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Printing (Photoshop)


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Printing (Photoshop)

About printing

Whether you are providing an image to an outside service bureau or just sending a quick proof to a desktop printer, knowing a few basics about printing will make the print job go more smoothly and help ensure that the finished image appears as intended.

Types of printing When you print a file, the Adobe Photoshop application sends your image to a printing device, either to be printed directly onto paper or to be converted to a positive or negative image on film. In the latter case, the film can be used to create a master plate for printing by a mechanical press.

Types of images The simplest types of images, such as line art, use only one color in one level of gray. A more complex image, such as a photograph, has color tones that vary within the image. This type of image is known as a continuous-tone image.

Halftoning To create the illusion of continuous tones when printed, images are broken down into a series of dots. This process is called halftoning. Varying the sizes of the dots in a halftone screen creates the optical illusion of variations of gray or continuous color in the image.

Color separation Artwork that will be commercially reproduced and that contains more than a single color must be printed on separate master plates, one for each color. This process is called color separation and most commonly uses cyan, yellow, magenta, and black (CMYK) inks. In Photoshop, you can adjust how the various plates are generated and create traps.

Quality of detail The detail in a printed image results from a combination of resolution and screen frequency. The higher an output device's resolution, the finer (higher) a screen ruling you can use.

Printing images

Photoshop provides the following printing commands:

. Page Setup and Print display options that are determined by your printer, print drivers, and operating system.

. Print with Preview displays Photoshop's printing, output, and color management options.

. Print One Copy prints one copy of a file without displaying a dialog box.

Note: You cannot print images directly from ImageReady. If you have an image open in ImageReady and need to print it, use the Jump To command to open the image in Photoshop. Keep in mind that ImageReady images open at screen resolution (72 ppi); this resolution may not be high enough to produce a high-quality print.

To print an image with its current options:

Do one of the following:

. Choose File > Print, and click Print or OK.

. To print one copy of a file without displaying a dialog box, choose File > Print One Copy. Note: By default, Adobe Photoshop prints a composite of all visible layers and channels. To print an individual layer or channel, make it the only visible layer or channel before choosing the Print command.

To set printer and page setup options:

1 Choose File > Page Setup or File > Print.

2 Select an installed printer from the pop-up list at the top of the dialog box.

3 Set additional options, such as paper size and layout, as desired. The available options depend on your printer, print drivers, and operating system.

To set Photoshop print options:

1 Choose File > Print with Preview.

2 Make sure Show More Options is selected. Then do one or more of the following:

. Adjust the position and scale of the image in relation to the selected paper size and orientation. (See "Positioning and scaling images" on section 472.)

. Set output options. (See "Setting output options" on section 473.)

. Click the Screen button then select halftone screen attributes. (See "Selecting halftone screen attributes" on section 475.)

. Set other printing options. (See "Printing part of an image" on section 477, "Choosing a print encoding method" on section 477, and "Printing vector graphics" on section 477.)

. Choose Color Management from the pop-up menu and set color management options.

(See "Using color management when printing" on section 478.)

3 Do one of the following:

. Click Print to print the image.

. Click Cancel to close the dialog box without saving the options.

. Click Done to preserve the options and close the dialog box.

. Hold down Alt ( Windows) or Option (Mac OS) and click Print One to print one copy of the file.

. Hold down Alt ( Windows) or Option (Mac OS) and click Reset to reset the print options.

. Hold down Alt ( Windows) or Option (Mac OS) and click Remember to save the print options without closing the dialog box.


To preview the current image position and options:

Position the pointer over the file information box (at the bottom of the application window in Windows or the document window in Mac OS) and hold down the mouse button.

Positioning and scaling images

You can adjust the position and scale of an image and preview how the image will be printed on the selected paper using the Print with Preview command. The shaded border at the edge of the paper represents the margins of the selected paper; the printable area is white.

The base output size of an image is determined by the document size settings in the

Image Size dialog box. (See "Changing the print dimensions and resolution of an image

(Photoshop)" on section 67.) Scaling an image in the Print with Preview dialog box changes the size and resolution of the printed image only. For example, if you scale a 72 ppi image to 50% in the Print with Preview dialog box, the image will print at 144 ppi; however,

the document size settings in the Image Size dialog box will not change.

Many printer drivers, such as AdobePS and LaserWriter, provide a scaling option in the Page Setup dialog box. This scaling affects the size of all page marks, such as crop marks and captions, whereas the scaling percentage provided by the Print with Preview command affect only the size of the printed image (and not the size of page marks). Important: The Print with Preview command may not reflect accurate values for Scale, Height, and Width if you set a scaling percentage in the Page Setup dialog box. To avoid inaccurate scaling, specify scaling using the Print with Preview command rather than the Page Setup command; do not enter a scaling percentage in both dialog boxes.

To reposition an image on the paper:

Choose File > Print with Preview, and do one of the following:

. Click Center Image to center the image in the printable area.

. Enter values for Top and Left to position the image numerically.

. Deselect the Center Image option then drag the image in the preview area.

To scale the print size of an image:

Choose File > Print with Preview, and do one of the following:

. Click Scale to Fit Media to fit the image within the printable area of the selected paper.

. Enter values for Height and Width to rescale the image numerically.

. Select Show Bounding Box, and drag a bounding box handle in the preview area to achieve the desired scale.

Setting output options

You can select and preview a variety of page marks and other output options using the

Print with Preview command.


Ol No Moire 177lpi 45o

cyan magenta yellow black

carnival series


Page marks:

A. Gradient tint bar B. Label C. Registration marks D. Progressive color bar E. Corner crop mark

F. Center crop mark G. Caption H. Star target

To set output options:

1 Choose File > Print with Preview.

2 Select Show More Options, and choose Output from the pop-up menu.

Note: Options not supported by the designated printer are dimmed.

3 Set one or more of the following options:

Background Lets you select a background color to be printed on the page outside the image area. For example, a black or colored background may be desirable for slides printed to a film recorder. To use this option, click Background, and then select a color from the Color Picker dialog box. This is a printing option only; it does not affect the image itself.

Border Lets you print a black border around an image. Type in a number and choose a unit value to specify the width of the border.

Bleed Lets you print crop marks inside rather than outside the image. Use this option when you want to trim the image within the graphic. Type a number and choose a unit value to specify the width of the bleed.

Screen Lets you set the screen frequency and dot shape for each screen used in the printing process. (See "Selecting halftone screen attributes" on section 475.)

Transfer Lets you adjust the transfer functions, traditionally used to compensate for dot gain or dot loss that may occur when an image is transferred to film. This option is recog- nized only when you print directly from Photoshop, or when you save the file in EPS format and print to a PostScript printer. Generally, it's best to adjust for dot gain using the settings in the CMYK Setup dialog box. Transfer functions are useful, however, when compensating for a poorly calibrated output device. (See "Compensating for dot gain in film using transfer functions" on section 126.)

Interpolation Reduces the jagged appearance of a low-resolution image by automati- cally resampling up while printing. However, resampling may reduce the sharpness of the image quality. (See "About resampling" on section 66.) Some PostScript Level 2 (or higher) printers have interpolation capability. If your printer doesn't, this option has no effect. Calibration Bars Prints an 11-step grayscale, a transition in density from 0 to 100% in

10% increments. With a CMYK color separation, a gradient tint bar is printed to the left of each CMY plate, and a progressive color bar to the right.

Note: Calibration bars, registration marks, crop marks, and labels will print only if the paper size is larger than the printed image dimensions.

Registration Marks Prints registration marks on the image (including bull's-eyes and star targets). These marks are used primarily for aligning color separations.

Corner Crop Marks Prints crop marks where the page is to be trimmed. You can print crop marks at the corners.

Center Crop Marks Prints crop marks where the page is to be trimmed. You can print crop marks at the center of each edge.

Caption Prints any caption text entered in the File Info dialog box. (See "Adding file infor- mation (Photoshop)" on section 459.) Caption text always prints as 9-point Helvetica

plain type.

Labels Prints the filename above the image.

Emulsion Down Makes type readable when the emulsion is down-that is, when the photosensitive layer on a piece of film or photographic paper is facing away from you. Normally, images printed on paper are printed with emulsion up, with type readable when the photosensitive layer faces you. Images printed on film are often printed with emulsion down.

Negative Prints an inverted version of the entire output including all masks and any background color. Unlike the Invert command in the Image menu, the Negative option converts the output, not the on-screen image, to a negative. If you print separations directly to film, you probably want a negative, although in many countries film positives are common. Check with your print shop to determine which is required.

To determine the emulsion side, examine the film under a bright light after it has been developed. The dull side is the emulsion; the shiny side is the base. Check whether your print shop requires film with positive emulsion up, negative emulsion up, positive emulsion down, or negative emulsion down.

Selecting halftone screen attributes

Halftone screen attributes include the screen frequency and dot shape for each screen used in the printing process. For color separations, you must also specify an angle for each of the color screens. Setting the screens at different angles ensures that the dots placed by the four screens blend to look like continuous color and do not produce moir patterns. Halftone screens consist of dots that control how much ink is deposited at a specific location on-press. Varying their size and density creates the illusion of variations of gray

or continuous color. For a process color image, four halftone screens are used: cyan, magenta, yellow, and black-one for each ink used in the printing process.



Halftone screen with black ink

1050 900 750



Halftone screens with process ink at different screen angles; correctly registered dots form rosettes

In traditional print production, a halftone is produced by placing a halftone screen between a piece of film and the image and then exposing the film. In Photoshop, you specify the halftone screen attributes just before producing the film or paper output. For best results, your output device (a PostScript imagesetter, for example) should be set to the correct density limit, and your processor should be properly calibrated; otherwise, results can be unpredictable.

Before creating your halftone screens, check with your print shop for preferred frequency, angle, and dot settings. (Use the default angle settings unless your print shop specifies changes.)

To define the screen attributes:

1 Choose File > Print with Preview.

2 Select Show More Options, choose Output from the pop-up menu, and click Screen.

3 In the Halftone Screens dialog box, choose whether to generate your own screen settings:

. Deselect Use Printer's Default Screens to choose your own screen settings.

. Select Use Printer's Default Screens to use the default halftone screen built into the printer. Photoshop then ignores the specifications in the Halftone Screens dialog box when it generates the halftone screens.

4 For a grayscale halftone, enter a screen frequency from 1 to 999.999, and choose a unit of measurement. Enter a screen angle from -180 to +180 degrees.

5 For a color separation, choose from the following options:

. To manually enter the screen frequency and angle, choose a color of the screen for Ink, and enter the frequency and angle; repeat for each color separation.

. To have Adobe Photoshop determine and enter the best frequencies and angles for each screen, click Auto. In the Auto Screens dialog box, enter the resolution of the output device and the screen frequency you intend to use, and click OK. Photoshop enters the values in the Halftone Screens dialog box. Changing these values may result in moir patterns.

. If you are using a PostScript Level 2 (or higher) printer or an imagesetter equipped with an Emerald controller, make sure that the Use Accurate Screens option is selected in the Auto Screens dialog box (or in the Halftone Screens dialog box if you're entering the values manually). The Use Accurate Screens option lets the program access the correct angles and halftone screen frequencies for high-resolution output. If your output device is not a PostScript Level 2 (or higher) printer or is not equipped with an Emerald controller, this option has no effect.

6 For Shape, choose the dot shape you want. If you want all four screens to have the same dot shape, select Use Same Shape For All Inks.

Choosing Custom from the Shape menu displays the Custom Spot Function dialog box. You can define your own dot shapes by entering PostScript commands-useful for printing with nonstandard halftone algorithms. For information about using PostScript language commands, see the PostScript Language Reference published by Addison-Wesley, or consult the imagesetter's manufacturer.

For optimal output on a PostScript printer, the image resolution should be 1.5 to 2 times the halftone screen frequency. If the resolution is more than 2.5 times the screen frequency, an alert message appears. (See "About image size and resolution" on section 62.) If you are printing line art or printing to a non-PostScript printer, see your printer documentation for the appropriate image resolutions to use.

7 Click OK.

To save halftone screen settings:

In the Halftone Screens dialog box, click Save. Choose a location for the saved settings, enter a filename, and click Save.

To save the new settings as the default, hold down Alt ( Windows) or Option (Mac OS), and click the -> Default button.

To load halftone screen settings:

In the Halftone Screens dialog box, click Load. Locate and select the settings, and click


To return to the original default settings, hold down Alt ( Windows) or Option

(Mac OS), and click <-Default.


Printing part of an image

You can use the Print Selected Area option to print a specific part of an image.

To print part of an image:

1 Use the rectangle marquee tool to select the part of an image you want to print.

2 Choose File > Print with Preview, select Print Selected Area, and click Print.

Choosing a print encoding method

By default, the printer driver transfers binary information to PostScript printers; however, you can choose to transfer image data using JPEG or ASCII encoding These options are not available to non-PostScript printers such as many inkjet models.

JPEG-encoded files are smaller than binary files, and therefore require less time to print; however, using JPEG encoding decreases the image quality. Only PostScript Level 2 (or higher) printers support JPEG encoding; sending a JPEG-encoded file to a PostScript Level

1 output device may result in PostScript language errors.

Some print spooler programs, computer networks, and third-party printer drivers don't support files that are binary or JPEG-encoded, and some PostScript output devices accept binary and JPEG-encoded image data only through their AppleTalk and Ethernet ports, not their parallel or serial ports. In these situations, you can select the ASCII encoding method. However, ASCII files contain about twice as many characters and require about twice as much time to transfer as binary files.

To change the encoding method:

1 Choose File > Print with Preview.

2 Select Show More Options, and choose Output from the pop-up menu.

3 Select an option from the Encoding menu.

Printing vector graphics

If an image includes vector graphics, such as shapes and type, Photoshop can send the vector data to a PostScript printer. When you choose to include vector data, Photoshop sends the printer a separate image for each type layer and each vector shape layer. These additional images are printed on top of the base image, and clipped using their vector outline. Consequently, the edges of vector graphics print at the printer's full resolution, even though the content of each layer is limited to the resolution of your image file.

To print vector data:

1 Choose File > Print with Preview.

2 Select Show More Options, and choose Output from the pop-up menu.

3 Select Include Vector Data.

Using color management when printing

Different devices operate within different color spaces-for example, your monitor operates in a different color space than your printer, and different printers have different color spaces. The color management options provided by the Print with Preview command let you change the color space of an image while printing, to get a more accurate color printout. (Depending on the designated printer and print drivers on your computer, these options may also appear in the Print dialog box.)

To use color management when printing, you first specify the source color space containing the colors you want to send to your printer. This space may be the document's current color profile (if you want the printout to match how the document appears on- screen), or it may be the current proof profile (if you want the printout to match your current soft proof ). Second, you specify the color space of the printer to which you are sending the document. Specifying the printer space ensures that Photoshop has enough information to interpret and reproduce the source colors accurately on the printer.

For example, suppose your document currently uses an RGB profile, and you want to use your desktop printer to proof the colors as they will appear on an offset press. To do this, set up a proof profile for the press color space. (See "Soft-proofing colors" on section 113.) Then print the document using the proof profile as the source space and the desktop printer profile as the printer space.

To color-manage a document while printing:

1 Choose File > Print with Preview.

2 Select Show More Options and choose Color Management from the pop-up menu.

3 Select an option for Source Space:

. Select Document to reproduce document colors as interpreted by the profile currently assigned to the document.

. Select Proof to reproduce document colors as interpreted by the current proof profile. This option is useful for generating hard proofs of your soft-proof settings. (See "Soft- proofing colors" on section 113.)

4 Under Print Space, choose an option for Profile:

. Choose the profile that matches the color space of your printer to print using that printer space.

. Choose Same As Source to print using the source space profile. No additional conver- sions will be performed on the colors of the document when it is printed.

. Choose PostScript Color Management to send the document's color data, along with the source space profile, directly to a PostScript Level 2 or higher printer (Level 3 or higher for CMYK images) and have colors managed at the level of the printer. The exact results of the color conversion can vary among printers. Choose this option only if you are printing remotely, if you are printing an RGB EPS file, or if you do not have a profile of the printer's color space. To proof a CMYK image on a PostScript Level 2 printer, choose the Lab Color option.

5 Under Print Space, for Intent, choose a rendering intent to use when converting colors to the destination profile space. (See "Specifying a rendering intent" on section 110.)

Creating color traps

With CMYK images, you can adjust the color trap. A trap is an overlap that prevents tiny gaps from appearing in the printed image, due to a slight misregistration on press. In most cases, your print shop will determine if trapping is needed and tell you what values to enter in the Trap dialog box.


Misregistration with no trap, and misregistration with trap

Trapping is intended to correct the misalignment of solid colors. In general, you don't need traps for continuous-tone images such as photographs. Excessive trapping may produce an outline effect. These problems may not be visible on-screen and might show up only in print. Adobe Photoshop uses standard rules for trapping:

. All colors spread under black.

. Lighter colors spread under darker colors.

. Yellow spreads under cyan, magenta, and black.

. Pure cyan and pure magenta spread under each other equally.

To create trap:

1 Save a version of the file in RGB mode, in case you want to reconvert the image later. Then choose Image > Mode > CMYK Color to convert the image to CMYK mode.

2 Choose Image > Trap.

3 For Width, enter the trapping value provided by your print shop. Then select a unit of measurement, and click OK. Consult your print shop to determine how much misregis- tration to expect.

Printing duotones

Photoshop lets you create monotones, duotones, tritones, and quadtones. Monotones are grayscale images printed with a single, nonblack ink. Duotones, tritones, and quadtones are grayscale images printed with two, three, and four inks. In these types of images, colored inks are used to reproduce tinted grays rather than different colors. This section uses the term duotone to refer to duotones, monotones, tritones, and quadtones.

About duotones

Duotones are used to increase the tonal range of a grayscale image. Although a grayscale reproduction can display up to 256 levels of gray, a printing press can reproduce only about 50 levels of gray per ink. This means that a grayscale image printed with only black ink can look significantly coarser than the same image printed with two, three, or four inks, each individual ink reproducing up to 50 levels of gray.

Sometimes duotones are printed using a black ink and a gray ink-the black for shadows and the gray for midtones and highlights. More frequently, duotones are printed using a colored ink for the highlight color. This technique produces an image with a slight tint to it and significantly increases the image's dynamic range. Duotones are ideal for two-color print jobs with a spot color (such as a PANTONE Color) used for accent.

Because duotones use different color inks to reproduce different gray levels, they are treated in Photoshop as single-channel, 8-bit, grayscale images. In Duotone mode, you do not have direct access to the individual image channels (as in RGB, CMYK, and Lab modes). Instead, you manipulate the channels through the curves in the Duotone Options

dialog box.

To convert an image to duotone:

1 Convert the image to grayscale by choosing Image > Mode > Grayscale. Only 8-bit grayscale images can be converted to duotones.

2 Choose Image > Mode > Duotone.

3 In the Duotone Options dialog box, select Preview to view the effects of the duotone settings on the image.

4 Select Monotone, Duotone, Tritone, or Quadtone for Type.

5 To specify ink colors, click the color box (the solid square) for an ink. Then use the color picker or the Custom Colors dialog box to select an ink. (See "Using the Adobe Color Picker" on section 261.)

Note: To produce fully saturated colors, make sure that inks are specified in descending order-darkest at the top, lightest at the bottom.

6 Click the curve box next to the color ink box and adjust the duotone curve for each ink color. (See "Modifying the duotone curve" on section 480.)

7 Set overprint colors, if necessary. (See "Specifying overprint colors" on section 481.)

8 Click OK.

To apply a duotone effect to only part of an image, convert the duotone image to

Multichannel mode-this converts the duotone curves to spot channels. You can then erase part of the spot channel for areas that you want printed as standard grayscale.

(See "Adding spot colors (Photoshop)" on section 272.)

Modifying the duotone curve

In a duotone image, each ink has a separate curve that specifies how the color is distributed across the shadows and highlights. This curve maps each grayscale value in the original image to a specific ink percentage.

To modify the duotone curve for a given ink:

1 To preview any adjustments, select the Preview option.

2 Click the curve box next to the ink color box.

The default duotone curve, a straight diagonal line, indicates that the grayscale values in the original image map to an equal percentage of ink. At this setting, a 50% midtone pixel prints with a 50% tint of the ink, a 100% shadow is printed in 100% color, and so on.

3 Adjust the duotone curve for each ink by dragging a point on the graph or by entering values for the different ink percentages.

. In the curve graph, the horizontal axis moves from highlights (at the left) to shadows

(at the right). Ink density increases as you move up the vertical axis. You can specify up to 13 points on the curve. When you specify two values along the curve, Adobe Photoshop calculates intermediate values. As you adjust the curve, values are automat- ically entered in the percentage text boxes.

. In the text box, the value you enter indicates the percentage of the ink color that will be used to represent the grayscale value in the original image. For example, if you enter 70 in the 100% text box, a 70% tint of that ink color will be used to print the 100% shadow areas of the image. (See "Using the Curves dialog box (Photoshop)" on section 139.)

4 Click Save in the Duotone Curve dialog box to save curves created with this dialog box.

5 Click Load to load these curves or curves created in the Curves dialog box, including curves created using the Arbitrary Map option. (See "Saving and loading duotone settings" on section 482.)

You can use the Info palette to display ink percentages when you're working with duotone images. Set the readout mode to Actual Color to see the ink percentages that will be applied when the image is printed. These values reflect any changes you've entered in the Duotone Curve dialog box.

Specifying overprint colors

Overprint colors are two unscreened inks printed on top of each other. For example, when a cyan ink prints over a yellow ink, the resulting overprint is a green color. The order in which inks are printed, as well as variations in the inks and paper, can significantly affect the final results.

To help you predict how colors will look when printed, use a printed sample of the overprinted inks to adjust your screen display. Just remember that this adjustment affects only how the overprint colors appear on-screen, not when printed. Before adjusting these colors, make sure that you have calibrated your monitor following the instructions in

"Creating an ICC monitor profile" on section 117.

To adjust the display of overprint colors:

1 Choose Image > Mode > Duotone.

2 Click Overprint Colors. The Overprint Colors dialog box displays the combinations that will result when the inks are printed.

3 Click the color swatch of the ink combination you want to adjust.

4 Select the color you want in the color picker, and click OK.

5 Repeat steps 3 and 4 until the overprint inks appear as you want them. Then click OK.

Saving and loading duotone settings

Use the Save button in the Duotone Options dialog box to save a set of duotone curves, ink settings, and overprint colors. Use the Load button to load a set of duotone curves, ink settings, and overprint colors. You can then apply these settings to other grayscale images. The Adobe Photoshop application includes several sample sets of duotone, tritone, and quadtone curves. These sets include some of the more commonly used curves and colors and are useful as starting points for creating your own combinations.

Viewing individual printing plates

Because duotones are single-channel images, your adjustments to individual printing inks are displayed as part of the final composite image. In some cases, you may want to view the individual "printing plates" to see how the individual colors will separate when printed

(as you can with CMYK images).

To view the individual colors of a duotone image:

1 After specifying your ink colors, choose Image > Mode > Multichannel.

The image is converted to a multichannel image, with each channel represented as a spot-color channel. The contents of each spot channel accurately reflect the duotone settings, but the on-screen composite preview may not be as accurate as the preview in Duotone mode.

Important: If you make any changes to the image in Multichannel mode, you will be unable to revert to the original duotone state (unless you can access the duotone state in the History palette). To adjust the distribution of ink and view its effect on the individual printing plates, make the adjustments in the Duotone Cur ves dialog box before converting to Multichannel mode.

2 Select the channel you want to examine in the Channels palette.

3 Choose Edit > Undo Multichannel to revert to Duotone mode.

Printing duotones

When creating duotones, keep in mind that both the order in which the inks are printed and the screen angles you use dramatically affect the final output.

Click the Auto button in the Halftone Screens dialog box to set the optimal screen angles and frequencies. (See "Selecting halftone screen attributes" on section 475.) Make sure that you select Use Accurate Screens in the Auto Screens dialog box if you're printing to a PostScript Level 2 (or higher) printer or an imagesetter equipped with an Emerald controller.

Note: The recommended screen angles and frequencies for quadtones are based on the assumption that channel 1 is the darkest ink and channel 4 is the lightest ink.

You do not have to convert duotone images to CMYK to print separations-simply choose Separations from the Profile pop-up menu in the Color Management section of the Print dialog box. (See "Printing color separations" on section 483.) Converting to CMYK mode converts any custom colors to their CMYK equivalents.

Exporting duotone images to other applications

To prepare a duotone image for exporting to a page-layout application, save the image in EPS or PDF format (unless the image contains spot channels, in which case you should convert it to Multichannel mode and save it in DCS 2.0 format). Keep in mind that it's important to name custom colors so they'll be recognized by the other application. Otherwise the image won't print correctly-or might not print at all.

Printing color separations

When working with CMYK images or images with spot colors, you can print each color channel as a separate page.

Note: If you are printing an image from another application and want to print spot channels to spot color plates, you must first save the file in DCS 2.0 format. DCS 2.0 preser ves spot channels and is supported by applications such as Adobe PageMaker and QuarkXPress. (See "Saving files in Photoshop EPS format (Photoshop)" on section 448.)

To print separations from Photoshop:

1 Choose File > Print with Preview.

2 Select Show More Options, and choose Color Management from the pop-up menu.

3 Choose Separations from the Profile pop-up menu.

Note: Depending on the designated printer and print drivers on your computer, these options may also appear in the Print dialog box.

4 Click Print. Separations are printed for each of the colors in the image.

To prepare an image with spot channels for printing from another application:

1 If the image is a duotone, convert to Multichannel color mode.

2 Save the image in DCS 2.0 format.

3 In the DCS 2.0 Format dialog box, be sure to deselect the Include Halftone Screen and the Include Transfer Function options. (See "Saving files in Photoshop EPS format

(Photoshop)" on section 448.)

4 Open or import the image in the application you will be printing from, and set your screen angles. Make sure that you've communicated to the printer the spot color you want for each of the color plates.

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