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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.
Instructor. An award-winning author and educator, Deke McClelland is a titan of image editing and graphic design. Deke McClelland is the author of more than 50 video courses on creative imaging, graphics, 3D, and design for the industry-leading lynda.com. One of the most award-winning writers in the business, Deke has written over 80 books translated into 24 languages, with more than 4 million copies in print. These have included The Photoshop Bible, several For Dummies books, and his own One-on-One series published under Deke Press. In his spare time, Deke runs dekeOnline , where he posts episodes of his popular lynda.com weekly series, Deke's Techniques. He lives in Boulder, Colorado with his two sons.
By: Deke McClelland course. 128h 31m 59s. 67,124 viewers. Course Transcript 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.
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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 20text 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.
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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. (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.
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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.
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Web Coated (SWOP) v2 here in the States, and that's the way I am going to leave it incidentally. Watch this course anytime, anywhere. Course Contents.
Introduction Introduction. 13. What Photoshop Can Do, Pt. 2: The Eyes 13. What Photoshop Can Do, Pt.
2: The Eyes. 14. Levels and Curves 14. Levels and Curves. 15. Sharpening Details 15. Sharpening Details.
16. Noise and Texture 16. Noise and Texture.
17. Shadows, Highlights, and Contours 17. Shadows, Highlights, and Contours. 18. Black & White and Colorize 18. Black & White and Colorize. 19.
Color Range and Refine Edge 19. Color Range and Refine Edge. 20. Text and Shape Layers 20. Text and Shape Layers.
21. Layer Effects and Styles 21.
Layer Effects and Styles. 22. Transform, Distort, and Warp 22. Transform, Distort, and Warp.
23. Puppet Warp and Liquify 23. Puppet Warp and Liquify. 24. Adobe Camera Raw 24. Adobe Camera Raw.
Conclusion Conclusion.
The image will always have the same dimensions as the screen or window being captured — a 1440x900 screen will create a 1440x900 screenshot. Today's operating systems are resolution-dependent: everything you see screen is either being shown at actual size (e.g. A 10-pixel-by-10-pixel icon which has actually drawn as 10 pixels by 10 pixels) or has been rendered at some pixel dimensions. So, the size of objects on a computer display is entirely dependent on the pixel density of the display — a higher-resolution screen (or screen capture!) would make everything smaller.
An interesting example of this is Apple's iPhone 4 — its screen has a higher resolution (and pixel density, since the screen is the same physical size) than previous models. Apple had to craft bigger icons to keep everything the same apparent size, and screenshots from iPhone 4 are much larger than older models. You can change the format of screenshots, and the folder where they're dropped, using utilities like.