Continued from the previous page ...
Setting Resolution and beginning work...
Having done the calculations working back from the final piece, we can now close and save the Illustrator file. The last variation in the mix to be observed is resolution. Who will output the art?
Our local Kinko's has a Xerox roll-fed inkjet that will print up to 36-inches by any length. This will certainly work, except they only load that machine with consumer quality, 80lb., cast-coat matt offset paper. It's nice and cheap but not PH balanced for archival purposes. Another local studio, Donovan's Framery, can accommodate up to 40-inches, and they offer several grades and textures of pure, archival papers. So, I can cheaply proof the art at Kinko's but order the final art from Donovan's. Both tell me they need at least 300 dpi in order to do a decent reproduction of color photos. Since this is all flat-based color, I know I really don't need quite that much resolution, but taking it on up to 300 will assure nice, crisp delineations; so I'll stay with 300.
Setting Up Adobe Photoshop CS2
Launching Adobe Photoshop CS2, we'll begin by setting the file size and resolution to the work size required. Since each of the four variations of the art will be the same size, we can use the same file, changing only the colors and saving out each individual iteration for joining later.
The file came in at 5,000 dpi resolution. As shown earlier, we used Quickmask to cut out the bust, and floated it to its own layer. Now we'll use the Size dialog to set our resolution to 300 dpi, and size to roughly 9 x 12 for processing.
Now it's time to go to work on the grayscale set-up.
Rendering high Contrast
Now comes the difficult part for this particular picture. There are too many tones, too many values in this image -- compiled by the fact that the Honorable Marshall has dark skin! To quickly dip into the values range we'll use the Levels function. If we hit right on, we'll be off and running. If not, we'll have to try again -- this is a good time for the Levels Adjustment layer. (Open the Levels diagram now)
Select: Layer > New Adjustment Layer > Levels
When the 'name' dialog comes up, just hit enter. No need to name this one. Next, you'll see the Levels dialog.
In order to compress the range of values we need to move the black and white sliders toward the middle. We really need to get rid of about half of the mid-range tonal values, leaving enough modeling information to draw the face; eyes, nose, glasses, hairline, lips and so forth. In diagram #15 I point out the areas of the photo that now need further processing.
I've compressed about all I dare, and have even killed out much of the hairline to the right side of the face. We'll bring back the flesh later with color -- but we cannot allow this step to turn him into a white man. We discover that Levels is not going to be a silver bullet. Some might suggest using the channel mixer, and if there were a color photo to start with, I probably would have. However, it's already grayscale, so we'll need to do some extra work.
Using the Burn tool first, (Tap "O") areas that are too light must be darkened. Then using the Dodge tool, work on areas that are too dark and must be lightened. Use these tools sparingly, and carefully watch your progress so you can Undo or step backwards when things go too far. Also remember, you can toggle through the tools by holding the Option (Alt) key while clicking on the tool. Also remember to set your "Exposure" setting, in the Options Bar to no more than 50%. This will maintain a degree of control over how dark or how light the tool works.
The areas needing the most darkening were the hair line, ear and jaw on the right. I also slightly darkened around the mouth, the nose line, and those two wrinkles in the brow. (Looks a little more imposing with those!) But some areas were too dark. So, I lightened the uncomfortable shape along the shadow line of the forehead, areas of the jowls and a lot of work on the tie. The robe has no detail what so ever, so we'll leave that solid black.
I also did some fine-tuning, like making the highlight spots in the eyes brighter and more pronounced. A little work was needed around the glasses and the neck-tie. When all is done, the image is pretty clean and we can move on to the next step -- Posterization.
Next: Making Photo Separations with Posterization
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