The following is a print-primer guest post from NetPublications, an “award-winning on-demand printing, publishing and fulfillment company with 25 years of experience in the book and manual business”.

There’s a lot to consider before printed products can go to press, so we’ve compiled a list of the top ten problems that occur when a printing company receives your files. By following this checklist, you can avoid many of these problems.

1/ Fonts not embedded in PDF or missing in application files
When you create a PDF file you need to make sure you embed your fonts. This ensures that even if the person who opens the document does not have the font you used on their computer that they are able to view and print the file correctly. If you send application files (Quark, InDesign, etc.) we will need the fonts to print your job correctly.

2/ Incomplete or corrupt files
Before sending, check to see if your file will open correctly and has all necessary pages, images, etc.


3/ Colors that are not converted from RGB to four-color CMYK mode
You might design in RGB, proof in RGB, preview in RGB, however, we print in CMYK format. It is very rare that a computer monitor will accurately display the colors chosen in your layout. Your images may print in black and white or with inaccurate color if you neglect to convert images.


4/ Inadequate bleeds
A bleed is any area on a printed sheet where ink extends to the cut edge. One problem of inadequate bleeds is that an image that you expect to extend to the edge will show a tiny white line on the trimmed edge. It leads to an unpolished, unfinished look that you want to avoid. We require at least 1/8 (.1250) bleed.

5/ Placed images resolution too low or too high (always use 300 dpi)
A scan resolution that is too low results in a low-quality image. A resolution that is too high increases the file size and printing time, without increasing the image’s quality. Images downloaded from the internet do not print clearly (the resolution is too low — 72-100 dpi).

6/ B&W images saved in RGB or CMYK instead of grayscale
They will print with some color if not saved as grayscale.

7/ Images delivered in wrong file format (JPG, GIF)
Use TIFF / PSD (Photoshop). JPG and GIF are great for photographic images on the web, because it compresses the file (makes the file size smaller for faster downloading). Not ideal for printing, because every time you save it, you lose more color and detail. TIFF / PSD is the best image for printing without loss of color or detail.

8/ Missing images in applications.

Will either print blank or a low resolution image in its place.

9/ Wrong applications used for complex page layouts
Use publishing programs like Indesign, Quark or Pagemaker. MS Word is great for word processing at your desk, when you can print to your printer. Limitations in software make it difficult to do proper, efficient layout. Any MS Word files presented for offset printing will have to be converted to PDF. MS PowerPoint is great for creating slides / transparencies for a presentation. Limitations in the software prevent this from being an efficient layout program. Any PowerPoint files presented for offset printing will have to be converted to PDF.

10/ Not supplying a hard copy proof
This helps us spot potential problems. Please supply final color or B&W laser printouts with your digital files. Printouts should be at actual size (100%). If the image area in the page file exceeds the size of a laser or inkjet print, output the laser at a reduced percentage, but clearly note the amount of reduction.

They can present a rich amount of information without intimidating you. Or sometimes they intimidate you, but make the digesting of the information much more bearable. Here in this article below, we are going to discuss best practices for designing infographics followed by some examples which might help you learn a thing or two.

What is InfoGraphics?

Infographics are traditionally viewed as visual elements such as signs, charts, maps, or diagrams that aid comprehension of a given text-based content. Often more powerful than words or imagery alone, infographics utilize visual elements of design and words to convey a message in such a way that context, meaning and understanding are transcended to the observer in a manner not previously experienced. However, visual representation of information can be more than just the manner in which we are able to record what has been discovered by other means. They have the potential to become the process by which we can discern new meaning and discover new knowledge. The observer becomes enlighten, having learned from the visual feast and is motivated to seek out more knowledge in this medium.

Since the days of the fire evolution, we’ve been using infographics, as visual shorthand to convey information to the viewer or readers that might take paragraphs or pages to explain in words. It’s not easy to represent the whole story in one single page or paragraph but it’s far more effective then reading entire book. There are number of infographics out there on every street. Infect, we interact with infographics on a daily basis, from the stick figure telling us when to cross the street, to icons in a web navigation designs.

Little History of InfoGraphics! 

In prehistory, early humans created the first information graphics: cave paintings, later maps and now charts. Throughout most of this history, image and text have remained inextricably mixed. Later map-making began several millennia before writing, and the map from around 7500 BCE. After that icons were used to keep records of cattle and stock. The Indians of Mesoamerica used imagery to depict the journeys of past generations. Illegible on their own, they served as a supportive element to memory and storytelling.

Wow… That’s enough for history unless you really want to get die with boredom. Let’s move further.

Why Using InfoGraphics?

Because “A picture is worth a thousand words”. Information graphics can be done for several reasons. Along with them we can highlight the following important ones to enlighten the mystery.

To transmit or communicate a message.

To present large amounts of information in a compact and easy to understand way.

To reveal the data. Discovering cause-effect relations, knowing what’s happening.

To periodically monitor the evolution of certain parameters.

Elements of Information Graphics 

There are many theories available by which you can identify number of entities that can be considered as the elements of infographics but the basic and key material of an information graphic is the data, information, or knowledge that the graphic presents with limited resources. However, In the case of data, the creator may make use of automated tools such as graphing software to represent the data in the form of lines, boxes, arrows, and various symbols and pictograms. The information graphic might also feature a key which defines the visual elements in plain English. A scale and labels are also common.

Type of InfoGraphics 

There are many types of InfoGraphics available out there. Many information graphics are specialized forms of depiction that represent their content in sophisticated and often abstract ways. In order to interpret the meaning of these graphics appropriately, the viewer requires a suitable level of understanding. In many cases, the required understanding involves comprehension skills that are learned rather than innate. At a fundamental level, the skills of decoding individual graphic signs and symbols must be acquired before sense can be made of information graphic as a whole. However, knowledge of the conventions for distributing and arranging these individual components is also necessary for the building of understanding. Here we are conceding some major type of InfoGraphics to understand its usability.

01. Statistical Based InfoGraphics

Information graphics are visual devices intended to communicate complex information quickly and clearly. The devices include charts, diagrams, graphs, tables, maps and lists. Among the most common devices are horizontal bar charts, vertical column charts, and round or oval pie charts, that can summarize a lot of statistical information. Diagrams can be used to show how a system works, and may be an organizational chart that shows lines of authority, or a systems flowchart that shows sequential movement. Illustrated graphics use images to related data. The snapshots features used every day by USA Today are good examples of this technique. Tables are commonly used and may contain lots of numbers. Modern interactive maps and bulleted numbers are also infographics devices.

02. TimeLine Based InfoGraphics 

Timelines are another type of infographics uses where visual representation of information and events that happen over time. A timeline is the presentation of a chronological sequence of events along a drawn line that enables a viewer to understand temporal relationships quickly. Sometimes it is also referred to chronology that is in tabular, year-by-year paragraphs, or other form.

03. Process Based InfoGraphics 

These types usually can be seen in workspaces of factory or offices. You can also catch them in cooking magazines which shows their recipes using graphics. Have you ever wonder why most of the food products have InfoGraphics instead of detailed procedure at the back side of their cover or box. Out of many there is one important reason is to give you understanding about its uses in limited space. Using images to related data it can produce a good example of particular process so it’s easy to understand.

04. Location or Geography Based InfoGraphics 

It’s the most common type of infographics which you can find everywhere starting from your school map to complicated astronomical graphs. City and country maps can also consider as a good example of geography based infographics. These types of graphics include symbols, icons, diagrams, graphs, tables, arrows and bullets. You must be remember that there are many types lines (parallel, dotted, straight) used in maps to define subways, streets, highways, and railway tracks. Also many symbols and icons used for specific landmark like school, church, hospital, bank etc. scale is the important parameter here as everything marked according to particular scale or ratio.

How to Create InfoGraphics?

Three main Questions needs to be answered before start making any information graphics which is Why?, How?, Does it Work? Making good information graphic consist of facilitating the understanding of complexity, instead of complicating what is simple. And this cannot be achieved without the clear understanding of what goal we pursue, who our audience is and a good deal of work and reflection.

Question 1: Why?

It’s the most important question out of three that why you want to create InfoGraphics? What is it for? What is the goal? Is it for research, for discovery, Or for monitoring the data?

If you can able of answer these queries then only you can able to collect the relevant data. This determines the type of relative data to gather and about which we have to ask what type it has to be (quantitative, sequential, categorical, analytical etc.) and more importantly: are they relevant for what we want?

Question 2: How?

If you done with “why?” part then you need to think about How you going to refine your data and in what way we will represent the data. A fundamental aspect of this section is that information graphics are interesting because they reveal differences. For this reason refining them and representing the data derived from their statistical treatment often reveals aspects that otherwise would result confusing which often leads to wrong conclusions.

Once data is refined now you have to choose the most effective visual metaphor. Mostly, for a little data, a table or even a sentence can be clearer that a chart. In certain occasions changing the color palette or the type of chart can clarify the situation enormously.

Question 2: Does it work?

Now this is a critical section where you have to identify if the outcome is fit the goal or not. if it doesn’t fit the goal that we have defined in the first step, we will have failed and again start with first step. There is no documented rule which says how to verify your results but after thoroughly answering all three questions you must able to judge if the result is favorable or not. The key resides in revising and experimenting with what we have done until we find an improvement.

Selection of Colors, Typography

A perfect layout, a good selection and nice resource can produce a creative output. Layout, textures and typography are used more often than one may think but the outcome of different combination can result verity of designs. Professionalism is built upon knowledge and experience. Typography is one of the most important key aspects of any design project. Among other things, effective typography always manages to achieve some of the important objectives of projects like corporate identity, attractiveness of the project, enrichment of visual appearance, trust and interest of viewers etc. Also it’s helps you to represent the bound emotions of your graphics.

Varying the colors, reducing the saturation of what is less important and increasing it for the most relevant data, modifying the typography, the size of fonts, eliminating everything that doesn’t contribute to showing and clarifying the data (irrelevant grids, redundant data, and unnecessary labels) without losing relevant information sometimes provides surprisingly improved results.

Sources: http://www.instantshift.com/2009/06/07/infographic-designs-overview-examples-and-best-practices/

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KISS(Keep it simple stupid)

Rule 2

Take advice, you never know too much that you can’t take the advice of others, look at other magazines, newsletters etc, and especially, the rest of this list…

Rule 3

Determine what kind of document you’re producing. If we can break it down into two kinds:

… you have to read me, so it really doesn’t matter how I make it look, and I don’t give a damn anyway…

… please read me, I have something to offer and I hope you’ll take the time to read on…

for those with the first kind of document, just stop reading now, for others…

Rule 4

Is it a formal or informal document?

Formal documents need to be well structured, look as if they mean what they say, keep them consistant in terms of fonts and layout… be businesslike

Informal documents can be looser, make them inviting, choose an informal (optima etc) font, lots of white space. Make the reader want to read on.

Rule 5

There are a number of socially correct mechanisms to make sure that whatever type of document you are producing looks good …

One font for body text and one for headline text …

Never put more that one space between words, especially after punctuation. …

Respect other languages, use the correct accents when appropriate …

use the correct quotation marks (not feet and inches symbols) …

be consistant with paragraph spacing (first line indent, inter paragraph gap) …

not too much hyphenation (if any) …

beware of widows and orphans…

respect your reader

Rule 6

Select an appropriate format for the type of document you are producing. A5 booklet, A4 report, A3 broadsheet etc.

Rule 7

Consider the reproduction mechanism. …

If you are photocopying the end document, beware of the limitation of tints on any specific photocopier (hint: fine tints smudge on some copiers) …

Professional printing of the final document: choose your paper with care, ask the advice of your local printer (print office) before getting too deep in the production process. If they have preferences regarding the tools they use for preparation of documents, consider them (ie Pagemaker etc).

Rule 8

Keep backups (copies) of items as you go along, make sure that you have copies of all documents (pictures, logos, main document etc) well secure. Sodd’s law will ensure that something untoward happens in the last hour of your deadline.

Rule 9

Having selected a publication format, edit to that format, not the other way around. Do not try and make the format fit the pieces…

Rule 10

Remember Rule 1

Quark has a lot of keyboard shortcuts, but most of them aren’t mnemonic, so they are hard to remember. Here’s a list of the ones you’ll probably want to suffer to learn anyway. With one exception (noted below), these work in both version 3.3 and 4.0.

• Ctrl+X, Ctrl+C, Ctrl+V = Cut, Copy and Paste the selected item (respectively). What you can select depends on the tool you are using.
• Ctrl+Z = Undo. Everyone’s favorite “oops” command. You get one…count it…one level of undo, so be careful.
• Ctrl+Shift+B = Apply Bold. Select text press the combination and lo your text is bold.
• Ctrl+Shift+I = Apply Italic. Same idea as adding bold, except it adds italic instead.
• Ctrl+J = Go to a certain page. Why J? Maybe it stands for jump? I just dunno.
• Shift+F8 = Toggle the Item and Content tools. You get really sick of switching between the two using the toolbox.
• F5, Shift+F5 = Bring to Front and Send to Back respectively.
• Alt+clicking on a style name = removes local formatting and applies the style. (This command changed in version 4.0 — it used to be Shift+style name.)
• Ctrl+0 = Zoom to fit in the window. If you have a big monitor, you can sort of still read the text.
• Ctrl+1 = Zoom to actual size, so you really can read the text.
• Ctrl+Shift+F = Opens the Paragraph Formats dialog box.
• Ctrl+E = Get picture or get text (depending on the type of box that is selected).
• Alt+Ctrl+Shift+F = Make an imported picture fit in a picture box, without changing the aspect ratio.

Revert to Saved

As noted, the folks at Quark give you just one level of undo. A way around this limitation (sort of) is to use the Revert to Save command. Before you decide to attempt anything weird, save the file. Then commit the weirdness. That way, in the event of a big design failure, you can choose File, Revert to Saved to return to your last good (i.e., pre-weird) version of the document.

Use Libraries

It’s sad how few people take advantage of Quark’s libraries. Two minutes of setup can save you eons of repetitive formatting. For example, supposed you have a standard figure box and caption that you use over and over in a newsletter. Rather than redrawing them every time you need a figure, create a library and drag the formatted boxes into it. Then whenever you need to add a figure, you can drag the perfectly formatted objects into your layout.

Apply Styles in Your Word Processor

An easy way to speed up applying styles is to just not do it in Quark at all. Set up the Quark file with the same style names you use in your word processor (or vice versa). The key is that the style names must be exactly the same. Then when you choose File, Get Text, make sure that Include Style Sheets is selected. You’ll get a bunch of messages (one for every style) asking you if you want to use the existing Quark style. Say you do. Your text arrives in the Quark file already formatted. Cool.

Create a Jump Line

If you have an article that continues on another page, you may want to include a “jump line” to tell your readers where it’s continued. Create a new text box and type in “continued on page” or something like that. For the page number, press Ctrl+4 instead of typing in a page number. This command inserts a code for the page number of the next text box in the linked chain. If you rearrange the pages later, the jump line will automatically update.

Move to the Next Box

If your layout includes articles that continue on other pages an easy way to have Quark move you to the next page is to place your cursor at the end of a text box. Then hit the right arrow key. Quark jumps you to the next text box in the chain, no matter whether it’s on the next page or 20 pages later in the document.

Find/Change Special Characters

As you can in some word processors, you can use Quark’s Find/Change function to look for unusual items such as tab characters, spaces, or paragraph. For example, if you (or a wayward author) type two spaces instead of one after a period, you can use Replace to quickly replace two spaces with one space. Or if you have documents with a lot of extra paragraphs, you can search for extra paragraph returns.

These are a few of the special characters you can enter in the Find what and Change to boxes:

• \t = Tab
• \p = Paragraph
• \n = New line
• \c = New column

For example, many times people indicate a bullet with an asterisk followed by a couple of spaces. If you want to find all the asterisks that should be turned into bullets, you would enter “\p* ” into the Find what box.

InCopy CS3 and InDesign CS3 parallel workflow (simple overview)

The designer places the InDesign layout on a central file server. Text and image frames in the layout are assigned for review and editing to a contributing member of the editorial workflow. Multiple InCopy users can open spreads and edit content from the same layout file concurrently while it’s on the server, even if the designer has it open in InDesign.

However, to protect the integrity of the design, InCopy only allows editors to edit the contents of text and image frames which the designers have designated as editable in the layout. Editors cannot change page geometry (move or resize frames, add or delete frames or pages, apply text wrap, etc.). While they can apply local text formatting and any text styles the designers created and saved with the layout to their stories, editors cannot add, delete, or modify any of the styles. If the designer is working on the same layout concurrently
and saves changes to it in InDesign, any editor who has it open in InCopy is notified that the design is out of date. Choosing File > Update Design in InCopy immediately refreshes the layout to reflect the latest state of the publication, without losing any of the InCopy user’s edits.

When the editors have completed the final touches to their stories, and the designer has updated all the InCopy content in the layout, the file is ready for preflighting and handoff to a commercial printer.

Black should be only 100%K, not composite from all colors
You have to keep in mind that printing process has minimum 4 passes (to print full color – in Offset technology), and that alignment of these four passes may not be 100% same. Every pass is one color. So if you make text from 100C 100M 100Y 100K composite, you will have noise at letter’s edges. Photoshop has habit to form black from all composites so pay attention to select only pure black (0C 0M 0Y 100K) when you write text.

Use minimum 300DPI for Offset and 600DPI for Digital printings
Human eye can easily notice granulation of image raster if its resolution is lower than 96 DPI. Common Offset printing plates (machines) support 300DPI, so use this quality and make design in that resolution. Also, some digital printers support more dots per inch so you can make design from 600 to 1200 DPI’s, but it is very hard to notice difference between 600 DPI and higher. In special cases if you make design for buildboard, you can use 30 DPI, because of view distance.   

Clean up small composite values
Keep in mind that every colored surface is made from these 4 components mentioned before. If you have on some surface less then 10% of some color, it is better to modify that color component to 0% in order to avoid edge noise. You will make small change on color. Also if you try to print 5% of some composite it is very small chance that something will be printed at all on Offset printing.  
Example: if you fill background with gray color: 5C 5M 5Y 5K you will probably bet totally white surface, but, if you use 0C 0M 0Y 11K, which gives very similar color on screen, you will have some gray color on background.
Simply, printing and screening technologies are different.

Make from 3 to 5 mm bleed on every edge that should be trimmed
Printing surface is always bigger than required dimensions. When you do screen design you don’t think about cutting, because it doesn’t exist on screen, but, when you do design for paper you have to keep in mind that someone will have to cut edges of your design. So there is Trimmed dimensions and Not-Trimmed. As designer you are thinking in trimmed dimensions, but when you send file on printing you have to make tolerance in case that swings that cuts paper to fit required dimensions make mistake, and, it always make some mistake. If you don’t make your design bigger you will have white stripes at edges of your catalogue or flyer.   

Keep in mind that US print shops use the English system religiously. In case you didn’t know, points and picas come from the English system, and its much easier for us to use all of our technology with those measurements. The bleed (that’s the area of excess design to allow for cutting) is always 1/8″ or less depending on the room on the plates.   

In case of flyer, you have to make this bleed for all edges, in case of catalogue, only outer edges should have this because, edge that comes to bending line doesn’t have cutting.

Make margins at least 5mm
All elements of design and all texts should be at least 5mm from edge of cut. I tried with 3mm, it was bad looking because on some places distance was smaller because problem of swings. In some cases you can go up to 10mm of margin.   

That is something that I noticed that beginners in graphic design should know. There is also some pure design tips about contrasts and colors, but I’ll leave it for some other tutorial.   

Use TIFF as final file format
I advise you to use TIFF format when you send design to printer company. I had cooperation with many printing companies and printing professionals and everybody agree that TIFF / CMYK is most trusted image format for color-safe exporting and transporting from design workstation to film exposition company.   

It is safe to use: LZW compression (more compatible) or ZIP compression (less compatible). For final file you can discard layers to reduce file size. Skilled print workers reported that ZIP compression may lead to corruption later on in the process of printing, also that LZW compression is not allowed by some applications (Heidelburg).   

Check http://www.omnetwork.net for more tutorials covering this and other design topics.

About author: Goran Grubic is skilled print and web designer from Serbia running design portal omnetwork.net (http://www.omnetwork.net/) which offers for free large unique tutorial library (covering Photoshop, Flash, 3D Studio, Dreamweaver and similar topics), free graphic resources (templates, elements, 3D models etc.), photography (free&royalty free, just use it!) and sounds&music loops for multimedia web development.

This example shows how to Load, Add, Subtract, and Intersect selections between overlapping layers just with quick thumbnail clicks.

Load Pixels to Selections

In “Layer 2″ Command-click to load a fill as a selection. Any pixel which is not transparent in “Layer 2″ will be loaded as a selection. This is not the same as copying the layer, only its outline. The green fill shows the selected region although you will get only the surrounding Marquee. Let’s call this state (with “Layer 2″ selected) the initial state.

Addition

With the “Layer 2″ loaded as a selection, Command + Shift-click on “Layer 1″ to add it to the selection. Now non-transparent pixels of both “Layer 1″ and “Layer 2″ are combined as the new selection. Notice the small plus sign in the Command-Click box.

Subtraction

Revert to the initial state and Command + Alt-click on “Layer 1.” This will subtract any overlapping pixel of “Layer 1″ from the current selection of “Layer 2.” Notice the minus sign.

Intersection

Revert to initial state and Command + Alt + Shift-click on “Layer 1″ to keep only the overlapping pixels as a selection. Notice the X sign. If the layers are not overlapping this action will deselect all.

Garbage Masks

Garbage Masks are created to roughly isolate the ‘region of interest’ from rest of the image. Further trimming is carried out inside the Garbage Mask with precision.

Vector and Raster Selections

Draw an outline around the region of interest in the image with any of the Lasso Tools and double-click to complete the selection. A Garbage Mask needs to be saved for further refining, which can be done both as a Layer or Vector Mask. We must choose it depending on complexity of the outline and how we are planning to trim it later on. With the Lasso selection click Add Layer Mask to save it as a Layer Mask.

Alternatively, we can also save the selection as a Vector Mask which can be later refined by working on the shape spline that defines its outline. With the Lasso selection still intact (2), go to the Paths tab (3b) and click Make Working Path from the Selection button at the bottom. This will save the selection outline as a Shape Working Path.

Now load the selection again, and return to Layers tab. Click Add Layer Mask once to create a Layer Mask (Command-click to load again) then click the same button( 6b) once more to Add Vector Mask. Saving selections as Vector Masks or Shapes saves memory.

Selecting with Vector Mask

Click on the Vector Mask to activate it. Or selecting any of the Shape tools will make it active. Vector Masks are modified by adjusting the spline positions (Control Points) and curvature (Tangents). You can disable, delete, or save the Layer Mask with another Layer. The Convert Point tool is most suitable for altering Vector shapes and Paths. Click and drag on the handles, then Command-click on control points to move them.

Once a acceptable outline has been achieved use the Add Points tool to refine and further match the outlines. Delete points when necessary. Dragging handles with Command + Shift will lock their relative slopes. Drag directly on the Control Point to reset handles. Regular curvy shapes are best to be extracted with this process.

This method is also best in situations where boundaries are not clearly visible.

Select by Color Range

Selecting by color is the fastest way to Chroma select. Click Select > Color Range and select a color with the Eyedropper Tool available. Once selected certain shades can be removed selectively with the Minus (-) Eyedropper or again added with the Plus (+) Eyedropper. There is also a preview window that displays the selected region or the original image.

This tool can be used to setup Garbage Masks around the subject and later refine it with editing the Mask. Select by color is not a one-click solution, but does a great job in minimizing manual work.

Chroma from Channels

Color information of each type are stored in as separate channels, which can be viewed in the Channels Tab. We can use the channel wise variations in color intensities for selecting objects in the image. This process is helpful only when background and foreground have separate color distribution in at least one channel.

Advanced Chroma

In the Histogram we can see that the blue channel is predominant in the image and it extends up to the highlights where other channels are very weak. Our subject here is the patch of vegetation in foreground.

Picking the Best Channel

A simple observation of the three channels tell us that the blue channel has the highest contrast between the Sky and Grass. We are going to exploit this property to separate the two. Duplicate (Command + J) the Layer and go to the Blue channel of the Copied layer. Click Image > Adjustments > Curves or Press Command + M to apply curves modification on the current channel.

Applying Curves

Select the point closer to the dark grays of the channel and drag it (2) forward in the x-axis (horizontally) keeping y-axis at 0 (shown by the small circle). This will make the darker pixels uniformly more darker. It shouldn’t affect the background, drag it a little back to left if it does.

Next, select another point closer to the White Point, drag it (3) back towards the midtones keeping the y-axis(vertical) at maximum (shown by the small circle). What we are doing is saturating the dragged range of blue up to 100%. Make sure the whole background turns white or almost so, and there is a very high contrast between the Grass and Sky.

Channel as Mask

Command-click on the channel thumbnail to load the channel into the selection. Areas which are predominantly blue will be selected totally and the rest according to respective degrees. Areas which have no blue (the black parts) will be left from the selection. With the selection in place go to the Layers tab and click Add Layer Mask to save the selection as a Mask.

Inverting the Mask

Press Command + I to invert the Layer Mask.

Selecting by Brushing on Masks

Brush based selection is used to extract foregrounds with complex outlines with accuracy. It is also used to refine selections made with other techniques. And it also support transparency (softness).

Erasing is probably the first thing that comes to mind when we talk about brush based selection. But it is not a recommended process at all. Erasing is a destructive process and can permanently damage the original image as recovery is limited only to a number of undo levels we have set.

Brushing with Layer Masks

Here too Layer Masks can be used, to preserve the workflow of Eraser and additional possibility of recoveringremoved portions if they are needed. Painting on the Layer Mask with a White or Black will reveal or hide the contents respectively. We can brush out backgrounds in the same way as in using the Eraser tool and get it back by painting with White.

No Feedback

When brushing the mask we may sometimes trim off relevant parts accidently and keep focusing on the wrong silhouette only to be discovered later. This is highly probable when foreground background have similar hues and there is no immediate visual feedback.

Immediate Feedback

This problem can be averted by following a simple rule of keeping a multiplied duplicate of the current layer in the background as a guide layer. Multiplied gradient maps will show-up as high contrast versions of the subject outlines if violated.

Luma Select

As already mentioned Luma is the illumination levels of an image. Luma can be used to extract components from the image which have a considerable brightness difference than others.

Simplest Luma Hack

Unlock the background and make a duplicate of it, then hide the original Layer.

Apply Threshold

Apply a Threshold Adjustment Layer on top. You will notice that some parts of the image have been turned instantly black and rest are pure white, and there are no intermediate grayscale levels.

Adjust Threshold

Adjust the Threshold Slider and try to enclose the subject or background (whichever is darker) in black. Hide the Threshold layer and look at the original image for guidance when required.

Merge Layers

Command-click to select the top two layers and Merge them into one. Select the bottom layer, make it visible and create a blank Layer Mask.

Add Layer Mask

Copy the merged image and paste to the Layer Mask, following the process discussed above. We have our Layer Mask ready, but in most cases there will be holes and parts of our background visible. Use the Mask Painting technique discussed above to make it tidy. Invert if necessary.

Luma Select with Transparency

The Threshold technique discussed above is very fast to implement, but is only useful for extracting solid objects as it lacks transparency. The following method can be useful in situations where we need Luma extraction with transparency. Here we are going to remove the ice-water from the rest of the rocks.

Using Luma to Mask with Transparency

Unlock and Create a layer from the background (1). Apply an Adjustment Layer Black and White on top and then a Brightness-Contrast Adjustment Layer above it.

Reduce Brightness

Select Use Legacy mode and slowly move the Brightness slider to left, try to get as many black areas from the rocks as possible. This process will reduce the brightness of the Water too so don’t overdo it.

Increase Contrast

Now slowly increase the Contrast slider to the right. With each increase dark-grays will turn to black and lighter grays will glow more brightly. We are going to get the whites as opaque and grays as semi-transparent. Try to get both Whites and Grays where necessary. Over increasing the contrast will make it look like a Threshold Layer, if so there will be no translucency left.

Merge the Layers

When satisfied with the results Merge the top three Layers. Go to the background layer and Add a Layer Mask and copy the merged Layer into the Layer Mask.

Yet Another Possibility

Other than the above two procedures there is also another way of Luma based extraction using the Lab color method.

Lab Color Technique

Open an image and turn it to Lab Color mode by clicking Image> Mode> Lab Color. Goto Channels Tab and find the lightness channel or press Ctrl+1 to directly select it. This is where the illumination levels of all pixels are indexed in the Lab Color mode. You can play with that channel and try to isolate some element from the background. Don’t forget to duplicate the Layer or the Channel before you alter any channel.

And filters that doesn’t work on the image in Lab Color mode works on the Lightness channel, and yield almost similar results.

Conclusion

Photoshop has quite a few options when it comes to selection techniques. Try applying some of these solutions in your workflow to increase your productivity and effectiveness.

]]> http://bhuwant.com.np/blog/2009/07/a-comprehensive-introduction-to-photoshop-selection-techniques/feed/ 0 http://bhuwant.com.np/blog/2009/07/photoshop-selection-techniques/ http://bhuwant.com.np/blog/2009/07/photoshop-selection-techniques/#comments Wed, 15 Jul 2009 12:26:50 +0000 admin http://bhuwant.com.np/?p=317 0px; padding-right: 0px; padding-left: 0px; outline-width: 0px; outline-style: initial; outline-color: initial; font-style: inherit; vertical-align: baseline; font-family: Helvetica, Arial, sans-serif; font-weight: bold; color: #27221f; font-size: 2.7em; letter-spacing: -0.04em; line-height: 1.05em; padding-bottom: 10px; margin-top: 30px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; border: 0px initial initial;”>Selection in Photoshop

Photoshop selects pixels based one of the three properties, as shown in the image below:

1. Chroma: is the color of the pixel. Color of a pixel is the level of RGB values and color based select tools like the Magic Wand. Select by color uses the RGB% as a criteria to group pixels based on the set tolerance values.
2. Luma: is a selection based on Illumination levels. Illumination levels are whiteness of the image, which is nothing but higher values for all the three R, G and B channels. Photoshop doesn’t have a native interface for a Luma based selection, but many existing tools can be hacked to get a similar result.
3. Masks: are based on spatial position. Pixels are selected and discarded or masked by a parallel layer bound to corresponding image layer. Masks are grayscale and brightness of the mask is called an Alpha level, which is the degree of opaqueness of the corresponding layer pixel. It’s also called the Transparency/Opacity channel as in RGBA etc.

A Note on Masks

In this article, words like Masks and Alpha will be used interchangeably. The process of transferring images to layer masks will be shown once and then used repeatedly without explicitly mentioning thereafter.

Step 1

Open a new image that you want to use as a mask. Double-click the background layer and create a new layer, which is “Layer 0.” Make a new layer, which is “Layer 1,” on top of it and fill with a uniform color, then hide “Layer 1.”

Step 2

Go to “Layer 0″ and click Select > Select All (Command + A) to select all pixels. Next, click Edit > Copy (Command + C) to copy all pixels to the clipboard.

Step 3

Go to “Layer 1″ and create an empty Layer Mask. Initially an all transparent Layer Mask will be created. Alt-click the layer mask to see it in the canvas.

Step 4

With the Layer Mask visible, paste onto the canvas by clicking Edit > Paste (Command + V). A grayscale version of the copied image will be pasted in as the layer mask.

Step 5

Click on the fill layer thumbnail (not mask) to see the result. Any image can be applied as a Layer Mask to another layer. The opacity of the layer will be controlled by grayscale level of the mask.

More on Masks

The easiest way of creating a Layer Mask is to click the Add Layer Mask button with something selected on the canvas. The selection will be saved as a layer mask attached to the current layer and everything outside the selection marquee will be masked and hidden.

Activate Layer Masks

Alt-clicking on the Layer Mask makes it active for editing. Only activated layer masks can be edited which are represented by a thin white outline around them.

Add Shapes to Layer Masks

Dragging any shape onto the canvas while a layer mask has been activated will draw it on the Mask instead of the layer itself. To draw it again on the layer we need to deactivate the Mask by clicking on the layer thumbnail.

Add Brush Strokes to Layer Masks

The same is true for brush strokes. Anything painted on the canvas with a Layer Mask selected will draw it on the Mask instead of the Layer. We can use this property to select objects with irregular boundaries from backgrounds, by painting everything else black on the Layer Mask. White brush strokes will reveal and blacks will conceal.

Copying a Layer Mask to Another Layer

Finally, we can transfer the Layer Mask to another layers by simply loading it as a selection (Command-click) and unloading as we did in the first step by clicking the Add Layer Mask button. Or by Alt-dragging the mask to another Layer (Not Shown).