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The last step to take before you begin separating the image is to open the Curves menu (Ctrl-M) and bump the bottom and top ends of the RGB channel curve away from the left and right edges of the curve window (moving the ends horizontally towards the center). Convert your image to RGB(>Image>Mode> RGB) if you haven’t already done so. Then, after you enlarge the image to actual size, apply the Unsharp Mask command (>Filter>Sharpen>Unsharp mask) with a low radius and tolerance until the image edges appear sufficiently smooth.
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When this happens and you can’t get a higher-resolution image, use the Gaussian Blur command in Photoshop (>Filter>Blur>Gaussian blur) at a low setting of 0.5 or so to lightly blur the image before you enlarge it. If you have to dramatically enlarge a file that is small, those pixels will become very obvious. Prepare the image Adjust the image so that the dimensions of the saved image are equal to the desired printed image size, and make sure the file resolution is high enough that image edges don’t begin to look rough and saw-toothed. Here is a procedure you can follow when confronted by such images: Unfortunately, spot-color artwork is frequently supplied by customers in bitmap format, and separating them from Photoshop is unavoidable. If you have a choice, it is always wiser to separate a vector image from its original vector format instead of converting it to a bitmap first. When you convert an original vector image to a bitmap file, you need to consider the loss of clarity that occurs when hard edges become pixels instead of hard lines, an effect that is most noticeable in graphics that contain fine text and details. Most spot-color graphics are separated using the vector-graphics program in which they were created (CorelDRAW!, Illustrator, etc.) These programs can better retain the image clarity of a vector file than Photoshop, which works with bitmap images. Separating a spot-color design in Photoshop is really easy, but you may be inclined to use another type of program with this form of design. Spot-color prints generally look more like clipart or other vector-based computer graphics than photos. Designs that need spot-color separations are generally composed of solid, flat colors that are printed next to each other, occasionally with black outlines to assist in trapping (Figure 1). Spot-color graphics are still the most common in the industry because they are a snap to design, separate, and print. The instructions provided throughout this discussion are based on Photoshop 6.0 for Windows. The following sections explain which design types are best supported by these separation methods and suggest techniques you can apply in Photoshop to get the best results with each. Four primary separation methods are useful to garment printers–spot color, process color, simulated process color, and index color. The most appropriate method of separation is always the one that works best with the image’s composition and will accurately reproduce the visual impact of the original. It becomes much easier to choose the right method if you have a realistic view of your production departments’ capabilities and the degree to which screenmakers, ink technicians, and press operators can control keyvariables. The content of an image will sometimes suggest the separation method to use, but you must always keep in mind the production variables that you have to control for each method to deliver the desired results. The solution to this challenge is to understand the separation methods at your disposal and the types of images for which each method is most appropriate. Separating artwork for garment printing can be a difficult puzzle to solve, even if you’re using a powerful and capable program like Adobe Photoshop.