Photoshop CS3 for Screen Printers- P17

Photoshop CS3 for Screen Printers- P17: The toolbox is the heart of Photoshop CS3, and where you’ll find thetools you need to create your artwork and perform editing tasks. Fromthe toolbox you can access the selection tools, shape tools, type tools,Crop tool, and eraser tools. These are basic tools that any screen printeror graphic artist needs.
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Photoshop CS3 for Screen Printers- P17456 Part V / Color Separations 24. Click on the original file’s title bar to make it active. Choose Select>Color Range. 25. From the Color Range dialog box, use the Eyedropper to choose the yellow in the image. Use the smaller image you recently created. Move the Fuzziness slider so that you pick up the yellow in the yel- low balls and some of the yellow you’ll need in the orange. Since we’re not picking orange as a channel or indexed color, some yellow will have to be included there. (Verify that Sampled Colors is cho- sen from the Select field, Invert is chosen, Selection is chosen, and Selection Preview is None. See Figure 24-8. This holds true for the rest of this project.) Click OK. Figure 24-8: Pull the yellow and some orange 26. In the Channels palette, click the Save selection as channel icon. 27. In the Channels palette, click once to select the new channel. 28. Choose Select>Deselect. 29. Double-click on the new channel icon, not the channel title. From the Channel Options dialog box, select Spot Color and change the Solid- ity to 10 percent. 30. Click on the color square in the Channel Options dialog box. 31. Drag the Color Picker away from the duplicate file. 32. Use the Eyedropper to click on the yellow in the duplicate image. Click Color Swatches to choose the closest Pantone color. Click OK and OK again. (You might want to change the name of the chan- nel by clicking on its name and changing the name to Yellow.) Chapter 24 / Indexed Color Separations 457 Repeat for Each Channel and Color You’ll need to create a channel for each color. 33. In the Channels palette, click on the composite channel so that the image is showing in full color. Choose Select>Color Range. 34. In the Color Range dialog box, use the Eyedropper to choose the royal blue in the image. Move the Fuzziness slider so that you pick up the blue in the blue balls, plus a little extra. Remember, the pur- ple is created from the blue and the red. (Verify that Sampled Colors is chosen from the Select field, Invert is chosen, Selection is chosen, and Selection Preview is None. This holds true for the rest of this project.) Click OK. 35. In the Channels palette, click the Save selection as channel icon. 36. In the Channels palette, click once to select the new channel. 37. Choose Select>Deselect. 38. Double-click on the new channel. From the Channel Options dialog box, select Spot Color and change the Solidity to 10 percent. 39. Click on the color square in the Channel Options dialog box. 40. Drag the Color Picker away from the duplicate file. 41. Use the Eyedropper to click on the blue in the duplicate image. Click Color Swatches to choose the closest Pantone color. Click OK and OK again. (You might want to change the name of the channel by clicking on its name and changing the name to Blue.) 42. In the Channels palette, click on the composite channel so that the image is showing in full color. Choose Select>Color Range. 43. Repeat these steps for red, teal, black, and white. Figure 24-9 shows the result. To see how the image looks with the colors that you’ve created, use the eye icons in the Channels palette to show the chan- nels that you’ve created.] Tip: As with process color, you can change to Multichannel mode to change the order of the channels, add a T-shirt color, and more. Review the end of Chapter 23 for more information on this mode.458 Part V / Color Separations Figure 24-9: Finished product with all channels created There are two additional files on the companion CD—one called PoolBallsFinal.psd and the other called PoolBallsFinalII.psd. I created both using different colors and techniques. You’ll probably get a different result each time you perform an indexed color separation as well. Now you’re ready to print. For information on printing indexed color separations, read Chapter 29, “Printing Color Separations.”Summary Indexed color separations are great for any image but are easiest to cre- ate for images that have less than 100 or so colors. Indexed colors are created either automatically by Photoshop or by the user choosing cus- tom colors. In this chapter, you learned to choose custom colors. With the colors selected and the indexing complete, channels are then created from the selecte ...