[Spot Process Separation Studio Keygen Photoshop
Phillipp Schneeberger
TheSeparation Preview panel in Illustrator is slightly different fromthe Separation Preview panels in InDesign and Acrobat, for instance,the Preview panel in Illustrator is for CMYK document mode only.
To hide all separation inks on screen except one,Alt-click (Windows) or Option-click (Mac OS) the eye icon for thatseparation. Alt-click (Windows) or Option-click (Mac OS) the eyeicon again to view all separations again.
To convert an individual spot color to process colors,click the spot color icon nextto the color in the Document Ink Options list. A four-color process icon appears.Click again to revert the color back to a spot color.
To change the screen frequency, screen angle, andshape of halftone dots for a plate, double-click the ink name. Alternatively,click the existing setting in the Document Ink Options list, andmake the desired changes. Note however, that the default anglesand frequencies are determined by the selected PPD file. Check withyour print shop for the preferred frequency and angle before creatingyour own halftone screens.
Totell whether you are looking at the emulsion side or the nonemulsionside (also referred to as the base), examine the finalfilm under bright light. One side appears shinier than the other.The dull side is the emulsion side; the shiny side is the base.
Imageexposure refers to whether artwork prints as a positive ornegative image. Typically, print shops require negative film inthe United States and positive film in Europe and Japan. If youare unsure about which image type to use, consult your print shop.
Ifyou want to print an object on all plates in the printing process,including spot-color plates, you can convert it to a registrationcolor. Registration marks, trim marks, and page informationare automatically assigned registration colors.
I need a little help with converting a design to a vector with all separate color layers. I have managed to get away with it for a while but I want to learn the real way. Most designs work fine if you do the "High Fidelity" or one of the colors traces (3,6,16) and then select each color and separate it in color layers. This doesn't work however on very detailed designs where there is gradient textures and shadows. If I do it the way I've been doing it there would literally be 1000 layers because each color is slightly different. So how exactly would you go about doing an image like this?
I have a cloud subscription so the latest one. And I need all separate colour layers so the t-shirt place can print it. I'm assuming they are screen printing it which is why every colour needs to be separate.
Yes they need all separated colours, I have done work with them before. I can usually manage without because most places nowadays can print from a JPG file or a vector file like when I do High Fidelity, but they need it all separate. I'm just wondering how people do it.
"All" is relative. There are thousands of unique colors in the image. The T-Shirt company is not going to print "thousands" of colors. Ask them how many colors they can print. If cost is a factor the more colors the more expensive.
Thanks for that video. I actually have Separation Studio but it doesn't look like that video. I have the newest version, that looks like an older one. I don't really understand how to get it all ready for print though. I import my image but then it gives me options of Black, Yellow, Magenta, Cyan with shapes and sizes. Not sure what to do at this point.
You are completely mixing up things. No, they don't need separated colors because nobody in their right mind woulkd even attempt to print this with traditional silkscreen printing or other solid color methods. This is stuff that would be printed with inkjets directly or using indirect transfer methods. In that case AI would ever only be involved in creating a path for the die cut/ underprint outline and you'd prep the image in Photoshop to best accomodate the custom print profile regarding ink density, color profiles, overprint and what have you.
If they want to print a reduced color version based on vectors with a limited set of colors, regardless, then that's a completely different story and you need to talk to them which (spot) colors they intend to use and how many within the alloted budget and time, as obviously a standard CMYK spearation isn't going to do much here. If they don't support such a workflow, find another facility.
And on a general note: Talk to them! Getting stuff printed is at least 50% about communication and only the other 50% are about the technicalities. Randomly posting questions in forums when you even don't know exactly what they need and what their printing process is wastes everyone's time, no offense.
Artwork for screen printing does need to be color separated. But that usually means opaque spot color separations, not translucent process color separations. And again, for best results, those color separations should be solid line art (not course halftone or tint screens).
There is no "conversion" of raster images to vector paths. It's not a "conversion." It's just a tracing. It's not called auto-tracing for nothing. There is only re-drawing the design, whether done intelligently or by an automated algorithm that has absolutely no idea of what it is drawing.
Thinking of auto-tracing as a means by which to magically get the advantages of vector-based artwork out of raster-based artwork is like thinking tracing a watercolor painting with oil paint will give you the advantages of oil paint. They are two different mediums, with their own strengths and weaknesses. That's why they both exist.
It's the same with raster- versus vector-based electronic art. Raster-based artwork is by its nature appropriate for high "texture" detail. Vector-based artwork is by its nature all about sharp, accurate edges and smooth fills.
When delivering highly textured "distressed" artwork for screen printing, it is best done by building in a raster imaging program capable of displaying multi-channel artwork as spot colors. (Photoshop, PhotoPaint, etc.)
1. With your image open in Photoshop, go to Image > Adjustments > Posterize. Use the slider to limit colors. If you go to 4 colors, you'll see why it might just be better to use the 4 inks in process color to reproduce more colors. You can set it for however many color levels, but you might try 6 because, well, it looks better and there's a setting in Image Trace for 6 colors.
2. Another way to limit the colors would be to take the original image in Photoshop and go to File > Export > Save for Web (Legacy). Use the Legacy one to set it to Gif and reduce the number of colors. You can play around with the settings to see which yields the results closest to what you want, but here are a couple of tips: Diffusion will use dots to make transitions between colors (which may or may not be what you want), and you can alter the Color Table to make a Custom setting. In the Color Table, you can select and delete similar colors and/or select a color and double-click it to change it.
There are programs specifically designed to do this (AccuRIP, Separation Studio), but they are quite expensive; unless you're a print shop then that cost will be difficult to justify. As others have already mentioned, the print shop you're dealing with will likely do the separations for you (and probably have the powerful software to do so).
Within the Adobe Creative Suite, Photoshop is the tool you should use to do this. Illustrator has plugins available to produce vector halftones (Phantasm), but out of the box it's not the right choice. It does have some separation functionality built in, but not enough to prep your design for screen printed four color process.
If you're just interested in this at a hobbyist level, you can certainly accomplish this with just Photoshop. I don't deal with four color process screen printing very often so I'm reluctant to provide specific instructions but there are lots of resources available online covering CMYK separations within Photoshop. This video seems to cover it quite well.
The color separation itself is done by the printer. All you'll need to do is send your files properly. You don't need to worry about the lineature and angle but only the resolution (ppi/dpi) of your files.
You should use 300ppi resolution in Photoshop (go in the menu "image" then "image size"). Be careful, the resolution must be 300ppi for the actual printed size of your document; you should see 3x5 and 300ppi in the resolution field. If you see lower than 266ppi or smaller document size, your mom might need to re-do the Photoshop layout again at the right resolution and size.
Your colors should be in CMYK mode unless you are using a spot color printing process, for example you are using only 1-2 colors on your tickets. If it's printed at small quantity, it's probably on digital press and you simply need to make sure your colors are in CMYK. For this, look at the menu "image" then "mode" in Photoshop and select CMYK.
Yes, Illustrator is better for the text part, and Photoshop is better for the picture or photomontage part. Most designer like to import their work from Photoshop in Illustrator and add their text in Illustrator. You can also use InDesign to import both Illustrator and Photoshop.
Since your mom sent you only a one layer file, you can really re-do the text in Illustrator unless she sends you her real "psd" file with all the layers. It's still acceptable for a ticket to make the text in Photoshop.
If you really want to create a color separation (which I don't think you should do yourself), you should do it using the "print" or command, and select the PostScript driver... then select "separation" in the output. You can also do this by "exporting" to PDF and creating a .ps instead. Really, it's usually the printer who does this step, so ask him if you're not certain. You can probably do it in InDesign.
This will create a .ps file that you'll need to drag and drop on Adobe Acrobat Distiller, using the highest print settings. This will produce a PDF with your color separation; it should have 4 pages with black only on each of them.
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