Adobe Creative Suite 4 Printing Guide
Path. 周e selected path is then used as a vector silhouette for the layer, much like a clipping path.
As with vector text and Shape Layers, images with Vector Masks should be saved as Photoshop
PDFs to retain a crisp, vector edge when placed in other applications, such as InDesign or
Smart Objects: Vector art placed as a Smart Object in a Photoshop image receives special
handling. While it displays as pixels, the source vector art is embedded within the Photoshop
ﬁle as vector. If a Smart Object is scaled in Photoshop, the content is re-rendered from the
embedded vector information. 周us, no ﬁdelity is lost from interpolation during cumulative
transformations. Raster art can also be designated as a Smart Object, with the same beneﬁts. But
vector Smart Objects diﬀer in an important way from the vector components discussed earlier:
Smart Objects display and image as pixels, regardless of how the ﬁle is saved. 周at is, saving as a
Photoshop PDF does not result in sharp vector edges; Smart Objects are rendered at the resolu-
tion of the image.
Smart Objects do not retain any link to the original ﬁle; any edits performed to the original ﬁle
won’t be reﬂected in the Smart Object embedded in the Photoshop image. 周e Smart Object data
is part of the Photoshop ﬁle with no external links.
To edit a Smart Object, double-click its thumbnail in the Layers palette. If the Smart Object is
vector, Illustrator CS4 will launch, and the vector art will open as an Illustrator ﬁle. Edit as
necessary, then choose File > Save; the edited data will be written back into the Photoshop
ﬁle, and the Smart Object will be updated accordingly. If the Smart Object is a pixel image,
double-clicking will open the image data in Photoshop for editing and will write the corrected
image data back into the parent image when saved. Note that Camera Raw images can be placed
as Smart Objects, and double-clicking to edit will call up the Camera Raw interface. Vector
Smart Objects can be endlessly transformed without losing data (because each transform is
re-rendered from the embedded vector data), but raster Smart Objects are subject to some of the
same restrictions as any raster image:
• Rotating the Smart Object will cause some loss of detail, although subsequent rota-
tions are each re-rendered from the original pixel data; thus, the transformations are
• Scaling down does not destroy data, although the reduced image will display less
detail because of reduced size; scale the Smart Object back up to its original size, and
the original data is re-rendered without additional interpolation.
• Scaling up a raster Smart Object past its original size requires interpolation, with a
resulting loss of detail. However, Smart Objects oﬀer the advantage of re-rendering
the image data fresh with each transformation, rather than causing cumulative data
loss with multiple transformations.
One common method for silhouetting an object in Photoshop is to draw a vector path with the
Pen tool. Traditionally, it was necessary to designate the path as an oﬃcial clipping path (by
choosing Clipping Path from the Paths palette menu), and then save the ﬁle as a Photoshop
EPS. 周is is still viable, although it’s no longer necessary to designate a path as a clipping path;
InDesign provides options for using any saved path within a Photoshop PSD or TIFF ﬁle. Saved
“regular” paths oﬀer more ﬂexibility than clipping paths; the user can choose from multiple
saved paths for multiple uses of a single image—with diﬀerent appearance—by changing the use
of clipping paths within a page layout. Such paths can also be edited in InDesign; the original
path is unchanged, but a user-modiﬁed instance of the path is used by InDesign to customize the
silhouette. Such ﬂexibility is limited for clipping paths; InDesign can modify the path to trim
out visible parts of the image, but cannot reveal anything that falls outside the clipping path. A
regular Photoshop path (not designated as a clipping path) doesn’t have such a limitation; it can
be freely edited, to hide or reveal any part of the image.
Flatness, expressed in device resolution pixels, governs how a device interprets curved vector
paths, using tiny, straight segments. 周e lower the ﬂatness value, the more straight segments
are used to draw the curved path, and thus render it more faithfully. 周e higher the number of
straight segments that must be generated when imaging the curve, the more processing power
is required. But it’s not necessary (or advisable) for you to make a decision about appropriate
ﬂatness settings for clipping paths. When designating a path as a clipping path, leave the ﬁeld
Adobe Creative Suite 4 Printing Guide
blank: the output device will use it own optimum ﬂatness setting to image curved paths without
Leave the Flatness ﬁeld blank, to allow the ﬁnal
output device to determine optimum ﬂatness for
Photoshop CS4 Extended oﬀers features targeted to engineering, architectural, scientiﬁc, and
medical users. While these users may not seem to be your primary customers, Photoshop images
containing three-dimensional (3D) and video content may be part of many types of work. 周e
ability to interpret CAD data and produce a 3D rendering in Photoshop allows product designers
to generate photographic product renderings before products are manufactured.
Photoshop CS4 Extended
CAD data can be interpreted and rendered to generate an image with special properties A 3D object can be rotated and scaled in
space, textures can be modiﬁed within Photoshop, and users can paint directly on 3D objects
周e expanded 3D features in Photoshop CS4 Extended allow merging 2D art into 3D models,
and include the ability to map art onto built-in 3D shapes such as cone, cube, pyramid, sphere,
Photoshop images containing 3D content should not present any problems in imaging and print;
when placed into Illustrator or InDesign ﬁles, they are interpreted as any other Photoshop ﬁle.
Although not vector objects, 3D objects share one advantage with Smart Objects: scaling the
object within the image, or enlarging the image in Photoshop, reinterprets the 3D data and
generates a new rendering of the object, so detail is not lost. Consequently, if a Photoshop ﬁle
containing a 3D object is too small (or of insuﬃcient resolution), scaling the object in Photoshop
will produce better results than you’d achieve with a normal photograph. If you need to scale up
an image containing 3D content, you’ll achieve better results by scaling the image in Photoshop,
rather than enlarging it in Illustrator or InDesign. Note that patterns or textures applied to the
surface of 3D objects are pixel-based and will lose detail accordingly. To clarify, the edges and
details of a 3D object don’t lose detail when scaled, but any textures applied to the object will be
scaled as any “regular” photographic data would be.
To edit 3D objects, choose options from the new 3D menu. To add new light sources, double-
click the 3D object’s thumbnail (indicated by a three-dimensional cube icon) in the Layers palette
to activate the 3D Lights panel. Use the 3D Rotate tool and 3D Orbit tool to manipulate 3D
objects in space.
To edit a texture, double-click the name of the texture in the Layers palette. 周e texture opens as
a separate image in Photoshop. You can perform any edits, including color correction, distortion,
painting, and adding new layers—even text layers. Choose File > Save to write the edited image
is written back into the 3D ﬁle, updating its appearance, or just click back in the parent ﬁle. You
can also paint directly on a 3D object.
The 3D cube icon identiﬁes Layer 1 as special
3D content translated from CAD data The texture
sublayers SKY and WETSUIT can be edited, but new
texture layers cannot be added
Adobe Creative Suite 4 Printing Guide
Converting images containing 3D content to CMYK will ﬂatten all 3D content; editability will be
lost as a result.
In previous versions of Photoshop, ﬁlter eﬀects, such as artistic watercolor and stained glass
eﬀects, caused permanent changes. But the Smart Filter option in Photoshop CS4 allows such
eﬀects to be applied nondestructively. Select a layer in the Layers palette, then choose Filters >
Convert for Smart Filters. 周en apply any number of ﬁlters to the Smart Filter layer. Such ﬁlters
can be reworked or deactivated without any interpolation of the image. Multiple ﬁlters can be
applied to a layer designated as a Smart Filter layer. Each Smart Filter will have its own visibility
control in the Layers palette.
Add nondestructive ﬁlter eﬀects to a layer by using Smart
Filters Control the visibility of Smart Filter eﬀects with the
To hide the eﬀects of a single Smart Filter, click the eyeball icon next to the ﬁlter’s name. If you
need to edit a customer’s Smart Filter eﬀects, double-click the name of the applied ﬁlter in the
Layers palette. 周e ﬁlter’s dialog box will be displayed; change the parameters as desired. To hide
the eﬀects of all Smart Filters, click the eyeball icon next to the Smart Filters sublayer. If a cus-
tomer supplies an image containing Smart Filters layers, keep in mind that ﬂattening the image
will remove all editability and permanently change pixels aﬀected by Smart Filters.
Tagged Image File Format (TIFF)
TIFF (ﬁle extension .tif) maintains many of the same features supported by the native Photoshop
format—including layers, clipping paths, spot color channels, ICC proﬁles, Smart Objects, and
Smart Filters. TIFF ﬁles are o晴en larger than native Photoshop ﬁles with the same layer content,
but because more applications support the format, they are also more usable outside an all-Adobe
workﬂow. However, some non-Adobe applications may not support layered TIFF ﬁles.
Encapsulated PostScript (EPS)
周e EPS (ﬁle extension .eps) format does not support many of the features of native Photoshop
ﬁles—such as layers, Smart Objects, and Smart Filters. Traditionally, the EPS format has been
favored for images in which clipping paths are used to silhouette an object, or for images to be
printed as multitone (duotone, tritone, and so on). If your customer has supplied EPS ﬁles, there
is no advantage to re-saving them as native Photoshop ﬁles.
EPS ﬁles oﬀer support for vector content, such as type and vector shapes; the ﬁles will print with
sharp vector edges when placed in Illustrator or InDesign. However, reopening such images in
Photoshop re-rasterizes them, and as a result, loses the crisp ﬁdelity of vector content.
While the EPS format is supported by most page layout, word processing, and graphics applications,
non-PostScript printers will image only the screen-resolution preview component of EPS ﬁles.
When saving an EPS ﬁle, note the options in the Save dialog box:
Preview: Creates a low-resolution image for viewing in other applications or printing to non-
PostScript printers. For an EPS ﬁle that will be shared between Windows and Mac systems,
choose the TIFF preview option. An 8-bit preview is color, while 1-bit previews are black and
white, resembling a fax image; 8-bit previews add more to ﬁle size than 1-bit previews.
Encoding: Determines the way image data is delivered to a PostScript output device. Encoding
• ASCII (or ASCII85): Select this option if you are printing from Windows, or if you
experience printing errors with other options.
Adobe Creative Suite 4 Printing Guide
• Binary: Produces a smaller ﬁle, but some page-layout applications as well as some
print spooling and network printing applications may not support images saved with
• JPEG: Compresses the ﬁle by discarding image data. Control the degree of JPEG
compression, from JPEG Maximum Quality (slight compression) to JPEG Low
Quality (aggressive compression). Files with JPEG encoding can be printed only on
Level 2 (or later) PostScript printers. Some devices do not support the printing of
separated output for ﬁles using JPEG compression.
Include Hal晴one Screen and Include Transfer Function: Maintains any custom screening
speciﬁcation, as well as embedded curves meant to control the output values (for example, to
linearize output and compensate for device behavior). Many RIPs ignore these attributes.
Transparent Whites: Displays white areas in bitmap EPS ﬁles as transparent.
PostScript Color Management: Converts ﬁle data to the color space of the target device. Do
not select this option if you plan to place the image in another color-managed document. Only
PostScript Level 3 printers support PostScript Color Management for CMYK images. To print a
CMYK image using PostScript Color Management on a Level 2 printer, convert the image to Lab
mode before saving in EPS format.
Include Vector Data: Preserves vector graphics (including type). However, vector data in EPS
and DCS ﬁles is available only to other applications, and is rasterized if you reopen the ﬁle.
Image Interpolation: Applies anti-aliasing to the printed low-resolution image to improve out-
put when printing to devices such as laser printers.
Desktop Color Separations (DCS) 1.0/2.0
To facilitate the output of color separations, Quark®, Inc., developed the DCS format as a pre-
separated format with special features. It’s a subset of the EPS speciﬁcation. A DCS 1.0 image
actually consists of ﬁve ﬁles: four individual ﬁles (one each to represent cyan, magenta, yellow,
and black), and a “parent” ﬁle that references the individual color components. In the 1990s,
DCS ﬁles speeded desktop printing: only the parent ﬁle was sent to a desktop device. But in
separated output to high-end devices such as an imagesetter, the four high-resolution color ﬁles
were imaged for ﬁnal output. Corruption or loss of any one of the ﬁve ﬁles constituting the image
would render the image unusable.
A later version, DCS 2.0, adds support for spot colors in addition to CMYK plates. 周e DCS 2.0
format also oﬀers the option to save in a single-ﬁle format (Single File with Color Composite),
rather than requiring the user to keep track of multiple individual ﬁles.
When placed into InDesign or Illustrator documents, DCS ﬁles of either version are correctly
printed and exported, whether you choose separated or composite output; the constituent colors
are combined in the outgoing print or export. Non-Adobe applications usually require that you
generate separated output to correctly print DCS ﬁles.
周e DCS format is also used for copy-dot images, which are created by scanning ﬁnal ﬁlm for ads
or articles when digital ﬁles of the materials are not available. Photoshop does not generate this
proprietary type of DCS ﬁle and usually cannot open or edit this ﬁle format without a special
plug-in. While InDesign can combine DCS ﬁles generated by Photoshop into correct composite
information during output, you may ﬁnd that copy-dot DCS ﬁles require that you send separated
output from InDesign.
Joint Photographic Experts Group (JPEG)
While you may regard the JPEG format (ﬁle extension .jpg) as primarily for web use, a JPEG
with slight compression can be appropriate for print (provided the devices and processes in
your workﬂow accept JPEG images). 周e unattractive rectangular compression artifacts that are
frequently associated with JPEG images do not appear in images compressed with Maximum
quality settings in Photoshop.
周at said, it’s generally advisable to avoid editing JPEGs and resaving in the JPEG format because
each resave involves re-compression, and data can be lost unless the level of compression is
carefully chosen. It’s best to save the ﬁle as a PSD or TIFF ﬁle, and then update InDesign or
Illustrator ﬁles to use the new image.
Adobe Creative Suite 4 Printing Guide
Another issue with the JPEG format is that it does not oﬀer any support for layers, spot colors, or
Photoshop (ﬁle extension .psd) ﬁles are usually created with the intention of using them in other
applications, such as InDesign and Illustrator. Consequently, the best format for saving images
is usually the native Photoshop (PSD) format. However, in some cases, an image is the ﬁnal job,
and won’t be placed into another application. While Photoshop’s native ﬁle format is the most
ﬂexible option, some customers may wish to submit a PDF for output.
Because it shares the same PDF libraries as all the other Creative Suite 4 components, Photoshop
can save images in the same PDF formats. However, to maintain ﬁdelity to the artist’s intent and
to ensure high-quality output, suggest to your customers who want to submit Photoshop PDF
ﬁles that they start with one of the print-appropriate options (Press Quality, or one of the PDF/X
formats), and then turn oﬀ resampling and compression. Ask the customer to avoid placing any
security restrictions on the PDF ﬁle. To ensure that the image can be edited if necessary, make
sure that the Preserve Photoshop Editing Capabilities option is selected.
Unless the image contains vector or text content, saving an image as a Photoshop PDF oﬀers no
advantage over saving the image as a Photoshop native ﬁle.
Special Case: Photoshop ﬁles with vector content
It’s important to maintain the crisp deﬁnition of vector content in a Photoshop ﬁle, whether that
content consists of type, Shape Layers, or vector masks. 周ree image formats support vector con-
tent (PSD, EPS, and PDF), and it’s important to choose the appropriate format for your workﬂow.
A native Photoshop ﬁle (PSD) supports the inclusion and editability of such content. A
Photoshop ﬁle containing vector content can be reopened and edited in Photoshop with no loss
of data, and can be placed in other applications. However, vector content in a Photoshop ﬁle
placed in Illustrator or InDesign will be rendered as pixels during output from those applica-
tions, thus losing the crisp appearance.
Saving such a ﬁle in the Photoshop EPS format preserves vector content for other applications,
but at a price: such a ﬁle cannot be re-opened in Photoshop without re-rasterizing the vector
content. If you try to open such a ﬁle, you’ll receive an intermediate dialog box asking for raster-
izing parameters; this is a warning that you will re-rasterize vector content if you continue. If a
customer has supplied such a ﬁle, do not attempt to open and edit the ﬁle in Photoshop. Instead,
ask that the customer perform the necessary edits and provide a replacement image. As an
alternative, request that the customer re-save the ﬁle as a Photoshop PDF with no compression or
Avoid re-opening a Photoshop EPS containing vector
content All contents of the ﬁle—including text and other
vector shapes—will be rasterized, losing editability and
ﬁle ﬁdelity Saving as Photoshop PDF avoids this problem
Photoshop PDF is the best format for images containing vector content: the ﬁle can be reopened
for editing in Photoshop without rasterizing the vector content, and the PDF “wrapper” ensures
that page layout programs and other applications will render the vector content as crisp, vector
edges without pixelation.
Documents you may be interested
Documents you may be interested