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Saving a resolution-independent PDF file

From: Photoshop CC One-on-One: Intermediate

Video: Saving a resolution-independent PDF file

Now, this movie may end up surprising you.

Saving a resolution-independent PDF file

Now, this movie may end up surprising you. It may even chnage the way you work inside Photoshop and the way you work with other programs. Because at this point what we have is effectively a single page resolution independent design. Just as if we'd created the file inside say, Adobe illustrator. Now, that may surprise you. After all, if I go up to the image menu and choose the image size command. I will see that there is a resolution value of 240 pixels per inch. Not actually that high of a resolution, in fact.

All right, so I'll cancel out. Thing is, though, that resolution value has an impact only on the photographic image and the other pixel-based elements, such as the pattern overlay here inside the numbers 365, and any feathered elements as well. However, for the most part, the resolution has no bearing whatsoever on the text or shape layers. So let's say that you want to send this beautiful design out for a commercial reproduction. You want to ship it off to a commercial printhouse. Then what you'd want to do is export the image as a CMYK PDF file.

And so in this movie I'm going to show you how that works. Go up to the file menu, and choose the 'save as' command and then I'll go ahead and call this document CMYK cover which may seem like a ridiculous name for the file given that its just clearly an RGP image. However we're going to convert it to CMYK on the file here and then I'm going to switch the format from native PSD to Photoshop PDF And finally, I'll turn off Alpha Channels and Layers. If you leave those check boxes on, you're going to create an unnecessarily large document.

In this case it's going to be close to 30 megs/g. If you go ahead and forsake the layers, you're not going to get rid of any information that you need here. Then the document'll be about 10 megs/g. Which of course is preferable also. If you leave those options on, there's a chance you'll have compatibility problems moving forward. So, then go ahead and click save, you'll be saving a copy of your image, so, you're not going to do any damage to the image at hand. So go ahead and click the save button. Then you'll get this curious warning, that tells you, well, you know that stuff you just did in the previous dialog box? Well, it's actually possible to change that stuff in the next dialog box.

So just go ahead and click OK. And then I'm going to reset my Adobe PDF Preset from High Quality Print Modified to the Standard High Quality Print. And notice this checkbox that comes on here. Preserve Photoshop Editing Capabilities. That's going to go ahead and put the layers back inside the file, so it's going to save the PDF file complete with layers. We don't want that, so definitely turn that checkbox off, if you see it on. Embed Page Thumbnails, we don't need that, this is a single page design. Optimize for fast web preview.

Doesn't matter, leave it on. And then finally, we definitely want to view the PDF after saving it. because that'll be highly illuminating, as you'll see. You will, however, need a PDF reader. On the Mac, you've got preview. On the PC, unless you've got Acrobat Pro installed as a function of the version of the creative suite you own. Then you'll want to download the free Adobe Reader. Which you can get from Adobe's web site. You just go to Adobe.com right there on the front page. Next come the compression options. And notice it say's, for images above 450 pixels per in they're going to be down-sampled.

Well that doesn't affect us because our images 240 pixels per inch. And finally these options have no effect on the text or shape layers. What you do want to change is the output settings, so go ahead and click on output, and we'll change Color Conversion from No Conversion to Convert to Destination. And by default here in the States, you'll see Working CMYK - U.S. Web Coated (SWOP) v2. If you end up talking to your commercial printer and they recommend a different color destination, then go ahead and click on this option, and select that destination from this list.

However, my guess is they'll tell you just to stick with the default. So, that's what I'm going to do, just leave it set to working CMYK, and we definitely want to include a destination profile. And that's it. You don't need to worry about either security or summary. Just go ahead and click Save PDF and you'll save a PDF copy of this file and you can see we've got a little save progress bar down there in the lower left corner and then, eventually, the file will open up in the default reader application which, in my case, is Acrobat Pro. So I've gone and selected the hand tool as you can see here and I'm going to zoom in on a few details of this document.

Starting with this area of hair right there. I'll go ahead and press the control and spacebar key, the command and spacebar on the mac and drag in order to zoom in on that detail. And you can see that we've got that pixel based hair that's woven into this razor sharp text, which I believe is the letter U, at this point. And then you can see some other hair details coming into the other side of the U, I believe. And then we've got these hairs that are coming into the O and so forth's. So everything about the text, super sharp.

Everything about the image, you can see the pixels when you start zooming in. But the text, the smooth text here, is going to render at the full resolution. Of the output device. Alright, so I'll go ahead and zoom back out here. And, let's try out another detail, something like this little bit right there. Go ahead and zoom in on it. And you can see, this is that shape layer we drew that represents the swatch underline. And it's absolutely super smooth transitioning into the arm. Which of course has pixels associated with it. All right, I'm going to zoom back out.

Let's take a look at 365 here. I'll go ahead and zoom in on some portion of the 6 here. It doesn't really matter what, and you'll see that the text is again extremely smooth, the stroke outline, which is a layer in fact, is nice and smooth as well. The only stuff that's turning into pixels is that pattern overlay I was telling you about. And anything soft, so the bevel and emboss effect inside the letters is also rendering out to pixels. All right. One more zoom out. There's one final detail I want to show you. And that's the sparkle.

So I'll go ahead and zoom in on it as well, and you can see because we applied a feather value to those shape layers, they end up rendering out to pixels as well. So as long as you avoid the feather value, then you're going to get super crisp results, like this text up here. But when you apply Feather, it's got to be rendered to pixels. That's just the way it works. That turns out to be a great thing, though. Because it makes the sparkle consistent with the photographic image in the background. All right. I'm going to go ahead and zoom back out here. Maybe scroll up as well.

And that, folks, is how you create a professional-quality, resolution-independent. CMYK PDF file for commercial reproduction, that's every bit as smooth and sharp as anything you get out of Illustrator, Indesign or any other vector based program.

Show transcript

This video is part of

Image for Photoshop CC One-on-One: Intermediate
Photoshop CC One-on-One: Intermediate

123 video lessons · 13328 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 1h 1m
    1. The best of Photoshop automation
      35s
    2. Content-Aware Fill and Color Adaptation (CC 2014)
      7m 44s
    3. Combining two layers with a layer mask (CC 2014)
      5m 37s
    4. Content-aware healing (CC 2014)
      10m 17s
    5. Introducing the Patch tool
      3m 43s
    6. Using Content-Aware Patch
      7m 17s
    7. Retouching with Content-Aware Patch
      3m 45s
    8. Using the Content-Aware Move tool
      7m 41s
    9. Using Content-Aware Extend
      2m 4s
    10. The Content-Aware Scale command
      6m 35s
    11. Scaling in multiple passes
      2m 22s
    12. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 12m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      8m 8s
    3. Font and type style tricks
      7m 58s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 9s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 50s
    8. Setting text inside a custom path
      5m 34s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 1h 9m
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting and modifying path outlines (CC 2014)
      6m 5s
    6. Isolating selected layers (CC 2014)
      6m 39s
    7. Combining simple shapes to make complex ones
      6m 31s
    8. Cropping, adjusting, and merging shapes
      8m 49s
    9. Creating a soft, synthetic sparkle
      6m 22s
    10. Saving a resolution-independent PDF file
      6m 42s
    11. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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