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Saving a high-resolution PDF file

From: Photoshop CS5 One-on-One: Advanced

Video: Saving a high-resolution PDF file

In this exercise, I'm going to show you how to save a composition that includes editable text layers, vector-based shape outlines, everything else. How to export that file as a PDF document that includes all of the vector data and is suitable for commercial reproduction? I am still working inside that Alternate ending.psd file. Notice that I am working in the RGB mode, so this is not so far a CMYK document; we'll convert it to CMYK as we save it. Also worth noting, I have gone ahead and saved the most recent changes to this file, so everything is ready to go.

Saving a high-resolution PDF file

In this exercise, I'm going to show you how to save a composition that includes editable text layers, vector-based shape outlines, everything else. How to export that file as a PDF document that includes all of the vector data and is suitable for commercial reproduction? I am still working inside that Alternate ending.psd file. Notice that I am working in the RGB mode, so this is not so far a CMYK document; we'll convert it to CMYK as we save it. Also worth noting, I have gone ahead and saved the most recent changes to this file, so everything is ready to go.

And I'd like you to make sure that you are taking the same precautions as well when you are creating your own PDF documents, that is, save out your final version of every single one of your vector-based files and your image files as well as a native PSD document, so you can always come back and make changes later. All right, now go up to the File menu and choose the Save As command or press Ctrl+Shift+S, Command+Shift+S on the Mac in order to bring up the Save As dialog box. I am saving my file to the 20_text_ shapes folder. You can do so as well, though you'd want to use a different file name, so you don't overwrite my file.

Change the Format from the Native PSD format to Photoshop PDF. And it's a little bit hard to find in this list, just bear in mind that after the first couple of Native Formats, all the other file Formats are listed in alphabetical order. So I am going to go ahead and switch down here to Photoshop PDF. That's what you want as well. And then I am going to name this file Final CMYK cover.pdf. And that may surprise you given that we're working in the RGB mode in the background, but again, we will be converting the file to CMYK as we save it.

Next what I'd like you to do is turn off Alpha Channels; that will automatically turn on the As a Copy check box there, and then turn off the layers check box as well. Now, you can save Alpha Channels and layers along with the PDF file, what that does is it embeds a Photoshop version of the image along with every single element intact inside of that PDF file. But if we're just printing this file, if we're sending it off to a printer, we don't need all that junk in there. It's just going to bloat the file size. So without that information, without the Alpha Channels and the layers, this file will be less than 10 MB.

If we go ahead and include the layers, it will be more than 30 MB, and it won't do us any good, because even without the layers, the PDF file will go ahead and convey all the vector-based information, as we're about to see. ICC Profile should be set to Adobe RGB (1998). Don't worry about Use Proof Setup here. Otherwise, we're going to establish the settings inside of the next dialog box, actually the one after the next, because next we'll get a warning, as soon as you click the Save button, you'll get this warning in CS5 that says, hey, did you know in the next dialog box you can overwrite the stuff you just did in the Save As dialog box? You can change your mind.

And it's like, okay, thanks. Click OK in order to bring up the Save Adobe PDF dialog box. And go ahead and leave the top settings the way they are. That is, Adobe PDF Preset should be set to High Quality Print; actually, let's get rid of Modified. Let's just say High Quality Print for now. And then Compatibility is Acrobat 5. That's fine. (PDF 1.4) is just grand. You could talk to your commercial printer to make sure that that works for them. Now, this check box should be turned off. Had I not switched back to High Quality Print, it would be turned off, because it's linked to that layers check box that I just turned off inside the Save As dialog box.

So this is an example of how I can change my mind. If I turn Preserve Photoshop Editing Capabilities back on, bang, all of a sudden I have got all my layers back inside the file, and it suddenly grows to more than 30 MB again. I don't want that, so turn that off, because I already have the original Native PSD file to go back to if I want to edit my layers. Embed Page Thumbnails, no, thank you. Optimized for Fast Web Preview, fine, doesn't actually make a difference in our case. View PDF After Saving, yes, I want to definitely do that. Here is the caveat: you need to make sure that you have some PDF reader application installed on your system.

If you are using a Mac, you already have one, which is called Preview. But if you don't have access to such an application, why then, go to Adobe.com and download the free Adobe Reader. It's right there on the front page along with the Flash Player and a bunch of other free stuff. Anyway, it's the Adobe Reader application. It just takes a few minutes to install. It's really great. It's actually my favorite PDF viewing application on the Mac or the PC. So go ahead and make sure you have it before you view PDF after saving, because you'll want to see this file. It is going to change your thinking about how you create these sorts of documents.

Now switch over to Compression, and notice these Bicubic Downsampling Options here. First of all, this only affects imagery. And you may recall that we only have a couple of pixel-based images inside this file. We have the background image itself from the Fotolia Image Library. Then we have that little bit of background that I stretched at the top of the file, and they are both set to a Resolution of 240 pixels per inches, as we discovered in the previous exercise. This only applies to images that are above 450 pixels per inch. They'll get Downsampled to 300.

That doesn't affect anything inside of our file. The JPEG Compression; that will be applied to. The Image Quality Maximum, that's going to be just fine. But none of this has any affect on the vector information. So the vector-based shape layers, nor the editable text layers will be affected by these settings, and in fact, I am not going to change a darn thing. I am just going to switch over to Output. Now, what you'll want to do here, this is where you're going to convert your image from RGB to CMYK. So go ahead and change Color Conversion from No Conversion to Convert to Destination. This is just a good idea if you're setting it out for commercial reproduction.

You could leave it as an RGB PDF file and then let your printer deal with it, but that's not going to be super popular, and you're probably better off if you do it right now. Now, my Destination is set to the Working CMYK space, which you may recall as U.S. Web Coated (SWOP) v2 here in the States, and that's the way I am going to leave it incidentally. But if you talk to your commercial printer, and they give you a different profile to work from, then choose that profile from this list, and then Photoshop will go ahead and convert from Adobe RGB to that Destination space on-the-fly, and it will do a better job than it would have done if we went to the Image command and chose mode and then chose CMYK, which required us to decide if we wanted to Merge layers or not Merge layers, because PDF is capable of handling that vector-based information independently of the pixel-based image information, and you'll see right away, we'll get better results here.

Profile Inclusion Policy; definitely Include the Destination Profile, no reason not to do that. Next, you could click on the Security item here. If you wanted to enter a Password, for example, so somebody needs to type in that Password in order to open your document. If it's that important, if it's that classified, and you can check out the Summary information as well. However, the main options that you want to worry about here are in general. You'll want to have the first two check boxes turned off, and then at least the last check box turned on. Then in Output, you want to make sure that you're converting your colors to CMYK.

Once you've set those options, then you're ready to actually save out the PDF file, which we will do in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32825 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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