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• Adjustment layers increase the image’s file size, though no more than other
layers. If you are working with many layers, you may want to reduce file size
by merging the adjustment layers into the pixel content layers. Adjustment
layers have many of the same characteristics as other layers. You can
adjust their opacity and blending mode, and you can group them to apply
the adjustment to specific layers. You can turn their visibility on and off to
apply their effect or to preview the effect.
Why colors sometimes don’t match
• No device in a publishing system is capable of reproducing the full range of
colors viewable to the human eye. Each device operates within a specific
color space which can produce a certain range, or gamut, of colors.
• A color model determines the relationship between values, and the color
space defines the absolute meaning of those values as colors. Some color
models have a fixed color space (such as Lab) because they relate directly
to the way humans perceive color. These models are described as being
device-independent. Other color models (RGB, HSL, HSB, CMYK, and so
forth) can have many different color spaces. Because these models vary
with each associated color space or device, they are described as being
device-dependent.
• Because of these varying color spaces, colors can shift in appearance as
you transfer documents between different devices. Color variations can
result from differences in image sources (scanners and software produce art
using different color spaces); brands of computer monitors; the way
software applications define color; print media (newsprint paper reproduces
a smaller gamut than magazine-quality paper); and other natural variations,
such as manufacturing differences in monitors or monitor age.
What is a color management
system?
• Color-matching problems result from various devices and software using different
color spaces. One solution is to have a system that interprets and translates color
accurately between devices. A color management system (CMS) compares the color
space in which a color was created to the color space in which the same color will be
output, and makes the necessary adjustments to represent the color as consistently
as possible among different devices.
• A color management system translates colors with the help of color profiles. A profile
is a mathematical description of a device’s color space. For example, a scanner
profile tells a color management system how your scanner “sees” colors. Adobe
applications use ICC profiles, a format defined by the International Color Consortium
(ICC) as a cross-platform standard. (See About color profiles.)
• Because no single color-translation method is ideal for all types of graphics, a color
management system provide a choice of rendering intents, or translation methods, so
that you can apply a method appropriate to a particular graphical element. For
example, a color translation method that preserves correct relationships among
colors in a wildlife photograph may alter the colors in a logo containing flat tints of
color. (See About rendering intents.)
About color management in Adobe
applications
• Adobe’s color management system helps you maintain the
appearance of colors as you bring images in from external sources,
edit documents and transfer them between Adobe applications, and
output your finished compositions. This system is based on
conventions developed by the International Color Consortium (ICC),
a group responsible for standardizing profile formats and
procedures so that consistent and accurate color can be achieved
throughout a workflow.
• By default, color management is turned on in Adobe applications. If
you purchased the Adobe Creative Suite, color settings are
synchronized across applications to provide consistent display for
RGB and CMYK colors. This means that colors look the same no
matter which application you view them in.
Soft-proofing colors
• In a traditional publishing workflow, you print a hard proof of your
document to preview how its colors will look when reproduced on a
specific output device. In a color-managed workflow, you can use
the precision of color profiles to soft-proof your document directly on
the monitor. You can display an on-screen preview of how your
document’s colors will look when reproduced on a particular output
device. If you are authoring a website in GoLive, you can also soft-
proof how colors will look when viewed in different browsers and
with different color profiles.
• Keep in mind that the reliability of the soft proof depends upon the
quality of your monitor, the profiles of your monitor and output
devices, and the ambient lighting conditions of your work
environment.
• Note: A soft proof alone doesn’t let you preview how overprinting will
look when printed on an offset press. If you work with Illustrator or
InDesign documents that contain overprinting, turn on Overprint
Preview to accurately preview overprints in a soft proof.
Soft proof presets
• Working CMYK Creates a soft proof of colors using the current CMYK
working space as defined in the Color Settings dialog box.
• Document CMYK (InDesign) Creates a soft proof of colors using the
document’s CMYK profile.
• Working Cyan Plate, Working Magenta Plate, Working Yellow Plate,
Working Black Plate, or Working CMY Plates (Photoshop) Creates a soft
proof of specific CMYK ink colors using the current CMYK working space.
• Macintosh RGB or Windows RGB (Photoshop and Illustrator) Creates a soft
proof of colors in an image using either a standard Mac OS or Windows
monitor as the proof profile space to simulate. Both options assume that the
simulated device will display your document without using color
management. Neither option is available for Lab or CMYK documents.
• Monitor RGB (Photoshop and Illustrator) Creates a soft proof of colors in an
RGB document using your current monitor color space as the proof profile
space. This option assumes that the simulated device will display your
document without using color management. This option is unavailable for
Lab and CMYK documents.
Custom soft proof options
• Device To Simulate Specifies the color profile of the device for which you want to
create the proof. The usefulness of the chosen profile depends on how accurately it
describes the device’s behavior. Often, custom profiles for specific paper and printer
combinations create the most accurate soft proof.
• Preserve CMYK Numbers or Preserve RGB Numbers Simulates how the colors will
appear without being converted to the color space of the output device. This option is
most useful when you are following a safe CMYK workflow. (See Using a safe CMYK
workflow.)
• Rendering Intent (Photoshop and Illustrator) When the Preserve Numbers option is
deselected, specifies a rendering intent for converting colors to the device you are
trying to simulate. (See About rendering intents.)
• Use Black Point Compensation (Photoshop) Ensures that the shadow detail in the
image is preserved by simulating the full dynamic range of the output device. Select
this option if you plan to use black point compensation when printing (which is
recommended in most situations).
• Simulate Paper Color Simulates the dingy white of real paper, according to the proof
profile. Not all profiles support this option.
• Simulate Black Ink Simulates the dark gray you really get instead of a solid black on
many printers, according to the proof profile. Not all profiles support this option.
About rendering intents
• A rendering intent determines how a color management system handles
color conversion from one color space to another. Different rendering intents
use different rules to determine how the source colors are adjusted; for
example, colors that fall inside the destination gamut may remain
unchanged, or they may be adjusted to preserve the original range of visual
relationships when translated to a smaller destination gamut. The result of
choosing a rendering intent depends on the graphical content of documents
and on the profiles used to specify color spaces. Some profiles produce
identical results for different rendering intents.
• In general, it is best to use the default rendering intent for the selected color
setting, which has been tested by Adobe Systems to meet industry
standards. For example, if you choose a color setting for North America or
Europe, the default rendering intent is Relative Colorimetric. If you choose a
color setting for Japan, the default rendering intent is Perceptual.
• You can select a rendering intent when you set color conversion options for
the color management system, soft-proof colors, and print artwork:
• Perceptual Aims to preserve the visual relationship between colors so it’s perceived
as natural to the human eye, even though the color values themselves may change.
This intent is suitable for photographic images with lots of out-of-gamut colors. This is
the standard rendering intent for the Japanese printing industry.
• Relative Colorimetric Compares the extreme highlight of the source color space to
that of the destination color space and shifts all colors accordingly. Out-of-gamut
colors are shifted to the closest reproducible color in the destination color space.
Relative colorimetric preserves more of the original colors in an image than
Perceptual. This is the standard rendering intent for printing in North America and
Europe
• Absolute Colorimetric Leaves colors that fall inside the destination gamut
unchanged. Out of gamut colors are clipped. No scaling of colors to destination white
point is performed. This intent aims to maintain color accuracy at the expense of
preserving relationships between colors and is suitable for proofing to simulate the
output of a particular device. This intent is particularly useful for previewing how paper
color affects printed colors.
Choosing an interpolation method
• When an image is resampled, an interpolation method is
used to assign color values to any new pixels that
Photoshop creates, based on the color values of existing
pixels in the image. Photoshop and ImageReady use
sophisticated methods to preserve the quality and detail
from the original image when you resample.
• In the General Preferences dialog box, you can specify
which default interpolation method to use whenever you
resample images using the Image Size or transformation
commands. The Image Size command also lets you
specify an interpolation method other than the default.
For Interpolation, choose one of the following options:
• Nearest Neighbor A fast but less precise method that replicates the pixels in
an image. This method is for use with illustrations containing edges that are
not anti-aliased, to preserve hard edges and produce a smaller file.
However, this method can produce jagged effects, which become apparent
when you distort or scale an image or perform multiple manipulations on a
selection.
• Bicubic Sharper A good method for reducing the size of an image based on
Bicubic interpolation with enhanced sharpening. This method maintains the
detail in a resampled image. If Bicubic Sharper oversharpens some areas of
an image, try using Bicubic.
Resampling
• Resampling refers to changing the pixel
dimensions (and therefore display size) of
an image. When you downsample
(decrease the number of pixels),
information is deleted from the image.
When you resample up (increase the
number of pixels, or upsample), new
pixels are added. You specify an
interpolation method to determine how
pixels are added or deleted.
About spot colors
• Spot colors are special premixed inks used
instead of, or in addition to, the process color
(CMYK) inks. Each spot color requires its own
plate on the press. (Because a varnish requires
a separate plate, it is considered a spot color,
too.)
• If you are planning to print an image with spot
colors, you need to create spot channels to store
the colors. To export spot channels, save the file
in DCS 2.0 format or PDF.
The Extract filter
• The Extract filter dialog box provides a
sophisticated way to isolate a foreground
object and erase its background on a
layer. Even objects with wispy, intricate, or
undefinable edges may be clipped from
their backgrounds with a minimum of
manual work. You use tools in the Extract
dialog box to specify which part of the
image to extract. You can resize the dialog
box by dragging its lower right corner.
To sharpen an image using an
edge mask
• Create a mask to apply sharpening selectively. There
are many ways to create an edge mask. Use your
favorite method, or try this one:
• Open the Channels palette and select the channel that
displays the grayscale image with the greatest contrast
in the document window. Often, this is the green or the
red channel.
• Duplicate the selected channel.
• With the duplicate channel selected, choose Filter >
Stylize > Find Edges.
• Choose Image > Adjustments > Invert to invert the
image.
• With the inverted image still selected, choose
Filter > Other > Maximum. Set the radius to a
low number and click OK to thicken the edges
and randomize the pixels.
• Choose Filter > Noise > Median. Set the radius
to a low number and click OK. This averages the
neighboring pixels.
• Choose Image > Adjustment > Levels and set
the black point high to get rid of random pixels. If
necessary, you can also paint with black to
retouch the final edge mask.
• Setting the black point high in Levels to eliminate random pixels in the edge
mask
• Choose Filter > Blur > Gaussian Blur to feather the edges.
• Important: The Maximum, the Median, and the Gaussian Blur filters soften
the edge mask so that the sharpening effects blend better in the final image.
Although all three filters are used in this procedure, you can experiment
using only one or two.
• With the selection active on the image layer, choose Filter > Sharpen >
Unsharp Mask. Set the desired options and click OK.
• To view your results, select the RGB channel in the Channels palette and
deselect the selection in the image.