Real World Adobe InDesign CS4- P22 docx

      of time and money). at said, we must also add that we can get very close—and we can also make the relationship between the display and the printed piece more consistent and predictable. e “device” (a printer, scanner, monitor, or printing press) is the key. Every device renders colors in a slightly dierent way. To adjust color in one environment so that it matches the color as seen in another environment, color management systems refer to a le containing information on the color characteristics of a device (how it displays or prints color). is le is called a “device prole.” Device proles for scanners and printers are usually created by the manufacturers who make the hardware, though quite a few come with InDesign. You’ve got to make monitor proles yourself, because every monitor is dierent (just as several television sets from the same manufacturer can show the same image dierently). e pro- cess of creating a device prole is called “characterizing” a device. Once a device prole has been created for a device, you’ve got to maintain (or “calibrate”) the device so that it doesn’t vary from the prole. Imagesetter operators and commercial printers calibrate their equipment regularly (or should) to match industry standards. InDesign’s color management system uses device proles com- patible with the International Color Consortium (ICC) specication. If you’re on the Macintosh, you can also use device proles provided by Apple with the system-level ColorSync color management system (these proles are also ICC compatible). For more on choosing device proles, see “InDesign’s Color Man- agement Controls,” later in this chapter. For More Information Color management is an enormous subject and we can only focus on one aspect of the big picture here: How color management works in InDesign. If any terminology in this section is confusing to you (like gamut, ICC prole, color engines, and rendering intents), we encourage you to go look at two other sources for a truly in-depth look at getting consistent color Real World Photoshop (which David wrote with Bruce Fraser and Conrad Chavez) and Real World Color Management, by Bruce Fraser, Chris Murphy, and Fred Bunting. Do You Need Color Management? Everyone wants consistent color from original to screen to proof print to printing press, but it’s worth asking yourself whether you really need it. Managing color is not as simple as turning on a checkbox, and though it’s not as hard as ying an airplane, it can still cause a fair amount of riing through medicine cabinets trying to ease the pain in your head. You may not need to worry a lot about managing color in InDesign if you can rely on color swatch books when pick- Real_World_Adobe_InDesign_CS4b.pdf 631Real_World_Adobe_InDesign_CS4b.pdf 631 08/04/2009 05:55:55 p.m.08/04/2009 05:55:55 p.m.  .   ing solid colors, and if you can rely on color prepress professionals to deal with your color Photoshop images. ere are other instances when it’s not even worth trying to get InDesign to manage your color. For example, InDesign can’t manage grayscale images or spot colors. Similarly, InDesign isn’t really set up to color-manage vector art when saved as an EPS le (it can do it, but we don’t recommend it). Vector art saved as PDF or native Adobe Illustrator (.ai) les should work reasonably well. Nevertheless, we must admit that it is particularly satisfying when you work through all the issues and achieve (as close as pos- sible) parity among your screen, inkjet printer, and nal press output. Being able to rely on your screen (“so proong”) and desktop color printer is a great boost in eciency, too. Plus, as the world becomes increasingly reliant on direct to plate technologies, bypassing lm entirely, color management systems become increasingly important to ensure quality output. And if you want to import RGB images and let InDesign do the color separation for you at print time, you’ll get better results if color management is turned on. Controlling Your Color-Viewing Environment If it’s important to you that what you see on your screen looks as much like the printed version of your publication as possible, there are a few rules you need to follow.  Characterize and calibrate your monitor with a tool like the Datacolor Spyder or X-Rite’s EyeOne. If color is of critical importance to you and your publications, nd a system that works with your monitor, or buy a monitor with built-in color management capabilities.  Control the lighting around your monitor and keep it consistent when you’re working. e uorescent lighting used in most of our oce buildings is the worst possible lighting for viewing colors. Turn it o, if you can, and rely on incandescent or “full spectrum” lighting. Avoid glare and bright light if possible. Why is lighting important? Basically, the temperature of the light aects what a color “objectively” looks like. Printed Proofs and Swatches Remember that, unlike the paper you’ll be printing on, your screen is backlit, so it displays colors very dierently from what they’ll look like when printed. erefore, any time you’re working with ink, try to refer to printed samples, rather than looking at the colors on your screen. Real_World_Adobe_InDesign_CS4b.pdf 632Real_World_Adobe_InDesign_CS4b.pdf 632 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.       If you’re using uncoated paper, look at samples of the ink (spot color) or ink mix (process color) printed on uncoated stock. If you’re using coated paper, look at examples printed on coated paper. Even better, try to nd an example of the ink printed on the paper stock you’re using—though these examples are much harder to nd. Pantone makes a line of swatch books showing their libraries of spot and process colors (including process color equivalents of the spot colors); they’re printed on both coated and uncoated stocks, and, although they’re kind of expensive, they’re not as expensive as pull- ing a job o of a press because you didn’t like the press check. ey’re downright cheap if you consider what they must cost to print. If you’re specifying CMYK colors, use a swatch book printed with process colors that tells you what the CMYK breakdowns are. Our favorite is the one made by Trumatch. You can also nd process color books made by Pantone. Denitely don’t assume that your color inkjet or laser printers will automatically produce an accurate simulation of what the colors in your publication are going to look like when they’re printed by your commercial printer. To do that, you’ll have to do some work— we’ll cover that in more detail later in this chapter. InDesign’s Color Management Controls You can control how color appears in InDesign in a number of places. For example, under the Edit menu, you’ll nd Color Settings, Assign Proles, and Convert to Prole. In the View menu, there’s the Proof Colors feature. And the Appearance of Black pane of the Preferences dialog box also lets you manage one color (black). Application Color Settings e choices you make in the Color Settings dialog box form the basis for how InDesign displays and prints color (see Figure 10-14). ese controls all match the similarly named features in Adobe Photo shop, though the meanings are sometimes subtly dierent. Note that these controls adjust future documents you create, but not already-created les—not even the currently-open document. Settings. In a valiant eort to make color management easier, Adobe has created color management “presets” that you can pick in any of the Creative Suite applications. You can pick the same setting in all the applications to get consistent color as you move les from one program to another. (You can automate this by launching Adobe Bridge and then choosing Edit > Creative Suite Color Settings.) Real_World_Adobe_InDesign_CS4b.pdf 633Real_World_Adobe_InDesign_CS4b.pdf 633 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.  .   If InDesign’s Color Settings dialog box is set up dierently than other Suite applications, you’ll see a message alerting you to the fact that the Suite isn’t synchronized. is isn’t necessarily a bad thing—for example, we typically like seeing missing prole alerts in Photoshop but not in InDesign. (We cover alerts like this in “Color Management Policies,” in a few pages.) InDesign’s color management is turned on by default. e Set- tings pop-up menu typically shows ve presets.  Emulate Adobe InDesign 2.0 CMS O. “O” is misleading— there is no such thing as truly turning color management o. is setting tells InDesign to hide what it’s doing from you. For example, if you import an RGB image and print color separa- tions, InDesign will still convert the RGB to CMYK (which is one of the prime uses of color management). e result may look only adequate because InDesign is assuming your RGB image is based on the Adobe RGB prole and the CMYK ink behavior is based on the Photoshop 5 Default CMYK settings. We’d rather gnaw o our leg than use this setting.  Monitor Color. is is good for um well, it might have some marginal use in Photoshop (if you’re creating output for video perhaps), but we can’t think of any reason to use it here.  General Purpose. e default setting is General Purpose, which turns o most of the color management alert dialog boxes that make people nervous, uses sRGB as the default RGB space, and  - Color Settings Dialog Box Real_World_Adobe_InDesign_CS4b.pdf 634Real_World_Adobe_InDesign_CS4b.pdf 634 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.       uses U.S. Web Coated SWOP for the default CMYK space (or Fogra or Japan Color in Europe or Asia). is is probably the best setting for most InDesign users.  Prepress. It’s tempting to choose North American Prepress 2 (or Europe Prepress 2 or Japan Prepress 2, depending on where you’re reading this) if you’re aiming for a printing press. is uses the same CMYK default, but standardizes on the Adobe RGB model for RGB colors. While we do like this for Photoshop image editing (because it encompasses a spectrum of colors better suited for print than sRGB), it’s both unnecessary and oen misleading or incorrect in InDesign.  Web/Internet. If virtually all your pages are destined for the Web, you might choose the Web/Internet preset. It uses the sRGB workspace for RGB colors (it even forces non-sRGB images to convert to sRGB), but that’s appropriate for Web les. Again, these are only defaults—not necessarily what you’ll use for your documents. If you have a custom CMYK prole for a project, you can use that for your document instead (see “Changing Docu- ment Spaces,” later in this chapter). Note that you can also save your Color Settings dialog box setup by clicking Save. If you save it in the location that InDesign oers, you’ll nd it in the Settings pop-up menu in the future. Plus, you can use that setting in all your other Creative Suite applications, too. Working Spaces. Perhaps the most important features of the Color Settings dialog box are the two Working Spaces pop-up menus, which control InDesign’s default color proles for RGB and CMYK colors. Remember that an RGB value doesn’t mean anything because red, green, and blue phosphors are dierent on dierent devices. Cyan, magenta, yellow, and black inks can also be radically dierent depending on ink manufacturer, paper stock, press conditions, and so on. So RGB and CMYK colors are all just a bunch of numbers. Proles assign color meaning to the numbers: such-and-such CMYK value on this particular device. e proles you choose from the CMYK and RGB pop-up menus are the proles InDesign will use for any swatches you create in InDesign, and for any imported graphics that did not include a color management prole (and that you have not applied a prole to using the Image Color Settings dialog box). Also, as we’ll point out in the discussion below about color policies, the default CMYK prole is also used for imported CMYK images—even those that have their Real_World_Adobe_InDesign_CS4b.pdf 635Real_World_Adobe_InDesign_CS4b.pdf 635 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.  .   own prole—when you choose the Preserve Numbers option (which you probably will). We generally recommend using sRGB for the RGB working space rather than something like Adobe RGB. e reason: the RGB work- ing space is applied to RGB images that have no embedded prole, and if an image has no prole, it was probably pulled o a Web site or shot with a cheap camera—in both those cases, sRGB is the safest assumption. e choice of a CMYK working space depends entirely on your print workow. In a perfect world, you’d have a color prole for your particular printing press or output device, with your particular paper stock, and so on. But in reality, you can typically get away with pick- ing a generic target prole. e best target prole is probably Coated GRACoL when printing on a sheetfed press, or Web Coated Stock 2006 Grade 3 Paper (or Grade 5 Paper) when printing on a Web press. (“Web” here refers to a Web press, as opposed to a sheetfed press, and has nothing to do with the World Wide Web.) Other “middle of the road” targets include Europe ISO Fogra27 (which David erroneously pronounces fois gras) and the well-used- but-pretty-mediocre U.S. Web Coated SWOP v2. If you’re looking for a particular prole that you know you’ve installed in the operating system correctly, but doesn’t appear here, try turning on the Advanced checkbox (see “Advanced Color Set- tings,” later in this section). Color Management Policies. InDesign assigns the default working spaces to each new document you create while color management is on. But what should InDesign do when color management is turned on and you open a document that was created when color manage- ment was turned o (so no prole was associated with the docu- ment)? What if you open a document made by someone else who used a dierent working space? You can tell InDesign what to do in these cases with the Color Management Policies section of the Color Settings dialog box. Perhaps more importantly, the Policies section also manages what happens to images that you import, which has huge implica- tions over how they appear in print.  RGB. We suggest leaving the RGB pop-up menu set to its default value (Preserve Embedded Proles) most of the time. is means InDesign will keep track of embedded proles in RGB images and InDesign documents that contain RGB colors—very useful if you receive RGB images or les from other people. Real_World_Adobe_InDesign_CS4b.pdf 636Real_World_Adobe_InDesign_CS4b.pdf 636 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.       We can’t think of any reason to set RGB to O (which would simply ignore all proles and stop InDesign from embedding an RGB prole in the document, causing untold horrors when it comes to getting any sort of color consistency). However, choos- ing Convert to Working Space could be useful on occassion, if you knew you had to open 50 InDesign documents that had simply been created with the wrong RGB prole. But watch out: Any RGB colors you created in the InDesign document will look the same, but the actual RGB numbers will likely change upon conversion.  CMYK. e choice for the CMYK policy is not so cut and dry. Most people will want to use Preserve Numbers (Ignore Embedded Prole), but if you’re serious about color manage- ment you may want to choose Preserve Embedded Prole. e rst choice (Preserve Numbers) tells InDesign to use the current CMYK document prole as the prole for all your CMYK colors and imported CMYK images. For example, let’s say you make a 100-percent cyan in a CMYK TIFF that uses some wacky custom CMYK prole, then you import that into your InDesign document that uses the default SWOP prole. InDesign ignores the wacky prole entirely and just assumes that the image uses SWOP. You can override this (see “Applying Device Proles to Images,” later in this chapter), but you wouldn’t want to have to do that very oen. Even though Preserve Numbers (Ignore Embedded Pro- le) sort of defeats the greater purpose of color management, it tends to be the choice we recommend—especially when all your incoming CMYK images are created with the same prole (which is oen the case). On the other hand, if you receive CMYK images that have embedded CMYK proles from a number of sources, you’re pretty sure that the sources each used dierent CMYK proles, and you need to make sure they all look good when you print or export PDF, you’ll want to use Preserve Embedded Prole. is tells InDesign to keep their appearance consistent with the originals (how they looked in Photoshop, for example), even if it means changing the CMYK numbers to accomplish that. For example, that 100-percent cyan swatch might change to 95-per- cent cyan plus 5-percent magenta. Again, we urge people not to set the CMYK policy to O, as it will likely only cause you heartache down the road. (If you’re Real_World_Adobe_InDesign_CS4b.pdf 637Real_World_Adobe_InDesign_CS4b.pdf 637 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.  .   frustrated with your previous experiences with color manage- ment, choose Preserve Numbers rather than O.) Unless you’re obsessive about color management, we recommend turning o the two Prole Mismatch checkboxes, and leaving on the Missing Proles checkbox in the Color Management Policies section. e mismatch warnings you get tend to be confusing, misleading, and annoying. But having a document with no proles at all could cause even more trouble, so it’s good to be alerted in that situation. Advanced Color Settings While the color management options we’ve described are enough for many workows, you can get even more tweaky by turning on the Advanced Mode checkbox (see Figure 10-15). First, when Advanced Mode is turned on you can select any color prole installed in your operating system for your working spaces (as opposed to only the recommended Adobe proles). Next, you can select an alternate color management engine, adjust the default rendering intent, and choose whether or not to use black point compensation.  - Advanced Color Settings Engine. Color management engines (the actual soware at the heart of the system that converts one color into another) are made by a variety of manufacturers. Ultimately, it’s very unlikely that you would ever see a dierence between any of these. Unless you have a really good reason to switch, you should just use the Adobe (ACE) CMS (which is also what Photoshop uses by default). Intent. What happens when the color management system encoun- ters a color that is outside of the gamut of the selected printing device? e color management system must change the color to one that’s inside the printer’s gamut. How it does that is the topic of the Intent pop-up menu. Intent is shorthand for rendering intent. When you choose either Relative Colorimetric (which is the default) or Absolute Colorimetric, the out-of-gamut colors are moved to the nearest edge of the color gamut—also called gamut Real_World_Adobe_InDesign_CS4b.pdf 638Real_World_Adobe_InDesign_CS4b.pdf 638 08/04/2009 05:55:56 p.m.08/04/2009 05:55:56 p.m.       clipping—which means that dierences between out-of-gamut colors can disappear (very red and very, very red both become the same in-gamut CMYK red). When this happens, you’ll see an eect similar to posterization in the more saturated areas of images. e Perceptual rendering intent squeezes all the document’s colors so that out-of-gamut colors are brought into the color gamut in a way that maintains a distinction between the colors. e Saturation ren- dering intent, on the other hand, moves all colors toward the edge of the color gamut, resulting in more saturated color. In general, Relative Colorimetric is best for solid colors and syn- thetic images (like images made in Illustrator or FreeHand), and Per- ceptual is best for scanned images. Unfortunately, InDesign uses this rendering intent both for colors built in InDesign and for imported images (unless you specically override it, which we discuss in “Applying Device Proles to Images,” below). However, for most documents and images—especially those already in CMYK mode— Relative Colorimetric probably makes the most sense. On the other hand, if you use a lot of RGB images with saturated out-of-gamut colors, and you’re trying to match these colors with swatches built in InDesign, you might want to use Perceptual instead. If you want more intense color in business graphics (such as charts and graphs), you might try choosing Saturation. Use Black Point Compensation. e Use Black Point Compensation option, when turned on, maps the black of the source prole to the black of the target prole. We usually think of black as being “just black,” but of course black on dierent devices appears dierently (for instance, solid black on newsprint is much more gray than solid black on glossy sheetfed stock). We generally recommend leaving this turned on, ensuring that the entire dynamic range of the output device is used. Changing Document Spaces By default the document working space is whatever Color Settings was set to when you rst created the document. If you later change Color Settings, the application’s default working space will be dier- ent than your document’s space; that’s no big deal because InDesign always uses the document space if there is one. What if you want to change the document working space? For example, you thought you were going to print on coated stock but later found you had to cut your budget and switch to uncoated stock? You can add or change a document’s working space proles using the Assign Proles and the Convert to Prole features in the Edit menu. Real_World_Adobe_InDesign_CS4b.pdf 639Real_World_Adobe_InDesign_CS4b.pdf 639 08/04/2009 05:55:57 p.m.08/04/2009 05:55:57 p.m.  .   Assign Proles lets you tag your document with another set of RGB and/or CMYK proles, or even remove the document prole entirely (see Figure 10-16). Changing the document proles with Assign Proles is like saying, “e colors in this document now mean something else, because cyan now looks like this, magenta looks like this, and so on.” Accordingly, the colors on screen may change, but the actual color denitions don’t.  - Assign Proles  - Convert to Prole Convert to Prole is the opposite: It actually converts the colors in your document to a new prole, changing the color denitions to maintain the look of the colors (see Figure 10-17). at means a 100-percent magenta will end up as something like 96-percent magenta, 6-percent yellow (or something else, depending on what prole you’re converting to). We encourage you to be very careful when using Convert to Prole; it can really mess up your documents, or it can be a lifesaver if you really know what it’s doing. Note that Convert to Prole is the only good way to nd out what your document space currently is (you’ll nd it listed at the top of the dialog box). Real_World_Adobe_InDesign_CS4b.pdf 640Real_World_Adobe_InDesign_CS4b.pdf 640 08/04/2009 05:55:57 p.m.08/04/2009 05:55:57 p.m. [...]... still the best way to do that 635 Real_ World_ Adobe_ InDesign_ CS4b.pdf 648 08/04/2009 05:55:58 p.m 636 real world adobe indesign cs4 The InDesign Print Dialog Box When you press Command-P/Ctrl-P or choose Print Book from the Book panel (see Chapter 8, “Long Documents”), InDesign displays the Print dialog box There are so many features packed into this dialog box that Adobe had to break it up into eight... Marks option, InDesign prints little targets around the edge of your page for your commercial Real_ World_ Adobe_ InDesign_ CS4b.pdf 658 08/04/2009 05:55:59 p.m 646 real world adobe indesign cs4 Figure 11-4 The Marks and Bleeds Panel of the Print Dialog Box printer to use when they’re lining up, or registering, your color separations for printing If your paper size is smaller than your page size, InDesign. .. White and Ink Black are turned off, InDesign does a relative colorimetric rendering, mapping the white of the proof device’s paper to monitor white and the black of the device’s Figure 10-19 Soft-Proofing Select Custom to open the Proof Setup dialog box and specify your own output profile Real_ World_ Adobe_ InDesign_ CS4b.pdf 642 08/04/2009 05:55:57 p.m 630 real world adobe indesign cs4 black ink to monitor...628 real world adobe indesign cs4 Applying Device Profiles to Images When you save an image from Adobe Photoshop, by default the program embeds a color profile that describes the image’s color space (see Real World Photoshop for more on Photoshop’s behavior) InDesign recognizes that profile when you place the graphic on your page,... order (you couldn’t, for example, print page 20 before printing page 6) Specifying “1,5,5,9” means print page 1, then two copies of page 5, and then page 9 If you Real_ World_ Adobe_ InDesign_ CS4b.pdf 652 08/04/2009 05:55:58 p.m 640 real world adobe indesign cs4 Table 11-1 Printing Page Ranges To print: Enter: Example: A continuous range of pages first page - last page 12-21 Up to a specific page - last page... Document or Document Setup dialog boxes This page size should be the same as the page size of the printed piece you intend to produce “Paper size,” on the other Real_ World_ Adobe_ InDesign_ CS4b.pdf 654 08/04/2009 05:55:59 p.m 642 real world adobe indesign cs4 hand, means the size of the medium you’re printing on The Setup pane of the Print dialog box lets you specify paper size, as well as how you want... simply cannot lay down toner or ink) to clip off the top or left part of your page In this case, just change the page position to Centered and try printing again Real_ World_ Adobe_ InDesign_ CS4b.pdf 656 08/04/2009 05:55:59 p.m 644 real world adobe indesign cs4 Thumbnails Thumbnails are great when you’re trying to print out an overview of your document For instance, you can print nine pages on a single piece... space As we noted earlier, this is the cause of the four-color black text problem that many people had Figure 10-21 Color Management in the Export PDF Dialog Box Real_ World_ Adobe_ InDesign_ CS4b.pdf 646 08/04/2009 05:55:58 p.m 634 real world adobe indesign cs4 in early versions So in most circumstances, we would recommend the Convert to Destination (Preserve Numbers) option, which leaves document colors... the Color Management section of the dialog box ▶ ▶ Real_ World_ Adobe_ InDesign_ CS4b.pdf 644 Who Handles the Color You next need to determine who is going to do the color management: InDesign or your PostScript printer You can choose one or the other from the Color Handling pop-up menu We virtually always choose Let InDesign Determine Color, as we trust Adobe s color management system more than most On... general, you should avoid using the printer driver dialog boxes and use InDesign s controls instead Real_ World_ Adobe_ InDesign_ CS4b.pdf 649 08/04/2009 05:55:58 p.m chapter 11 printing 637 Printer Description) file is associated with that printer, and it displays it—grayed out—in the PPD pop-up menu In the case of a nonPostScript device, InDesign leaves this pop-up menu blank If you want to print a PostScript . to worry a lot about managing color in InDesign if you can rely on color swatch books when pick- Real_ World_ Adobe_ InDesign_ CS4b.pdf 63 1Real_ World_ Adobe_ InDesign_ CS4b.pdf 631 08/04/2009 05:55:55. can automate this by launching Adobe Bridge and then choosing Edit > Creative Suite Color Settings.) Real_ World_ Adobe_ InDesign_ CS4b.pdf 63 3Real_ World_ Adobe_ InDesign_ CS4b.pdf 633 08/04/2009. that. Printing  11 Real_ World_ Adobe_ InDesign_ CS4b.pdf 64 8Real_ World_ Adobe_ InDesign_ CS4b.pdf 648 08/04/2009 05:55:58 p.m.08/04/2009 05:55:58 p.m.       e InDesign Print