All Categories : Web Graphics Teach Yourself Photoshop 4 in 14 Days - 13 - Printing Even in this brave new world of the Internet, CD-ROM, and other electronic media, printing isn't going away, and it never will. Getting your image to output correctly is as important as any other step in the process of image creation, and that's why it deserves its own chapter. Printing should be easy, right? Hit the Print command and watch your glorious image emerge on paper. Unfortunately, getting Photoshop images to print well can involve quite a few variables and decisions. In this chapter we'll look at what those are, from choosing a printer through setting up inks, separations, halftones, and other issues. Choosing a Printer You know this already: There are lots of printers out there and lots of printing technologies. How you print obviously depends a lot on what printer you're using. In fact, the printer you use can and should influence how you work in Photoshop and how you prepare your image, since you'll want to create a final image that will print best from your particular printer. An entire book could be written about all the varieties of printers. In this section, I'll make do with a snapshot of what is available: inkjet printers, laser printers, dye-sublimation printers, thermal wax printers, and imagesetters. Inkjet Printers At the most inexpensive end of the spectrum are inkjet printers, almost all of which can deliver acceptable-quality color printing (depending on your definition of "acceptable," of course). Examples of inkjets (sometimes also called "bubble jets") include Apple's StyleWriter printers and Epson's Stylus printers. Inkjet printers are not necessarily PostScript-compatible, which means that some of them can't print PostScript information that might be in your documents. But for most Photoshop images, this isn't a problem. NOTE: PostScript is basically the page description language that computers and certain kinds of printers use to communicate. Quality of output varies tremendously on an inkjet printer, from fair to excellent, depending on how much you want to spend. High-end inkjets like the Iris can cost tens of thousands of dollars, but can be perfect for graphics professionals. Laser Printers The laser printer is the professional standard, and it's a good balance of price, quality, and speed. Laser printers abound from well-known companies like Apple and Hewlett-Packard. Most laser printers output 300-600 DPI (or even higher), and are particularly good with halftone and grayscale images (refer back to Day 4, "Color Modes and Models"). Some can subtly alter the size of the printed dots, thus improving quality. Speed is generally better than that of inkjet printers, although they tend to be more expensive. Dye-Sublimation Printers Dye-sub printers are expensive photographic-quality printers, but you get what you pay for. The quality is superb. However, these printers use special ribbons and paper, so you can't simply use any paper in them. Because of the shear magnitude of their price tags, dye-sub printers are usually out of the price range for most users. Many service bureaus provide printing using one of these machines, so you can always output there if you want to. Thermal Wax Printers Thermal wax printers also provide excellent quality color output, but at prices comparable to laser printers. In addition, more and more wax printers are now supporting common paper stocks, and not just special paper. So, as you can imagine, these printers are becoming increasingly popular. Because of the materials they use, thermal wax printers are especially useful for producing transparencies. Imagesetters Imagesetters are printers used for medium- or large-scale commercial printing jobs. These large, expensive machines burn the image onto photographic film or paper. That film is then developed and used to make printing plates that are used for the actual printing. We're talking high resolution here: 1,200-2,400 DPI, or even better. Imagesetters don't print in color, per se. Instead, you have to create a separate image for each color you want printed. These are called separations, and I'll talk more about them later. Preparing the Image Here's the best strategy if you know you'll want to print your final Photoshop image: Keep the printer in mind throughout the entire process! Different printers output differently, so knowing your printer enables you to adjust your image for its particular behaviors, and thus guarantee the best possible image on the final printed page. This is particularly true for full-color images. With that in mind, you should always configure Photoshop to the printer you'll be using, and do this before even considering printing anything important! This configuration involves three different areas: setting up printing inks, separations, and separation tables. Printing Inks Choose File+Color Settings+Printing Inks Setup to bring up the dialog box used to control the conversion tables Photoshop uses to define color settings (see Figure 13.1). The primary use of this dialog box is to reconfigure Photoshop's color settings so they match a printout from a new printer or press. This way you're sure that future print jobs will be what you expect based on what you see on your monitor. Figure 13.1 The Printing Inks Setup dialog box. You won't have to mess with these settings much, if at all. Photoshop's default settings work well for most mid- to high-end printers, so feel free to skip this section if you don't need it. For the ever-curious, however, here are the options in the dialog box: The Ink Colors pull-down menu is for choosing your printer (or paper type). You should select the option that most closely matches what you're using, so that the colors will also closely match what appears onscreen. There are a lot of choices, and you even have the opportunity to create a custom choice. If these don't look familiar to you, then chances are you don't have to worry about them. The default is SWOP (Coated), which is the U.S. industry standard for color separation printing. By the way, Coated refers to glossy paper (as in most magazines), and Uncoated refers to regular paper, like the page these words are printed on. Newsprint refers to, you guessed it, newspaper. The Dot Gain option relates to the fact that for different kinds of paper, the ink used soaks into the paper and spreads outward differently. Some papers have a higher dot gain because the ink is absorbed more readily and tends to spread out into thicker dots when printing. You can easily adjust how Photoshop compensates for dot gain. Lower values for this setting mean the printed dots will be smaller, thus creating a lighter image. Higher values mean larger dots and darker images. The four Gray Balance settings are used to help Photoshop compensate for printers that lean too much toward one or a few colors. For example, if your printer prints too little blue, you can increase the cyan (C) setting a bit to compensate. The final option, Use Dot Gain for Grayscale Images, tells Photoshop to use these settings for grayscale images, as well as for color images. By default, Photoshop normally uses these settings only for color images. Note that you can also save and load various settings you create via the Save and Load buttons. Separations To bring up the Separation Setup dialog box, choose File+Color Settings+Separation Setup (see Figure 13.2). Here you can adjust how Photoshop combines CMYK inks to print colors (see Day 4 for a refresher on CMYK). Again, in the vast majority of situations, you'll never need to touch these settings. Photoshop's default values are excellent. You should only mess around with these settings if your print shop or service bureau tells you to do so and shows you how! Figure 13.2 The Separation Setup dialog box. For reference, here are the options in a nutshell: Separation Type: For choosing between GCR (gray component replacement) and UCR (undercolor removal). These are different printing techniques for translating monitor colors (created by light: red, green, and blue) to printed colors (created by ink: cyan, magenta, yellow, and black). Black Generation: For specifying how much the black printing plate is used. The default, Medium, works fine for most images. None means that no black plate is used, and Custom enables you to adjust the curve manually. Black Ink Limit: To define the maximum percentage of black ink that is used by the printer to create the darkest parts of the image. Total Ink Limit: To define the maximum combined percentage of cyan, magenta, yellow, and black inks that can be used anywhere in the image. UCA Amount: For adding cyan, magenta, and yellow inks to the darker parts of the image. The result is a richer black than what black ink can produce on its own. Separation Tables With this dialog box (via File+Color Settings+Separation Tables), you can easily save your Printing Inks Setup and Separation Setup settings as a separation table that can be loaded back into Photoshop for reuse (see Figure 13.3). Each separation table contains all the values found in those two dialog boxes. This feature is perfect for switching among different settings if you have access to multiple printers. Figure 13.3 The Separation Tables dialog box. Setting up the Page Okay, our image is ready. Now we have to take care of the page setup. Select File+Page Setup to get to this very important dialog box (see Figure 13.4). Figure 13.4 The standard Mac Page Setup dialog box. Important: This dialog box can look different depending on what print driver you have selected! For example, although many Macintosh laser printers use the standard LaserWriter print driver that results in the dialog box you saw in Figure 13.4, other printers ship with their own print drivers. The Epson Color Stylus, for example, ships with a print driver that makes the Page Setup dialog look like what you see in Figure 13.5. Most of the options are the same; they just appear a bit different. You'll also see additional features offered by individual printers. Figure 13.5 The Page Setup dialog box for my Mac Epson Color Stylus printer. Let's go through all the standard options one by one. I'll only cover the basic and intermediate settings; if you want to play with the other settings, talk with your print shop. (Note that not all options will be available in every situation.) The name of the printer always appears at the top. Make sure that it is correct! Properties: On Windows machines, you can click on this button to access a dialog box that enables you to change things such as paper size and layout, printer resolution, halftone settings, and so on. Paper: Choose the size of the paper you're printing on. On the Mac, if you change the paper, you can see the preview in the upper left change accordingly. Source: On Windows machines, you might be able to choose the paper tray for the printer to use. Layout: Choose how you want the printed files to be laid out on the printed page. Reduce or Enlarge: Want the image to print smaller or larger? Adjust this percentage appropriately. NOTE: Later, when you actually hit the Print button (see the next section), you might run into a problem with files that are large in dimension. If the image dimensions are larger than the dimensions of the page you're printing on, Photoshop will tell you. You can then choose to either print anyway, resulting in only part of the image printing, or you can cancel and adjust the Reduce or Enlarge value so the whole image fits on the page. Photoshop also always prints images at the center of the page. You can't change this, I'm afraid. Orientation: You can print the page with a portrait orientation (so the page is taller than it is wide) or a landscape orientation (wider than tall). Screen (or Screens): Press this button to bring up the Halftone Screens dialog box (see Figure 13.6). By default, Use Printer's Default Screens will be checked, and you won't be able to change anything else. Uncheck this option if you want to customize the other halftone options. Most of the time, Photoshop's default settings will work fine. Figure 13.6 The Halftone Screens dialog box. If you need to adjust these settings, here is where to change the frequency (lines per inch) of the dot grid, the angle of the grid, and the shape of the dot used. You can change these settings for each ink (C, M, Y, and K). If you're printing to a PostScript Level 2 printer, you probably want to check the Use Accurate Screens box. Transfer: Click on this button to bring up the Transfer Functions dialog box (see Figure 13.7). Here you can adjust the transfer curve--in other words, change the gray values so they print lighter or darker, depending on your needs. Most printers ship with the capability to calibrate themselves, so it's unlikely you'll need this feature. Figure 13.7 The Transfer Functions dialog box. Background: Want to print a background color on the page around your image? Hit the Background button and you'll be greeted with the standard Color Picker (see Figure 13.8). Whatever color you pick will be used for printing only, and will not alter your actual image file. Figure 13.8 The Photoshop Color Picker on the Mac. Border: Similarly, if you'd like a border around your printed image, press the Border button. In the resulting dialog box, you can set the width of the printed border (see Figure 13.9). The border is always black; you can't change the color. (Like Background, using this feature doesn't affect the actual image file.) Figure 13.9 The Border dialog box. Bleed: Bleeding means that part of the image will go right off the edge of the paper and not get printed at all. There won't be any border or empty space between the image and the edge of the page. (Note that this feature won't work in every printer. Some printers are incapable of printing to the very edge of a page.) Clicking on the Bleed button results in the appropriate dialog box, where you can define the bleed area of an image (see Figure 13.10). Higher values move the crop marks within the boundaries of the image, so that less of the image gets printed. You can't bleed an image more than an eighth of an inch. Figure 13.10 The Bleed dialog box. Caption: Check this box and on the printed page you'll see whatever text appears in the Caption area of the File Info dialog box for that file. (To get to this dialog box, choose File+File Info, and make sure that Caption is selected on the top pull-down menu.) This can be helpful for providing contact info or copyright details next to your image. Calibration Bars: Check this box and calibration and color bars will be printed next to your image. A calibration bar is a row of 11 gray squares of different values, and a color bar is a row of 11 colors. These bars can help when trying to calibrate to a specific printer, or to see how a specific printer prints. (This option is available only if you're using a PostScript printer.) Registration Marks: Activate this feature and a variety of registration marks will print out around the image. You'll get bull's-eyes (which look like what you'd expect), star targets (two crossed lines within a circle), and/or precise pinpoint marks (two simple crossed lines), depending on your printer. (You'll actually see some of these marks in a bit.) These marks can be helpful for aligning color separations. Corner Crop Marks: Corner crop marks appear around each corner of your image, defining where the image should be trimmed. They are simply horizontal and vertical lines. Center Crop Marks: These crop marks are centered and appear along each side of the image, defining the exact center of the image. They look like two crossed lines. Labels: You can have the file name print next to the image with this checkbox. If you are printing color separations, the name of the appropriate color channel is also printed on each color plate. Negative: With this checked, the printer reverses the values of the image. That is, the whites become black and the blacks become white, and everything in between shifts accordingly. You end up with a negative version. This option is useful if you're printing to film for commercial offset printing because these images usually need to be negative. Emulsion Down: Check this setting and your image will print out as the horizontal mirror image of the original. Everything gets flipped left-to-right. Your print shop will tell you if you need to print this way for some reason. Interpolation: Interpolation refers to some printers' ability to resample an image as they print it. That is, any PostScript Level 2 printer can take a low-resolution image and resample it on the fly, so that the resolution is improved and the printout is of better quality. This is valuable only if you're dealing with low-resolution images. Before you continue, make sure that whatever you want to print is currently visible onscreen. By default, Photoshop prints all visible layers and channels. If you want to print just certain layers or channels, make them the only ones that are visible and then print. Printing the Page Let's pull up the Print dialog box using File+Print (see Figure 13.11). The first thing to be aware of is that this dialog box will look different depending on what printer you have, what platform you're running on, and what mode the image is in. Let's look at all the fields and options. Figure 13.11 The ultimate dialog box: Print. Copies: How many copies of the document do you want printed? Enter an integer here. Pages: This area (called Print Range in the Windows version) specifies the range of pages printed. This setting is irrelevant in Photoshop, since each document consists of only one "page." Paper Source: Here Mac users can define which paper tray to use. Print Quality: Windows users can often specify a printer resolution here, such as 300 or 600 dpi. Destination: You can print to the printer, obviously, but you can also print to a file. Printing to a file means saving the printed output as a PostScript or EPS file. Select File, and the Print button will now say Save. Click on it. You'll see the Save dialog box, where you can name the file and select which format of file you want (see Figure 13.12). You can also choose an encoding scheme (ASCII is best for PostScript files, and Binary can speed up printing for printers that accept binary data). Level 1 Compatible means that the file will print on all PostScript printers, whereas Level 2 Only files will work only on PostScript Level 2 printers. Finally, you can specify if you want font information embedded in the file, and for which fonts. Figure 13.12 Printing to a file. Print Selected Area: When this box (simply called Selection for Windows users) is checked and when you have a rectangular area currently selected in your Photoshop image, you can print just that area. This works only with rectangular selections created with the Marquee tool. Also, it doesn't work for feathered selections. Encoding: Here you tell Photoshop which encoding method to use when it sends the image data to the printer. ASCII is understood by all PostScript printers, and so it is a safe bet. Binary encoding is more compressed and can thus be faster, but doesn't work on all printers. Finally, JPEG encoding is faster yet, but results in some loss of data, since JPEG is a lossy compression scheme. JPEG encoding works only with PostScript Level 2 printers. Print in: You can decide here how to print the image: in grayscale, in RGB colors, or in CMYK colors (refer back to Day 4). For most desktop printers, RGB will give better results. Print Separations: This option appears in place of the Print in option only if the image is currently in CMYK or Duotone mode and the composite color channel is active. Check this option and Photoshop will print each channel as a separate color plate. For example, a CMYK document will print as four separate pages, one for all the cyan data in the image, one for magenta, one for yellow, and one for black. And now, at long last, when everything is set to your satisfaction, click Print to print! So, that's how to print from Photoshop. But as you'll probably discover, printing directly from Photoshop doesn't happen as often as you might expect. Most of the time, images created in Photoshop are brought into another application for final placement and output. Most often these are page layout applications such as PageMaker and QuarkXPress. Photoshop images can even be brought into other image-editing applications such as Painter and Illustrator, and can be printed from there. The main thing to watch for when printing Photoshop images from other applications is the format of your file. Make sure that it is compatible with the program you're bringing it into; if it's not, believe me, you'll know! For a refresher on the file formats at your disposal, refer back to Day 1, "Photoshop Basics." Other than that, any settings related to the image, such as custom colors or halftone screens, will be automatically brought with the image and survive the trip to the other application. Summary Printing Photoshop images isn't difficult; there are just a lot of decisions to make along the way. This chapter discussed those choices, from initially preparing an image for printing, to setting up the page and finally setting the print options. The wonderful thing about printing is that if you don't get a gorgeous printout the first time, you can simply change settings and try again! Provided you have enough paper and ink, of course. © Copyright, Macmillan Computer Publishing. All rights reserved.

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