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soware on another machine. However, in most of these instances, it makes more sense to create a PDF le, a device-independent PostScript le, or—for the adventurous—a device-dependent PostScript le using In-RIP separations, especially if you are using trapping (trapping is not supported in CMYK composite output). Choosing In-RIP Separations from the Color pop-up menu instructs InDesign to create a special type of composite CMYK le that will only print properly on a PostScript 3 output device and some newer PostScript Level 2 devices. To tell InDesign to send the composite color information to the printer without changing it, choose Composite Leave Unchanged. If you do this, you will not be able to use the Simulate Overprint option. You can also tell InDesign to separate each of your pages into four plates (or more, in the case of spot colors) by choosing Separations from the Color pop-up menu. If you select the Separations or In-RIP Separations option, InDesign activates the Inks list and its associated controls (the Flip, Frequency, Angle, Trapping settings, and so on). One problem with printing proofs on a desktop laser printer is that it’s sometimes dicult to read colored text because it appears as a tint. Similarly, when you want to fax a black-and-white version of your document, screened text becomes almost unreadable. When you turn on the Text as Black check box, InDesign ensures all your text appears as solid black—except for text that is already set to solid white, Paper color, or None. Text As Black - e Output Panel of the Print Dialog Box Real_World_Adobe_InDesign_CS4b.pdf 661Real_World_Adobe_InDesign_CS4b.pdf 661 08/04/2009 05:56:00 p.m.08/04/2009 05:56:00 p.m. . e Trapping pop-up menu controls whether InDesign applies auto- matic trapping to your documents. Choose one of the following trap- ping options from the Trapping pop-up menu: O. Use this option if you’ve done all of your trapping manually (using InDesign’s lls and strokes) or if you plan to separate and trap the publication using a post-processing program. Application Built-In. Choose Application Built-In when you want InDesign to trap your publication as it’s sent to the printer (or to disk). Adobe In-RIP. Select this option when you want to leave trap- ping up to the RIP in your printer or imagesetter. is feature, which makes us rather nervous, only works on PostScript 3 and some PostScript Level 2 printers. We cover trapping in a bit more detail in Chapter 10, “Color.” InDesign can mirror pages at print time if you choose Horizontal, Vertical, or Horizontal & Vertical from the Flip pop-up menu. Flip- ping an image is used for creating either wrong- or right-reading lm from imagesetters, or lm with emulsion side up or down. is is oen handled in the imagesetter or platesetter, so be careful before you go changing this setting. e same thing goes for the Negative check box, which inverts the entire page so that everything that is set to 100-percent black becomes zero-percent black (eectively white). Never make assumptions about what your output provider wants; what you think will help might actually hinder (and cost you money in the long run). What halone screen frequency (in lines per inch) and screen angle do you want to use to print your publication? If you selected Com- posite Gray in the Color pop-up menu, you can choose either the printer’s default (which is dened by the PPD you selected) or you can choose Custom and then enter your own values in the Frequency and Angle elds. When you’re printing separations, you’ll see more choices on the Screening pop-up menu, and the values shown in the Frequency and Angle elds change as you select inks in the Inks list. Where the heck are these choices and values coming from? ey’re coming from the PPD. Every PPD contains a list of screen frequencies and screen angles optimized to avoid moiré patterns on the specic PostScript device described by the PPD. Because of the way that PostScript haloning Trapping Flip and Negative Screening Real_World_Adobe_InDesign_CS4b.pdf 662Real_World_Adobe_InDesign_CS4b.pdf 662 08/04/2009 05:56:00 p.m.08/04/2009 05:56:00 p.m. (or any digital haloning, for that matter) works, a PostScript RIP cannot perfectly “hit” just any halone screen. On PostScript Level 1 devices, the screen angle and screen fre- quency you’d get would sometimes fail to match the frequency and angle you specied. is oen resulted in serious output problems and severe moiré patterns. PPDs list combinations of screen angles known to be safe for a given printer at a screen frequency and angle. While the need for these optimized screen angles has diminished somewhat with newer versions of PostScript, we strongly advise you to stick with them when you’re printing separations. To override the optimized screen settings for an ink, select the ink in the Inks list and then enter new values in the Frequency and Angle elds. Again, we don’t recommend this, but you might have a very good reason for doing so that we simply haven’t thought of yet (like perhaps you’ve lost your mind). e optimized screen angles only cover the process inks, however. When your publication includes spot inks, InDesign sets the screen angle of every spot ink to 45 degrees. For spot-color work—especially where you’re overlaying tints of two spot colors or using duotones from Photoshop based on two spot inks—you need to specify the screen angles appropriately. Here’s how to set them. If the spot inks never interact, set the screen angle for the inks to 45 degrees (because a 45-degree halone screen is the least obvi- ous to the eye). If you’re creating lots of two-ink tint builds, or using duotones, you have a few choices, and two (somewhat contradictory) goals. You want both colors to print as close as possible to 45 degrees (especially the dominant, or darker, color), and you want as much separation between the angles as possible (the greater the separation between angles—45 is the maximum possible—the less patterning will be visible where the screens interact). Table 11-2 lists some options. If you’re printing with two spot inks and the spot colors don’t overprint any process inks, use the default screen angles for Magenta and Cyan from the optimized screen you’ve selected. Note that even if you set specic screen frequencies and angles for every color, you may not get what you ask for. Most imagesetters and platesetters these days strip out all screening settings and replace them with their own unless you (or your output provider) turns o this process. We’ve been caught by this several times, when we’ve Real_World_Adobe_InDesign_CS4b.pdf 663Real_World_Adobe_InDesign_CS4b.pdf 663 08/04/2009 05:56:00 p.m.08/04/2009 05:56:00 p.m. . chosen low-frequency screens in order to create a special eect, only to nd our instructions ignored and the normal 133 lpi halone appear. Very annoying. When you select the Separations option, InDesign activates the Inks list. In this list, you’ll see at least the four process inks (yes, they’ll appear even if you aren’t using process colors in your publication), plus any spot inks you’ve dened. When you select an ink in the Inks list, InDesign displays the halone screen properties for that ink in the Frequency and Angle elds (see “Screening,” above). To tell InDesign not to print an ink, click the printer icon to the le of the ink name in the Inks list. You can also turn on or o all the inks by Option/Alt-clicking. Don’t worry about inks that aren’t used in your publication—InDesign will not generate a blank separation for them. If, for example, your publication uses only black ink and a spot ink, InDesign will not create separations for Cyan, Magenta, and Yellow, even though those inks appear in the Inks list. As we discussed in Chapter 10, “Color,” you can set various objects to overprint using the Attributes panel. However, most composite printers (like laser printers and inkjets) don’t support overprinting. Fortunately, you can simulate overprinting on these output devices Inks Simulate Overprint Subordinate: Dominant: Notes: 15 45 Traditional. Only a 30-degree separation, but neither angle is very obvious on its own. 0 45 Avoids patterning. Ideally, the ink printed at zero degrees is a very light color—otherwise, the hori- zontal bands of halone dots will be too obvious. 22.5 67.5 e complete compromise. Both angles are more obvious than 45 degrees, but less obvious than 0, and you get the full 45-degree separation to avoid patterning. 75 30 e dominant color screen is slightly less obvious than the subordinate screen. Full 45-degree separation. - Screen Angles for Spot Color Work Real_World_Adobe_InDesign_CS4b.pdf 664Real_World_Adobe_InDesign_CS4b.pdf 664 08/04/2009 05:56:00 p.m.08/04/2009 05:56:00 p.m. by turning on the Simulate Overprint check box. Because this can change color denitions (spot colors get converted to process, for example), you don’t want to turn this on for anything other than proong your les on composite printers. e Ink Manager manages how colors trap with each other and how spot colors interact (for instance, you can use the Ink Manager to alias one spot color to another). We cover the Ink Manager in Chap- ter 10, “Color.” Graphics e options in the Graphics pane control the way that InDesign prints the fonts and graphics in your publication (see Figure 11-6). e Send Data pop-up menu aects what InDesign does with bitmaps in TIFF, JPEG, and other explicitly bitmapped le formats. It has no eect on images inside imported EPS or PDF graphics. Do you want to print that 30-megabyte color scan every time you proof a document on your laser printer? Probably not. e Send Data pop-up menu gives you four options to control what InDesign does with images when you print: All, Optimized Subsampling, Proxy, and None, each of which is described below. All. Use this option when you want InDesign to send all of the image data from the image le to the printer. We recommend that you always use this option when printing the nal copies of your pages. Optimized Subsampling. is option tells InDesign to only send as much information from the image as is necessary to produce the best quality on the given output device using the current settings. It reduces the amount of data that has to be passed over the network and imaged by the printer. It can speed up printing immensely. How InDesign pares down the data depends on whether the image is color/grayscale or black and white. Color/Grayscale images. As we mentioned in Chapter 7, “Importing and Exporting,” there’s no reason for the resolution of grayscale and color images (in pixels per inch) to exceed two times the halone screen frequency (in lines per inch). When you choose Optimized Subsampling from the Send Data pop-up menu, InDesign reduces the resolution of grayscale and color Ink Manager Send Data Real_World_Adobe_InDesign_CS4b.pdf 665Real_World_Adobe_InDesign_CS4b.pdf 665 08/04/2009 05:56:00 p.m.08/04/2009 05:56:00 p.m. . images to match the halone screen frequency you’ve selected (in the Output pane of the Print dialog box). If you’ve set up a 75-line screen (for instance), InDesign won’t send more than 150 dots per inch of image resolution. Note that InDesign does not change the resolution of the images in your publication—it just reduces the amount of data that’s sent to the printer. Black-and-white (bi-level) images. When you’re printing bi-level, black-and-white images, and have selected Optimized Subsampling from the Send Data pop-up menu, InDesign matches the images it sends to the resolution of the output device. So if you’ve got a 600-pixels-per-inch black-and-white TIFF, and you’re printing on a 300-dpi laser printer, InDesign reduces the resolution of the image to 300 pixels per inch before sending it to the printer. For those who really want to know, InDesign gets the printer’s resolution from the DefaultResolu- tion keyword in the PPD. e real value of the Optimized setting lies in printing laser proof copies of jobs that are destined for high-resolution (hence high half- tone screen frequency) output. If you’re producing a document that will be printed with a 133-lpi screen, for instance, you may be work- ing with images that have resolutions of 250 or even 300 ppi. But for proong on a 600-dpi laser printer (which has a 85-lpi default screen frequency), you only need 106 dpi—maximum. By subsampling to this lower resolution, InDesign is sending less than one h of the information over the wire. Obviously, this can save you a lot of time. - e Graphics Panel of the Print Dialog Box Real_World_Adobe_InDesign_CS4b.pdf 666Real_World_Adobe_InDesign_CS4b.pdf 666 08/04/2009 05:56:00 p.m.08/04/2009 05:56:00 p.m. With high-resolution line art, InDesign might send only a sixteenth of the data. Printing an image using the Optimized Subsampling option pro- duces a more detailed printed image than using the Low Resolution option, but doesn’t take as long to print or transmit as would the full- resolution version of the image. While Optimized Subsampling might sound like the universal cure for perfect (speedy, high quality) printing, it isn’t. Subsampling, by its nature, blurs and distorts images, especially in areas of high contrast. erefore, we think you should use this option for proof printing, but not for printing the nal copies of your pages. Proxy. Choose Proxy from the Send Data pop-up menu to have InDesign send only the low-resolution preview images it displays on your screen to the printer. Again, this is an option to use when you’re printing proof copies of your pages, not for nal output. None. When you choose this option, InDesign prints all of the imported graphics in your publication as boxes with Xs through them. As you’d expect, this makes it print faster. Proof printing is great when you’re copy-editing the text of a publication—why wait for the graphics to print? Note that you can speed things up a bit, without completely elimi- nating the graphics, by using the Proxy or Optimized Subsampling option on the Send Data pop-up menu. Also, note that you can turn o the printing of a particular type of imported graphic using the Omit EPS/PDF/Bitmap Images options in the Advanced pane of the Print dialog box. One of the best ways to speed up InDesign’s printing is to manage downloaded fonts sensibly. You can save many hours over the course of a day, week, month, or year by downloading fonts to your printer in advance, and by understanding the way that InDesign handles font downloading. e basic concept is pretty simple: Fonts can be either “resident” (which means that they’re stored in your printer’s memory or on a hard drive attached to the printer) or “downloadable” (which means they’re stored somewhere on your system or network). When you print, InDesign checks the printer PPD to see if the fonts are available on the selected printer. If the font is available, InDesign sends a reference to the font, but does not send the font itself, which means that the text will be printed in the font available on the printer. Font Downloading Real_World_Adobe_InDesign_CS4b.pdf 667Real_World_Adobe_InDesign_CS4b.pdf 667 08/04/2009 05:56:01 p.m.08/04/2009 05:56:01 p.m. . What happens when a font is not available in the printer’s memory or on its hard drive? at depends on the option you’ve selected in the Fonts section of the Graphics pane of the Print dialog box. When you choose the None option, you’re directing InDesign to refrain from including any fonts in the PostScript it’s sending to the printer (or to disk). If text in your publication has been format- ted using fonts that are not resident on the printer, that text will be printed using the printer’s default font (usually Courier). When you choose the Complete option, InDesign checks the state of the Download PPD Fonts option. If this option is on, InDesign sends all of the fonts used in the publication to the printer’s memory. If the option is turned o, InDesign downloads all of the fonts used in the publication that are not listed in the PPD (PPDs contain lists of fonts available on a given make and model printer, plus any you’ve added by editing the PPD). InDesign downloads the fonts once for each page that’s printed. As you’d expect, this increases the amount of time it takes to send the job to your printer. To decrease the amount of your printer’s memory that’s taken up by downloaded fonts, or to decrease the amount of time it takes InDesign to send the fonts to your printer, choose the Subset option. When you do this, InDesign sends only those characters required to print the publication. is can speed up printing tremendously. At the same time, subsetting fonts can cause problems with some printers. If you nd that you are losing characters, that the wrong characters print, or that your printer generates a PostScript error when you’re trying to print using the Subset option, use one of the other options. If you’re printing a le to disk as PostScript for deliv- ery to a service bureau or to create a PDF using Acrobat Distiller, do not use the Subset option. Adobe would love it if everyone had PostScript 3 or PDF print engine devices. Not only would they make money from licensing fees, but their soware could also take advantage of all the cool features in PostScript 3 RIPs. However, currently many people only have PostScript Level 2 devices. (Please don’t ask us why “PostScript 3” omits the “Level” moniker. We can only assume that Adobe’s mar- keting strategists have their reasons.) In most cases, InDesign reads the PostScript version from the PPD, so you don’t have to think about this. However, if you’re making a device-independent PostScript le you will need to choose Level 2 or Level 3. (Here Adobe does use “Level.”) Postscript Level Real_World_Adobe_InDesign_CS4b.pdf 668Real_World_Adobe_InDesign_CS4b.pdf 668 08/04/2009 05:56:01 p.m.08/04/2009 05:56:01 p.m. e Data Format feature controls how bitmapped images (like TIFF and JPEG) are sent to the printer. While sending the information in ASCII format is more reliable over some older networks, binary is almost always ne and has the benet of creating a much smaller PostScript le (the images are half the size of ASCII). We usually use binary unless we’re sending les to an output provider that we know requires ASCII. Color Management e features in the Color Management pane of the Print dialog box are complex enough that we need to cover them in a separate section. We discuss color management, including all these Print dialog box settings, in Chapter 10, “Color.” Advanced We’re not sure what makes this pane more “advanced” than the others, but it’s where you specify how InDesign should print to non- PostScript printers, images in an OPI workow, and objects that have transparency settings (see Figure 11-7). If (and only if) you’re printing to a non-PostScript/PDF device, your pages need to be rasterized (converted to a bitmap). You can control who does the conversion: If you turn on Print as Bitmap, InDesign rasterizes at a particular image resolution that you specify. If you turn it o, InDesign writes vectors to disk and lets the operating system do the conversion. In general, it works pretty well either way. When you’re printing through an OPI server, you can direct the server to replace the low-resolution images you’ve used to lay out your document with the high-resolution images you’ve stored on the server. To do this, turn o the OPI Image Replacement option and turn on the appropriate Omit for OPI check boxes. is omits the images from the PostScript output, leaving only the OPI link infor- mation in their place. Note that you can specify which types of images you want to replace with OPI comments: EPS, PDF, or Bitmap Images. When you turn on the EPS option, you’re telling InDesign not to print any EPS graphics in the le, but if PDF and Bitmap Images are still turned o then the program will include that image data at print time. Data Format Print as Bitmap OPI Image Replacement Real_World_Adobe_InDesign_CS4b.pdf 669Real_World_Adobe_InDesign_CS4b.pdf 669 08/04/2009 05:56:01 p.m.08/04/2009 05:56:01 p.m. . - e Advanced Panel of the Print Dialog Box When you turn on OPI Image Replacement, InDesign acts as an OPI server at print time, replacing the low-resolution OPI proxy images with the high-resolution versions. InDesign needs access to the server or drive containing the les for this to work. To retain OPI image links to images stored inside imported EPS graphics, make sure that you turn on the Read Embedded OPI Image Links option in the EPS Import Options dialog box. We hate to give you the runaround, but if you’re reading this hoping to learn all about how the attener works, you’re out of luck. We cover all the issues regarding printing transparency later in this chapter. We will say, however, that you can use the Transparency Flattener section of the Advanced pane of the Print dialog box to choose a default Flattener setting for your print job, and to tell InDesign whether to ignore any Flattener settings you’ve applied to particular spreads in your document with the Pages panel. Use Medium Resolution when printing proofs and High Reso- lution when printing nal artwork. But “Medium” and “High” can mean dierent things depending on the Flattener settings, so you still need to go read that other section. Sorry. Summary e last pane of the Print dialog box, Summary, simply lists all the various settings in all the panes in one long text list. It’s darn silly Transparency Flattener Real_World_Adobe_InDesign_CS4b.pdf 670Real_World_Adobe_InDesign_CS4b.pdf 670 08/04/2009 05:56:01 p.m.08/04/2009 05:56:01 p.m. [...]... transparency has finally made its way into PostScript 3 by way of the PDF 1.4 specification RIPs that support transparency in PDF (such as those based on the Adobe PDF Real_ World_ Adobe_ InDesign_ CS4b .pdf 680 08/04/2009 05:56:03 p.m 668 real world adobe indesign cs4 Print Engine) can print transparency For older equipment, however, InDesign users will still have to flatten files that include drop shadows,... Marks and Bleeds checkbox turned on, letting InDesign figure out where to put your page marks Real_ World_ Adobe_ InDesign_ CS4b .pdf 676 08/04/2009 05:56:02 p.m 664 real world adobe indesign cs4 6 Finally, click on the Preview pane to see how the final imposition will look (see Figure 11-11) Most importantly, check the Messages and Warning sections to see if InDesign had to add blank pages or if it expects... then enter an ink coverage percentage in the associated field When the ink coverage in an area exceeds the percentage you entered, InDesign highlights the area in red (see Figure 11-13) Real_ World_ Adobe_ InDesign_ CS4b .pdf 678 08/04/2009 05:56:02 p.m 666 real world adobe indesign cs4 Figure 11-12 Separations Preview Separations preview off Separations preview on, Black plate displayed Table 11-3 Keyboard... eleven, and 18 3 Pick an arrangement from the Booklet Type pop-up menu: Real_ World_ Adobe_ InDesign_ CS4b .pdf 674 08/04/2009 05:56:02 p.m 662 real world adobe indesign cs4 Figure 11-9 Print Booklet ▶ Saddle Stitch In a saddle-stitched imposition, you end up folding all the sheets in half and stapling them in the middle (see Figure 11-10) InDesign can do 2-up saddle stitching, so you’d get two document pages... notch Line Art and Text Resolution When InDesign ends up rasterizing a vector object, it looks to the Line Art and Text Resolution setting in order to find the appropriate resolution The Low Resolution flattener preset uses a flattener resolution of 288 ppi (pixels per inch), which Real_ World_ Adobe_ InDesign_ CS4b .pdf 684 08/04/2009 05:56:03 p.m 672 real world adobe indesign cs4 will look very slightly... they have to make changes to the files of most of the jobs that come in We’ve listened long enough, and we have only one thing to say: Cut it out! All of you! Real_ World_ Adobe_ InDesign_ CS4b .pdf 688 08/04/2009 05:56:04 p.m 676 real world adobe indesign cs4 There’s no reason that this relationship has to be an adversarial one We don’t mean to sound harsh We just think that we can all cooperate, to everyone’s... everyone else Okay, back to the book Sending Your File Real_ World_ Adobe_ InDesign_ CS4b .pdf 689 You have three basic choices in transporting your document to an output provider: sending the file itself, sending a PDF, or sending a PostScript file While our preference is to send a PDF file, many service providers want the InDesign file itself When we send an InDesign file off to be printed on someone else’s... an Acrobat 4 PDF file, both of which also use the flattener) In most cases, you’d never know that InDesign was doing any of this if we hadn’t told you, because the results are extremely clean In some cases, primarily when InDesign ends up rasterizing part of your page, you may find the results only fine, okay, or (rarely) unacceptable Transparency Tricks Real_ World_ Adobe_ InDesign_ CS4b .pdf 681 Transparency... Complex Regions check box, however, InDesign works extra hard to make the transitions between raster and vector occur only along the edges of objects The result is a better-looking page that is more complex and prints more slowly (or not at all) Applying Flattener Presets Real_ World_ Adobe_ InDesign_ CS4b .pdf 686 After reading all of this, don’t you wish you had an Adobe PDF Print Engine-enabled device that... you do Here’s another reason you may have to print the booklet to a PDF: If you don’t have a duplex printer (one that can print on both sides of a sheet of paper) Instead, print the imposed file to a PDF file and open it in Acrobat When you print from Acrobat you can choose to Figure 11-11 Print Booklet Real_ World_ Adobe_ InDesign_ CS4b .pdf 677 08/04/2009 05:56:02 p.m chapter 11 printing 665 print just . way of the PDF 1.4 specication. RIPs that sup- port transparency in PDF (such as those based on the Adobe PDF Real_ World_ Adobe_ InDesign_ CS4b .pdf 68 0Real_ World_ Adobe_ InDesign_ CS4b .pdf 680 08/04/2009. need to choose Level 2 or Level 3. (Here Adobe does use “Level.”) Postscript Level Real_ World_ Adobe_ InDesign_ CS4b .pdf 66 8Real_ World_ Adobe_ InDesign_ CS4b .pdf 668 08/04/2009 05:56:01 p.m.08/04/2009. percentage you entered, InDesign highlights the area in red (see Figure 11-13). Booklets of Books Real_ World_ Adobe_ InDesign_ CS4b .pdf 67 8Real_ World_ Adobe_ InDesign_ CS4b .pdf 678 08/04/2009 05:56:02
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