review Chapter 16, where I discuss color man- agement in detail. Changing the halftone screen Before I explain this option, available when you select Output from the pop-up menu in the Print Options dialog box, I need to explain a bit more about how print- ing works. To keep costs down, commercial printers use as few inks as possible to create the appearance of a wide variety of colors. Suppose you want to print an image of a pink flamingo wearing a red bow tie. Your commercial printer could print the flamingo in one pass using pink ink, let that color dry, and then load the red ink and print the bow tie. But why go to all this trouble? After all, pink is only a lighter shade of red. Why not imitate the pink by lightening the red ink? Cross- Reference Caution Tip [...]... graphics creation tool, Photoshop has been criticized for its relatively paltry collection of Web-savvy features Adobe used to tell Web designers they were missing the point — Photoshop was for print graphics and ImageReady was for the Web But most Web designers ignored this advice and continued to grouse, so Adobe did the right thing and caved Photoshop Beginning in Photoshop 5.5, Adobe s engineers started... and Mac brightness The bottom two examples in Figure 19- 1 show what happens when I lower the gamma to 0.75 and display the image on a PC screen (left) and a Mac screen (right) A little dark on one, a little light on the other, but ultimately an equitable compromise Photoshop Chapter 19 ✦ Creating Graphics for the Web 6 You can use the Photoshop 6 color management options to preview how your image looks... Chapter 19 ✦ Creating Graphics for the Web Tip When judging small differences in file size, right-click the file at the desktop level and choose the Properties command Then check the Size item listed in bytes For example, the Size item in Figure 19- 3 reads 16KB ( 16, 551 bytes), 32, 768 bytes used The value in parentheses is the true reading, accurate to the byte The second value — in this case, 32, 768 bytes... Web site, complete with HTML pages and JPEG images Chapter 18 ✦ Printing Images Photoshop Figure 18-15: The Contact Sheet II dialog box lets you label thumbnails with their corresponding filenames 6 In Photoshop 6, you get some design options not previously offered In the Web Photo Gallery dialog box, shown in Figure 18- 16, first select a page style from the Styles pop-up menu The preview on the right... 8 39 840 Part V ✦ Color for Print and the Web Web pages created via the Web Photo Gallery command aren’t going to win any design awards, but the command is easy to navigate and it gets the job done And if you know a little HTML, you can use the pages as a jumping off point for a more sophisticated site Photoshop Figure 18- 16: The Web Photo Gallery assembles your images for display on a Web page 6 Photoshop. .. brought the masses to the Web, images account for 90 percent of all Web graphics, and Photoshop is the world’s number one image editor As a result, Photoshop has become as inextricably linked to the Web as Internet Explorer, Macromedia Dreamweaver, RealAudio, and a hundred other programs It’s just another happy accident in Photoshop s runaway success Photoshop and ImageReady Despite (or perhaps because... color to Pantone 265 Click the Color swatch in the New Spot Channel dialog box Then select Pantone 265 from the Custom Colors dialog box (If the Color Picker comes up instead, click the Custom button.) 5 Press Enter or click OK twice Photoshop adds the new spot color to the Channels palette and automatically fills the selection Your logo automatically appears in the spot color (Cool, huh?) 6 Choose Image... value of 1 or 2 pixels and hit Enter Photoshop spreads the logo but leaves the CMYK image alone Very intelligent program, that Photoshop 837 838 Part V ✦ Color for Print and the Web 7 Save the image You have two choices of formats, native Photoshop or DCS 2.0 If you want to import the image into a different program, use the latter Naturally, you don’t want to trust Photoshop s on-screen representation... of features from ImageReady 1.0 and hot-wiring them directly into Photoshop Then midway into the process they said, “Oh to heck with it!” and tossed in ImageReady 2.0 for good measure It’s like a mad scientist who, after creating a half-man halfbeast, decides the fellow isn’t beasty enough and arms it with a pet wolverine 6 Photoshop 6 borrows yet more DNA from ImageReady You now get tools for creating... need to understand work as follows: ✦ Copies: Enter the number of copies you want to print in this option box You can print up to 99 9 copies of a single image, although why you would want to do so is beyond me ✦ Print Range: No such thing as a multipage document exists in Photoshop, so you can ignore these options for the most part If you selected an image area with the rectangular marquee tool, you . covered at length in Chapters 4 and 16. This leaves Steps 2 and 5 —CMYK Setup and trapping — which I explain in the following sections. Note 6 Photoshop 6 6 Photoshop 6 832 Part V ✦ Color for Print. menu, no conversion occurs. To convert to a different profile, select the profile 6 Photoshop 6 6 Photoshop 6 822 Part V ✦ Color for Print and the Web from the pop-up menu. You can then specify. immediately below. (If any options are dimmed, your printer doesn’t support them.) 6 Photoshop 6 Tip 6 Photoshop 6 818 Part V ✦ Color for Print and the Web The five Output buttons work as follows: ✦