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In this exercise, I'm going to introduce you to the Output options which are found inside the Print dialog box. I'm still working in The joy of color. psd, found inside the 11_printing folder. What I'd like you to do is go to the File menu if you're working along with me, and choose the File Info command or mash your fist I, right there, Control+Shift+Alt+I, Command+Shift+Option+I on the Mac to bring up the File Info dialog-box. Notice this option right there Description. It says A subjective color-matching image, useful for gauging the color accuracy of a standard color inkjet printer.
So I use the word color three times in that sense. But it does tell the story. I'd just want you to note that is the Description. If you want to print a Description along with your image, you need to enter that Description here inside of the Description field in the File Info dialog box. All right, I'm going to cancel out. Then I'll go up to the File menu. Choose the Print command or press Control+P, Command+P on the Mac. Now notice the options over here on the right side of the dialog box, they're a fairly technical bunch, and they fall under one of two headings, Color Management and we'll see those options in the future exercise.
But for right now, we're going to look at the Output options. So select Output, and notice things start off with the variety of different Printing Marks, there you can select from. And you can sort of preview them over in the left side of the dialog-box. So notice if I turn on Registration Marks, I see these little reg marks in the corners. Registration Marks are designed to register different CMYK separations. So they're useful for commercial reproduction. When you are printing to a composite color device such as a local inkjet or laser printer, you don't need Registration Marks.
However, you can turn them on if you want. It's not going to hurt any thing. Then we have Corner Crop Marks which are useful for cutting bleeds. I'll show you how that works in the next exercise. Then we have these Center Crop Marks which appear at the top and the bottom and on each of the sides. Description, right there, there is the Description. Now we'll print the description in very tiny type along the bottom of the image. Then we have the Labels which will include your image's file name, in the upper left-hand corner right there. Then finally Emulsion Down to negative, those are only useful for commercial reproduction.
There's no reason on earth that you need to select them. They are totally options that are provided for your commercial printer. If you want to take a look at them, then you can turn them on. If you like Emulsion Down, it's going to flip the image to negatives, going to create a photo negative, neither of which you need. All right, so definitely turn those two options off. Next, we have Interpolation. This option's only going to be available when you're printing to a PostScript device, I'm not, so my option is dimmed. Yours is probably going to be dimmed as well. But the idea is if you're printing a very low-resolution image say 200 pixels per inch or lower, then your PostScript printer, when you turn this check box on, will automatically add pixels in order to soften transitions.
But it's like upsampling the image as well. It will make the image take longer to print. It won't necessarily do any good, but it is an option that's available to you. If your image contains vector data such as shape layers or editable type for example, then you can go ahead and include that vector data when outputting the image to once again a PostScript device. In my case this option is dimmed. I do have a text layer. It's turned off. I would have to turn the text layer on. Then revisit the dialog box in order to turn this check box on.
I'll show you how that works in just a moment. We also have the option of changing the Background color if we want to. For example, I could make that Background red, and create this horrible effect right there. And I could add a Border if I want to. The highest border value I can enter is 3.5 millimeters. Click OK. And now I have a big thick ugly Border. There're better ways to do both of these effects if you want them. But why you would want them, I have no idea. Bleed is the subject of the next exercise. Right now, I'm just going to go ahead and click Cancel because I don't want to save any of that stuff.
I want to show you that I do have a text layer inside this image. So I'll go ahead and collapse the Info panel. I'll twirl open the Tablet backs group right there. Notice that there is this text layer called be subjective, go ahead and turn it on. That adds this text in the lower right-hand corner of my image. That's set in Verdana incidentally. By the way when you open this image, you may have seen a warning that asks you if you wanted to update the text layers. That's something that Photoshop does incessantly between the two platforms, so you Mac users might end up seeing it a lot because I'm creating these files on the PC.
It's really a pain in the neck. But all you have to do is you just click on the Update button and you're good to go. All right, so now I'll go up to the File menu. Bear in mind, I've got this editable layer of vector-based text. That's available to me here. Choose the Print command, Control+P, Command+P on the Mac. Now notice if I switch from Color Management to Output that I have this check box. It's going to be turned on by default, that says Include Vector Data. Now it's a little misleading because it's only applicable to PostScript printing, even though it appears all the time. Anytime you have vector-based data inside of your image file, you will see it.
But there's no harm in leaving it turned on. When working with the PostScript printer, the great news is you're going to have vector-based sharp wonderfully rendered text, even in a very low-resolution file. Really awesome, we'll see more of this when we'll discuss vector-based shapes in a faraway chapter in this series. All right, so I'm going to go ahead and cancel out once again. Those are the basics of working with the Output settings. In the next exercise, I'm going to show you how to establish a Bleed, here inside Photoshop.
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