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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.
I have saved this final magazine cover that I have created before you as Alternate ending.psd, so called because it does differ in a few ways from that Pout magazine.psd file that I created before I began recording this chapter. And among the slight variations, I should point out that this circle layer right, that we just got done creating at the end of the previous exercise, that I had decided to set the Mask value last time to not 4 pixels or maybe as high as 6, but I went ahead and set it to 10 that first time around. So I have a bigger burst in the center of that fake pearl than I do now.
So it's really up to you, I guess, what settings you decide to apply. I am going to go ahead and close this panel and switch back, notice as I switch back that this little sparkle here does diminish slightly, it gets a little sharper as you can see. I am going to switch back to the Alternate ending.psd file. All right! So now it's time to talk turkey. I've been telling you that the great thing about working with editable text and vector-based shapes here inside Photoshop is they are going to output at the full resolution of your postscript printer. So in other words, you could take this file to a commercial print house and tell them to print 10,000 copies of your magazine cover or 100,000 copies, enough to fill every 7-Eleven across the continent.
And you could feel safe in the knowledge that all of this information, all this vector-based information is going to render out at the highest resolution afforded by that PostScript output device. However, your printer may not be on your side. They may caution you that you are working from a Photoshop file. I am not sure what in the world you are thinking here. Let me show you. They might even be very kind and tour you through your file, and they may say, well, look, let's go ahead and zoom in here, past 100%, here we are looking at your text, your supposedly high-resolution text at 300%, and we are seeing big chunky pixels.
Which means everything is going to render out at the same resolution as your overall image. And if you go up to the Image menu and choose the Image Size command or press Ctrl+Alt+I, Command+Option+I, this is your commercial printer being this kind as to tell you keyboard shortcuts, and then he shows you, your resolution is 240 pixels per inch. That's not even the industry standard. This should be set to 267 pixels per inch, if we're printing at 133 LPI. But we're going to print in 150 LPI for you, so this resolution ought to be 300 pixels per inch. And then of course you would go, oh, I guess I messed up.
I will recreate this document inside of Illustrator, which is what they tell you to do, either Illustrator, or InDesign, and I am here to tell you that's nonsense. This is actually right ready to go. This is going to produce a beautiful magazine cover. But it's one thing for me to tell you that; it's another thing for me to show you that. So I am going to show you how to best prepare this job, so you could actually send it off to a commercial printer in its present form, in its present condition that is. And then in the next exercise, for those of you who are not working in a PostScript world, you just want to print this image to an inkjet device, for example,, or you want to print it to a really super huge inkjet device.
You want to turn it into a poster. I'll tell you how to do exactly that, how to get the maximum resolution out of this file. All right, so let's start off with you commercial reproductionists. I am going to go ahead and zoom out from my illustration at this point is what it is. Let's say you want to print a CMYK version of this document obviously, because you're sending it out for commercial reproduction. So you might think, gosh, I better convert this RGB composition to CMYK. So you go up to your Image menu, you choose mode, and you choose CMYK Color, and of course Photoshop says, hey, do you want to Merge or not Merge? Now, in a previous chapter I was telling you that if you're going to convert to CMYK, you better go ahead and merge, because otherwise, and that is you're going to flatten your image, because otherwise if you don't, your Blend modes might go a little wonky, some of your layer Effects might look weird, basically the interactions between your layers can go haywire.
However, you definitely don't want to do that where text and shapes are concerned, because you'll lose your text and shapes, you'll merge everything to pixels, and then everything I was telling you about how wonderful your detail is going to be; all these resolution, vector-based and text outlines - that's going to go out the window. So you would say Don't Merge, but watch what happens when I say Don't Merge, oh, I get an alert message telling me that this is not the only way to convert to CMYK. Yes, thank you very much Photoshop. Don't show again. Click OK, and then I will notice that pretty much most of my interactions seem to be okay so far, except for what happened to those stripes inside of 365.
They went completely out the window. This is the RGB version of those stripes, and this is the CMYK version, and I am just pressing Ctrl+Z or Command+Z on the Mac to switch between them. That's no good. I want to keep those stripes darn it, and I want to keep all my other delicious detail inside of this composition. So what do I do? Well, the solution is to export this document as a PDF file and then convert the colors inside the context of the PDF file itself. Well, I am going to show you how to do exactly that, and we are going to see the results of that PDF file onscreen, and believe me, you are going to be a believer, in the next exercise.
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