Reproduction of prints

The use of prints as originals is the original manuscript of the current platemaking industry. The use of electronic color separation for this purpose and reduction is not a problem, even if a slight enlargement is allowed. However, if there are a lot of magnification, the tiny dots that were not visible to the naked eye will become very rough with the enlargement. The plate-making staff cannot select the original and can only try to satisfy the customers.
Example: My company has recently received a batch of business manuscripts. The original manuscripts are postcards, and the left and right sides have to be cut off. A wall calendar should be made and magnified by nearly 4.6 times. If the electricity is divided into scans according to conventional rules, the screen angle should be staggered. After entering the computer, original manuscripts with rich levels and good sharpness will become blurred and rough on the silver screen.
In this case, we use the best resolution of the focusing lens and then fine-tune the virtual point, so that the maneuverability and clarity of the manuscript are basically preserved, so that the display of the turtle's text on the computer is eliminated, and the color and number of times are also good. The horn is still obvious and the idea is still rough. Therefore, we use Photoshop to call the extension to scan the incoming image and process it.
The first step in the processing of the image is dust removal and inaccurate overprinting. Enter the Dust Scratches item in the Filter/Noise submenu. Enter 2-3 PIXEL in the RADIUS field, enter 4-5 LEVELS in the THRESHOLD field, and click OK to eliminate dot defects in the image while still keeping the image clear. With the help of the Rubber Stamp tool, the spot in the image is extremely overprinted, so that the entire image looks clean and clear.
The second step is color adjustment. Take one example: a postcard from Maoshan, Jiangsu Province. The picture is roughly divided into two pieces. It is nearly a court, far from trees, mountains and sky. Due to magnification, there is a certain color cast. The colored trees are somewhat yellow, and the wall of the academy is somewhat white. For this situation, we use the method of adjusting the image curve.
In the Image/Adjust submenu, select the Curves item, select Channel as CYAN, and use the Eydropper tool to blot the yellow areas of the image in the image. A dot on the curve indicates the position of the Eydropper.
INPUT has a percentage display under the dialog box. Use two control points to fix the percentage value ± 10%. Then pull up its number point. The dialog OUTPUT has a new percentage, adjust it to the best place, click OK.
This is done to refer to this percentage of CYAN in the yellow-green grove as a percentage, while the percentage of CYAN outside the fixed two points is unchanged. The same is true for the color change on the wall.
The third step is to modify the image, must have a certain aesthetic. There were some clouds in the postcard manuscript this time, so it was necessary to make up for the clouds and to be beautiful without revealing the marks. We read out a piece of sky cloud from the data library and paste it into this picture. It can be imagined that the cloud fills the sky, and that there is a hard mouth in connection with the mountains and the trees. Then there is a lack of heaven and the feeling of natural protection of the mountains.
So in the cloud layer, add a mask layer, use the GRADIENT tool in the mask layer, set the foreground to black, and the background to white. Select the cloud and the tree to connect to the lower part and pull the gradient to the upper part. To make certain transitions to the clouds, from shallow to deep, if the cloud patterns are not coordinated enough, we use distortion means, which makes the whole picture more natural and realistic.