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Sizing image resolution for output

From: Painter 11 Essential Training

Video: Sizing image resolution for output

Depending on where your image is going to end up, you'll need to consider the document's resolution and knowing this can avoid potential disasters later. And I can tell you a little story that I've heard many, many times and that is working with people, they were confused by resolution or they didn't consider it, and they created a file that they later on wanted to reproduce, typically at a larger scale. And when I find out what the actual data of the file was, I have to tell them the sad news that image is not going to reproduce at that scale.

Sizing image resolution for output

Depending on where your image is going to end up, you'll need to consider the document's resolution and knowing this can avoid potential disasters later. And I can tell you a little story that I've heard many, many times and that is working with people, they were confused by resolution or they didn't consider it, and they created a file that they later on wanted to reproduce, typically at a larger scale. And when I find out what the actual data of the file was, I have to tell them the sad news that image is not going to reproduce at that scale.

So I happen to know, I hate to say it, but probably dozens of people have patches of hair torn out around the world that have gone through this experience and I want to help you not to go through that experience. So let's talk a little bit about resolution. Now resolution is critical because it directly relates to the image's output medium. The output could be the web, an inkjet printer or offset four-color printing like in magazine. Those are typical forms of output, and each of these output mediums has a different resolution requirement.

So the first thing to consider is that in Painter, imagery is made up of pixels. That's a contraction for picture element. They are the little squares that you see when you magnify into an image. And the resolution is based on the density of those pixels and that is normally expressed in pixels per inch or you'll see it abbreviated as ppi. We are now going to go up to the File menu and we are going to go to New, which is Command+N or Ctrl+N, and I'm going to talk a little bit about what we are looking at here. So first of all, you'll see that we've been talking in the last movie and currently it's set to pixels.

We are going to go ahead and switch this to inches, and Painter isn't automatic. Like if you are a Photoshop user, you need to set each of these manually. I'm going to go ahead and I'm going to set this to 10 inches, 10x10 square at this point for demonstration purposes. Now 72, that's a perfect resolution for the web. I'm going to just slightly up it here because we are going to do a little math and I want to keep it in a number that's going to be easy to work with. So I'm switching this to 75 pixels per inch. Now let's go ahead and look at this in pixels because now I have got this information in here.

I can't temporarily switch back. And if we go to pixels, we'll see that is 750 pixels on an edge of that image and you can notice here it's 10 inches at 75 ppi. Most apply that. That's where this 750 pixels come from. So for web work, if you want an image that is acceptable for web, you'd probably work in pixels, but I'm doing this in order to give you an idea of how the different resolutions affect the size of the image. So this is a perfectly acceptable web image.

Now, let's change this. And I'm going to say I'm going to double it. I'm going to go to 150 pixels per inch, which gets into the range of acceptability for say inkjet output. Now, let's look at this and look at the pixels. Well now it's 1500 pixels. So it's actually 10 times larger and once again, 10 times 150 gives us that 1500-pixel wide or tall image. Let's go one greater. Let's take this up to 300 dpi, which is in the range you do for offset color or magazine quality output and once again we'll look at this and switch from inches to pixels.

Now it's 3000 pixels. So you can see how the difference in the density of the pixels per inch is going to change based on your resolution and that's why now we are up to a 3000-pixel image. So each one of these resolutions is very different based on what your resolution setting is at. So ultimately the computer and Painter only know about pixels. It has no idea that you want it to be a 10-inch large image, say, in print. You have to tell it that and that's why it's very important to know what your output medium is and what you are intending the size of that image to be because it all starts here.

And if you don't consider that and say you wanted this to be an image destined for the magazine and you didn't consider the resolution and you put it down here, well, all of a sudden, you are going to have a image that's only 750 pixels across. And that, as you can see it's only a quarter of the resolution necessary for a good image. In fact, let's go ahead and create this image. And the other thing is when the image opens, sometimes it will open up and it would look exactly like this, but you wouldn't be obviously aware of the fact that you are dealing with a low resolution image.

Now I'm just going to draw a little bit here, and that looks a little funny because it wasn't at 100%. So I'm just putting something in here. So let's say now, I found out, oh, this is going to a magazine, I'll go ahead and res it up, which means you are going to somehow resize this image. And you certainly can resize it, but let's change this now to inches and I'm going to say well, geez, I want it at 300 dpi. Okay once again, if we look here in pixels, oh good. It's going up to the resolution I need. Well, when I res that up, as they say, you can see what's happened here is it's gotten very soft and so you can't necessarily go back retroactively and re-res an image up for the proper resolution, because what's going to happen is you are going to deteriorate and soften that image up and it would be unacceptable quality.

So the real lesson here that I want you to learn is when you are going to work on a project, if at all possible, find out what is the output medium and what is the size that is destined for that output, because with that information, you'll know-- say it's a magazine illustration. You want it to be four inches wide by five inches tall. And oftentimes you can even ask in the situation that you're working with the person responsible, "What resolution do you want this at?" and they'll say, "Well, do it 300 dpi." So that will automatically set it up for you so that you'll have an image that is the proper number of pixels or pixel resolution for that output medium.

So find out that required resolution and find out what the final size is going to be and with that information, you will not find yourself among the ranks of people with patches of hair missing from their scalp. So follow my directions and you'll maintain a nice healthy head of hair.

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This video is part of

Image for Painter 11 Essential Training
Painter 11 Essential Training

92 video lessons · 12108 viewers

John Derry
Author

 
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  1. 1m 49s
    1. Welcome/demo
      54s
    2. Using the exercise files
      55s
  2. 3m 45s
    1. What Painter can do
      1m 15s
    2. Let's paint!
      2m 30s
  3. 23m 16s
    1. Starting Painter for the first time
      6m 39s
    2. Creating, opening, and saving files
      4m 52s
    3. Sizing image resolution for output
      6m 16s
    4. Extending the canvas
      2m 36s
    5. Creating and using templates
      2m 53s
  4. 37m 46s
    1. Navigating Painter
      8m 46s
    2. Rotating the canvas
      3m 3s
    3. Using the Tool palette and Property bar
      6m 41s
    4. Understanding Tool palette selectors
      8m 58s
    5. The Brush Selector bar: an art store in a palette
      4m 2s
    6. Configuring palettes
      6m 16s
  5. 28m 37s
    1. Accessing and controlling color with the Color palette
      8m 27s
    2. Mixing color in the Mixer palette
      10m 41s
    3. Color sets: choose 'n' use color
      9m 29s
  6. 37m 13s
    1. Understanding the six axes of motion
      3m 19s
    2. Introducing tablets: Intuos3 and Intuos4
      8m 6s
    3. Introducing tablets: Cintiq
      7m 49s
    4. Customizing your Wacom tablet: part 1
      4m 57s
    5. Customizing your Wacom tablet: part 2
      9m 25s
    6. Maximizing your tablet's pressure response
      3m 37s
  7. 14m 56s
    1. Understanding the selection tools
      2m 16s
    2. Making selections using the Lasso tool
      3m 20s
    3. Making polygonal selections
      2m 51s
    4. Making selections using the Magic Wand tool
      6m 29s
  8. 42m 34s
    1. Understanding layers
      8m 1s
    2. Using the Preserve Transparency control
      2m 50s
    3. Using the Pick Up Underlying Color control
      4m 36s
    4. Resizing and rotating layers using the Transform tool
      5m 45s
    5. Making selections using channels
      4m 23s
    6. Working with layer masks
      9m 52s
    7. Adding text
      7m 7s
  9. 37m 40s
    1. Understanding the Brush Creator workspace
      6m 11s
    2. Exploring brush properties using the Randomizer
      8m 15s
    3. Exploring brush properties using the Transposer
      4m 45s
    4. Using the Stroke Designer to create custom brushes
      9m 39s
    5. Managing brush variants
      8m 50s
  10. 38m 24s
    1. Adjusting brush size: three techniques
      3m 3s
    2. Fine-tuning your stroke in the Brush Controls palette
      5m 12s
    3. Working with texture-aware media
      8m 59s
    4. Painting with Artists' Oils brushes
      10m 45s
    5. Painting with RealBristle brushes
      3m 39s
    6. Working with hard media
      4m 57s
    7. Painting with markers
      1m 49s
  11. 20m 21s
    1. Understanding the Image Hose
      3m 26s
    2. Controlling the Image Hose
      8m 32s
    3. Creating a nozzle file
      8m 23s
  12. 22m 11s
    1. Warmup exercises
      7m 54s
    2. Draftsmanship: drawing media
      10m 56s
    3. Doodling
      43s
    4. Creating outline sketches utilizing the conceptual squint
      2m 38s
  13. 17m 28s
    1. Understanding cloning
      3m 1s
    2. Tracing a clone's source using Tracing Paper
      3m 27s
    3. Painting a cloned image
      5m 55s
    4. Creating a Quick Clone
      2m 46s
    5. In-document cloning
      2m 19s
  14. 25m 51s
    1. Understanding the vocabularies of paint photography
      8m 51s
    2. You must destroy detail
      6m 20s
    3. Focusing on the subject
      4m 1s
    4. Adapting color in a photograph for photo painting
      6m 39s
  15. 28m 16s
    1. Under-painting
      6m 26s
    2. Auto-painting
      5m 25s
    3. Using manual controls for auto-painting
      11m 53s
    4. Restoring detail using the Restoration palette
      4m 32s
  16. 18m 44s
    1. The photo as wet oil paint
      6m 47s
    2. Cloning the canvas and building detail with multiple layers
      11m 57s
  17. 25m 57s
    1. Applying surface texture
      6m 53s
    2. Matching the color palette between two images
      4m 10s
    3. Marbling
      9m 27s
    4. Exploring the Growth effect
      5m 27s
  18. 25m 10s
    1. Understanding frame-by-frame animation
      2m 9s
    2. Creating an animation with onion-skinning
      11m 51s
    3. Using a movie clone source
      11m 10s
  19. 17m 47s
    1. Using each application for its strengths
      4m 24s
    2. Working with Photoshop's PSD file format in Painter and Photoshop
      4m 52s
    3. Configuring color management
      8m 31s
  20. 33m 25s
    1. Setting preferences
      7m 37s
    2. Customizing keyboard shortcuts
      5m 5s
    3. Saving and restoring palette layouts
      4m 3s
    4. Creating custom palettes
      3m 36s
    5. Accessing favorite brushes using the Tracker palette
      5m 55s
    6. Organizing custom workspaces
      7m 9s
  21. 8m 17s
    1. Undo, undo, undo
      3m 33s
    2. Painting on layers
      1m 57s
    3. Save often, save early
      2m 47s
  22. 10m 7s
    1. Resetting brushes: Painter's panic button
      2m 0s
    2. Resetting workspaces with the Shift key restart
      6m 12s
    3. Troubleshooting brushes with the brush checklist
      1m 55s
  23. 16s
    1. Goodbye
      16s

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