Wile Adobe InDesign CS5 Bible phần 9 pdf

Chapter 31: Printing Documents 707 FIGURE 31.4 The Output pane of the Print dialog box Here’s what the options do: l Color: Use this popup menu to choose how you want the document to print. Your options are Composite Leave Unchanged, Composite Gray, Composite RGB, Composite CMYK, Separations, and In-RIP Separations. (RIP stands for raster-image processor, the device in a printer or imagesetter that converts lines, curves, colors, and pictures into the tiny dots that make up printed output.) The Composite menu options are meant for proofing devices such as inkjets and laser printers. Most such printers are black-and-white or CMYK, so you usually choose Composite Gray or Composite CMYK. Choose Composite RGB for documents output to PDF format for display on-screen. Composite Leave Unchanged is meant for proofing printers that support specialty ink swatches such as Pantone; very few do. (If your docu- ment uses colors such as Pantone colors, you typically pick Composite CMYK, and your printer approximates the Pantone colors. Choose Composite Leave Unchanged only if your proofing printer has actual Pantone inks.) Choose Separations if you’re printing to an imagesetter to create film negatives or to a pla- tesetter to create color plates. If your output device supports in-RIP separations — in which the device creates the separate color plates instead of having InDesign do it — choose In-RIP Separations. (Note that only a few printers’ PPDs support this option.) 43_607169-ch31.indd 70743_607169-ch31.indd 707 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 708 l Text as Black: If you select this check box, text appears in pure black, instead of being converted to gray or printed in a color (even if you apply a color to the text). This can make text more readable in a proof copy. l Trapping: Use this popup menu to select how color trapping is handled. (It is grayed out if Separations or In-RIP Separations are not selected in the Color popup menu.) The choices are Off, Application Built-In (meaning, as set in InDesign), and Adobe In-RIP (available only for printers that support Adobe’s in-RIP separations technology). Note At this point, the publishing world has not fully standardized on PostScript Level 3 printing language or default trapping and color technologies. Therefore, you’ll likely choose the standard Separations option that uses what- ever settings you created in InDesign, or you’ll choose the Off option and let your service bureau manage trap- ping directly. Check with your service bureau. n l Flip: Use this popup menu and the associated Negative option to determine how the file prints to film negatives or plates. Service bureaus and commercial printers have different requirements based on the technology they use. They tend to use language such as right reading, emulsion side up, which can be hard to translate to InDesign’s Flip settings. Type on the page is right reading when the photosensitive layer is facing you and you can read the text. Horizontally flipping the page makes it wrong reading (type is readable when the photosensitive layer is facing away from you). Check with your service bureau as to whether and how you should flip the output. Pages printed on film are often printed using the Horizontal & Vertical option in the Flip popup menu. l Negative: Selecting this check box creates a photographic negative of the page, which some commercial printers may request. This option is available only if Composite Gray, Separations, or In-RIP Separations are chosen in the Color popup menu. l Screening: This popup menu works differently depending on whether you choose Composite Gray or one of the separations options in the Color popup menu: l If you choose Composite Gray in the Color popup menu, your Screen popup menu choices are Default and Custom. If you choose Custom, you can specify the preferred line screen frequency and angle at the bottom of the pane using the Frequency and Angle fields. (See the sidebar “What lpi and dpi Mean” for details on line screens, and the section “Adjusting screen angles,” later in this chapter, for more details on screen angles.) l If you choose Separations or In-RIP Separations in the Color popup menu, you get a series of options that vary based on the selected printer and PPD, but all show an lpi setting and a dpi setting. (See the sidebar on lpi and dpi in this chapter for more about these.) And the Frequency and Angle fields at the bottom of the pane display very pre- cise angles optimized for the selected output device based on the chosen lpi/dpi set- tings. Although you can change the Frequency and Angle fields, you shouldn’t. The Inks section of the pane lets you see the frequency and angle settings for selected colors; you change a specific color plate’s settings by first selecting the color and then altering the Frequency and Angle fields. You can also disable output of specific color plates by clicking the printer icons to the left of the colors — a red line is drawn through the icon for disabled plates — as well as con- trol color plate output by clicking Ink Manager, which is covered later in this chapter. 43_607169-ch31.indd 70843_607169-ch31.indd 708 4/22/10 8:06 PM4/22/10 8:06 PM Chapter 31: Printing Documents 709 The smallest dots on the physical output — paper, film, or press plate — are measured as dots per inch (dpi) and have a fixed size determined by the output device: a laser printer, imagesetter, or digital plate- maker. An output device typically supports 600 to 3600 dpi, dots that are too small to reproduce on an offset press. To create a continuous-tone image that can be reproduced with ink on a press, these fixed- sized dots are combined to form much larger, variable-sized dots called a line screen, measured as lines per inch (lpi). An image’s line screen typically ranges from 80 lpi for a photo on newsprint to 250 lpi for high-end color art prints on coated paper. Lines per inch specifies, in essence, the grid through which an image is filtered, not the size of the spots that make it up. Thus, a 100-lpi image with variably sized dots appears finer than a 100-dpi image. The figure shows an example, with a fixed-dot arrow at left and a variably sized–dot arrow at right. The output device’s dpi capabilities thus have a bearing on the lpi capabilities, and lpi is typically how a production person thinks of the desired output quality. A 300-dpi laser printer can achieve about 60-lpi resolution; a 1270-dpi imagesetter can achieve about 120-lpi resolution; and a 2540-dpi imag- esetter about 200-lpi resolution. Resolutions of less than 100 lpi are considered coarse, and resolutions of more than 120 lpi are considered fine. However, there’s more to choosing an lpi setting than knowing your output device’s top resolution. An often overlooked issue is the type of paper the material is printed on. Smoother paper (such as glossy- coated or super-calendared) can handle finer halftone spots because the paper’s coating (also called its finish) minimizes ink bleeding. Standard office paper, such as that used in photocopiers and laser print- ers, is rougher and has some bleed that is usually noticeable only if you write on it with markers. Newsprint is very rough and has a heavy bleed. Typically, newspaper images are printed at 85 to 90 lpi; newsletter images on standard office paper print at 100 to 110 lpi; magazine images print at 120 to 150 lpi; and calendars and coffee-table art books print at 150 to 200 lpi. Other factors affecting lpi include the type of printing press and the type of ink used. Your printer rep- resentative should advise you on preferred settings. If you output your document from your computer directly to film negatives (rather than to photographic paper that is then shot to create negatives), inform your printer representative. Outputting to negatives allows a higher lpi than outputting to paper because negatives created photographically cannot accu- rately reproduce the fine resolution that negatives output directly on an imagesetter have. (If, for exam- ple, you output to 120 lpi on paper and then create a photographic negative, even the slightest change in the camera’s focus makes the fine dots blurry. Outputting straight to negatives avoids this problem.) Printer representatives often assume that you’re outputting to paper and base their advised lpi settings on this assumption. What lpi and dpi Mean 43_607169-ch31.indd 70943_607169-ch31.indd 709 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 710 Selecting the Simulate Overprint check box at the bottom of the Output pane lets InDesign over- print colors for printers that normally don’t support this feature. (You would set an object to over- print another by selecting one of the Overprint options in the Attributes panel, as Chapter 29 explains.) This option is available only if the Color popup menu is set to Composite Gray, Composite CMYK, or Composite RGB. The Graphics pane The Graphics pane controls how graphics are printed and how fonts are downloaded. The options here are meant for professional printing, such as when you send your files to imagesetters, mean- ing that you’re working with a service bureau or in-house printing department. Your first option is the Send Data popup menu in the Images section. It has four options: All, Optimized Subsampling, Proxy (a low-resolution, 72-dpi version), and None. The Optimized Subsampling and Proxy options are meant to increase the speed of proof prints, with Proxy being the fastest. The None option is handy for quick proofs meant to focus on the layout and the text. The Fonts options require that you understand how your output device is configured to handle fonts. Be sure to ask your service bureau what options it prefers. Here are the options available: l Download: This popup menu specifies how fonts are downloaded to the printer, some- thing you may need to do if the printer doesn’t have its own store of fonts for use in print- ing text correctly. There are three choices: l Subset: Normally, when printing to a local printer, choose the Subset option, which sends font data to the printer as fonts are used. This means that if you use just one character of a font on a page, only that character is sent for that page, and if more characters are used on later pages, they are sent at that time. This is an efficient way to send font data to printers that don’t have a lot of memory or hard drive space to store complete font information for many typefaces. l Complete: If you’re printing to a device that has a lot of font memory — or if your document has many pages and uses a font in bits and pieces throughout — choose this option from the Download popup menu. This option sends the entire font to the printer’s memory, where it resides for the entire print job. In cases such as those described, this approach is more efficient than the standard Subset method. l None: Choose this option from the Download popup menu if you’re certain all the fonts you use reside in the printer’s memory or on a hard drive attached to the printer. Many service bureaus load all the fonts for a job into the printer memory and then print the job. They then clear out the printer memory for the next job and load just the fonts that job needs. This method is efficient when a service bureau has lots of cli- ents who use all sorts of fonts. Alternatively, some service bureaus attach a hard drive loaded with fonts to their imagesetters, saving the font-loading time for them and for InDesign. 43_607169-ch31.indd 71043_607169-ch31.indd 710 4/22/10 8:06 PM4/22/10 8:06 PM Chapter 31: Printing Documents 711 l Download PPD Fonts: If this check box is selected, InDesign downloads any fonts specified as resident in the printer’s PPD file. Normally, PPD files include lists of fonts that should reside in printer memory and thus don’t need to be downloaded with each print job. Selecting this option overrides this behavior and instead downloads those fonts from your computer even if they should reside in the printer’s memory. You rarely need to select this option; it’s more of a safety when creating output files for printing by someone else. Finally, you can specify what PostScript language is used and how PostScript data is transmitted. Although you set these up in the standard Mac OS X and Windows printer settings dialog boxes, InDesign gives you the opportunity to override any defaults here, which can be handy when creat- ing output files for printing elsewhere: l From the PostScript popup menu, you can choose Level 2 or Level 3; choose whichever the output device supports. (Most still use Level 2.) l The Data Format popup menu is grayed out unless you chose PostScript File in the Printer popup menu; your choices are ASCII and Binary. If you choose ASCII, the PostScript file is more likely to be editable in programs such as Adobe Illustrator, but the file will be larger. Ask your service bureau which it prefers. The Color Management pane The Color Management pane is where you manage color output (apply color calibration). The options are straightforward. Cross-Reference Chapter 29 covers the techniques for and issues of applying color profiles and other color management settings that the profiles in the Color Management pane use. n l Document or Proof: In the Print section, select one of these options based on whether you want to use the document’s profile or a different profile for proofing. The Proof option is available only if you choose an output device such as an imagesetter, for which you might make a proof locally using an inkjet or other printer and then use the imageset- ter’s color profile (as explained in Chapter 30) when producing your final output. (Using the Proof option ensures that InDesign simulates on your proofing printer how the docu- ment’s colors will appear when printed on the final output device, such as an imagesetter. Using the Document option tells InDesign not to factor in how the final output device will alter the color during printing but instead to simulate what you see on screen instead.) l Color Handling: In the Options section, use this popup menu to choose between Let InDesign Determine Colors and PostScript Printer Determines Color. The first option uses the color-management options set in InDesign, whereas the second lets the PostScript out- put device choose the color-management approach. This latter option is not available unless you have chosen a color PostScript printer as the destination. (If you choose Composite Leave Unchanged in the Output pane’s Color popup menu, you have the No Color Management option in the Color Handling popup menu.) 43_607169-ch31.indd 71143_607169-ch31.indd 711 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 712 l Printer Profile: Use this popup menu to select the color profile of the device to which the document will ultimately be printed, for handling color management at output. This is by default the same as the color profile selected in the Color Settings dialog box, which is covered in Chapter 29, but you can override that default here, such as when you are using a different printer temporarily. Depending on which Color Handling and Printing Profile options you select, you may be able to use one or both of the following options: l Preserve CMYK Numbers: When selected, this option prevents the color management options from overriding the CMYK values in noncolor-calibrated imported graphics. l Simulate Paper Color: If you choose Proof of a Printing Condition as the Color Handling Method, selecting this check box makes InDesign simulate the typical color of the paper you’ve chosen for proofing (through View ➪ Proof Setup; see Chapter 29). The Advanced pane The options in the Advanced pane control printing of files as bitmaps, manage graphics file substi- tutions in an Open Prepress Interface (OPI) workflow, and set transparency flattening, which man- ages how transparent and semitransparent objects are handled during output. Bitmap printing For certain printers — mainly inkjet printers — InDesign lets you control the output resolution when you are printing the file as grayscale (by choosing Composite Gray in the Output pane’s Color popup menu). To do so, select the Print as Bitmap check box in the Advanced pane and select the desired dpi value from the popup menu at the right. Note that this feature is available only if you choose a compatible printer in the Printer popup menu and set the output to Composite Gray. OPI settings If graphics files exist in high-resolution versions at your service bureau — typically, this occurs when the bureau scans in photographs at very high resolutions and sends you a lower-resolution version for layout placement — select the OPI Image Replacement option. This ensures that InDesign uses the high-resolution scans instead of the low-resolution layout versions. The Omit for OPI section provides three additional related graphics file-handling options. You can have InDesign not send EPS, PDF, and bitmap images (such as TIFF files) by selecting the appro- priate options. You would do so either to speed printing of proof copies or when the service bureau has such files in higher-resolution or color-corrected versions and will substitute its graph- ics for yours. InDesign keeps any OPI links, so the graphics at the service bureau relink to your document during output. 43_607169-ch31.indd 71243_607169-ch31.indd 712 4/22/10 8:06 PM4/22/10 8:06 PM Chapter 31: Printing Documents 713 Transparency flattening There are just two options in the Transparency Flattener section: l Preset: This popup menu lets you choose a transparency preset (a saved set of options). At the least, InDesign provides the three default transparency-flattening options: [Low Resolution], [Medium Resolution], and [High Resolution]. l Ignore Spread Overrides: If this check box is selected, any transparency settings you manually applied to document spreads are ignored and the selected preset is used instead for the entire document. Cross-Reference Transparency settings and presets are covered later in this chapter. n The Summary pane The final Print dialog box pane is the Summary pane. It simply lists your settings all in one place for easy review. The only option — Save Summary — saves the settings to a file that you can include with your files when you deliver them to a service bureau or distribute them to other staff members; this way, everyone knows the preferred settings. Working with Spot Colors and Separations When you print color separations, InDesign gives you expected control over how colors separate — which are converted to CMYK and which are printed on their own plates; but it goes much further, letting you control much of how those plates print, such as the order that plates print in and the angle of each color’s line screens. Managing color and ink output Accidentally using spot colors such as red and Pantone 2375M (say, for graphics and text frames) in a document that contains four-color TIFF and EPS files is very easy. The result is that InDesign outputs as many as six plates: one each for the four process colors, plus one for red and one for Pantone 2375M, rather than convert red and Pantone 2375M into CMYK mixes and thus output just the four CMYK plates. But you can avoid these kinds of mistakes. That’s exactly where the Ink Manager dialog box comes in. Accessed by clicking Ink Manager in the Output pane, this dialog box gives you finer control over how color negatives output. Figure 31.5 shows the dialog box. 43_607169-ch31.indd 71343_607169-ch31.indd 713 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 714 FIGURE 31.5 The Ink Manager dialog box If any colors should have been converted to process color but weren’t, you have three choices: l Click the spot-color iconic button. You can override the spot color in the Ink Manager dialog box by clicking this iconic button (a circle) to the left of the color’s name. That con- verts it to a process color and causes the iconic button to change to a four-color box that indicates a process color. (Clicking the four-color box iconic button converts a process color back to a spot color, as well as changes the iconic button back to a circle.) This is the way to go for a quick fix. l Make it a process color instead. Do this by closing the Ink Manager and Print dialog boxes and editing the color that was incorrectly set as a spot color in the Swatches panel (choose Window ➪ Color ➪ Swatches or press F5), as covered in Chapter 8. This ensures that the color is permanently changed to a process color for future print jobs. l Convert all spot colors to CMYK process equivalents. Do this by selecting the All Spots to Process check box. This is the easiest method to make sure you don’t accidentally print spot-color plates for a CMYK-only document. (You can also use the All Spots Process option to quickly convert all spot colors to process, and then convert back to spot colors just those colors you really do want on their own plates.) The other Ink Manager options are for experts and should be changed only in consultation with your service bureau and commercial printer: l You can change the ink type in the Type popup menu. Most inks — including the pro- cess inks — should be left at Normal. Use Transparent for varnishes and other finishes that let color through — you don’t want InDesign to trap such colors. If it did, no color would print under the varnish or finish. (A varnish is often used to highlight part of a page, such as making the text reflective in contrast to the rest of the page.) Use Opaque for metallics, pastels, and other thick colors; this setting lets adjacent colors trap to the edge of opaque objects, but it prevents trapping of underlying colors (because they will be 43_607169-ch31.indd 71443_607169-ch31.indd 714 4/22/10 8:06 PM4/22/10 8:06 PM Chapter 31: Printing Documents 715 totally covered over). Finally, use Opaque Ignore for inks that don’t trap well with any other color — your service bureau or commercial printer tells you when you need to do this. l You can change the neutral density for each ink. This tells InDesign how to handle the trapping of differently saturated inks. For example, a dark color (highly saturated) needs to be trapped more conservatively against a light color to prevent excess intrusion. In coordination with your commercial printer, you might want to override the default neu- tral density settings if you find that the defaults don’t properly handle some trapping com- binations. It’s possible that your commercial printer is using a different brand of ink than is assumed in the settings, for example, and that could require a density adjustment. l Arrange the order in which color negatives print. Sometimes commercial printers per- mit you to do this. It affects the trapping because InDesign presumes that the colors are printed in the standard order — cyan, then magenta, then yellow, then black, then any spot colors — and factors that into its trapping adjustments. In some cases, changing the printing order improves a publication’s color balance because it happens to favor a range of tones that the standard order might not treat properly. For example, if there’s a lot of black in the background, you might want to print black first. Other colors overprint it, giving it a warmer feel than if black is printed on top of the other colors as it is normally. To change the order of output used by InDesign’s trapping calculations, select a color and change its ink sequence number in the Trapping Sequence field; all other colors’ sequences are automatically adjusted. l Apply a process color’s settings to a spot color. You can use the Ink Alias popup menu to do this, but I don’t recommend you do this very often, because it makes the spot color print each dot over the dots of the selected process color, rather than be offset slightly so the color remains visible. You set an ink alias only if you are using a spot color in place of a standard process color — such as substituting a yolk color for standard yellow to create a special effect. In this case, the yolk color overprints the yellow color, replacing the yel- low where both colors have been used. l Force one plate to be used for several versions of the same color. Another case for using the Ink Alias feature is when your document has several color swatches that should be the same color. (Perhaps PDF files you placed used different names for the same color, such as PMS 2375M and Pantone 2375M, so these multiple swatch names were all added to your document.) Ink Alias lets you have all these colors print on the same plate. l Force InDesign to substitute the basic CMYK process colors for the similar colors defined by the Pantone and HKS spot-color models. Do this by selecting the Use Standard Lab Values for Spots option. In most cases, the substitute colors are almost iden- tical, so no one will notice, but check with your printer first because the type of paper you use or other factors may cause a different output than expected. Cross-Reference Chapter 8 covers how to create color swatches, how to specify which are to print as spot colors and which are to be converted to process colors, and how to use the various color models and ink libraries. Chapter 29 explains how to preview color separations on-screen. n 43_607169-ch31.indd 71543_607169-ch31.indd 715 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 716 Adjusting screen angles When you print using color plates, each plate — cyan, magenta, yellow, and black, or any spot colors — is rotated slightly so that its dots don’t overprint the dots of other plates. This ensures that each color is visible on the paper and this is visible to the eye, which then blends them into various colors, simulating natural color. These rotations, called screening angles, determine how the dots comprising each of the four process colors are aligned so that they don’t overprint each other. Normally, you’d probably never worry about the screening angles for your color plates. After all, the service bureau makes those decisions, right? Maybe. If you have your own imagesetter, or even if you’re just using a proofing device, you should know how to change screen angles for the best output. If you’re working with spot colors that have shades applied to them, you’ll want to know what the screen angles are so that you can determine how to set the screening angles for those spot colors. The rule of thumb is that dark colors should be at least 30 degrees apart, whereas lighter colors (for example, yellow) should be at least 15 degrees apart from other colors. That rule of thumb translates into a 15-degree angle for cyan, a 75-degree angle for magenta, no angle (0 degrees) for yellow, and a 45-degree angle for black. However, those defaults sometimes result in moiré patterns, which are distortions in the image’s light and dark areas caused when the dots making up the colors don’t arrange themselves evenly. With traditional color-separation technology, a service bureau has to adjust the angles manually to avoid such moirés — an expensive and time-consuming process. With the advent of computer technology, modern output devices, such as imagesetters, can calculate angles based on the out- put’s lpi settings to avoid most moiré patterns. (Each image’s balance of colors can cause a different moiré, which is why there is no magic formula.) Every major imagesetter vendor uses its own pro- prietary algorithm to make these calculations. InDesign automatically uses the printer’s PPD values to calculate the recommended halftoning, lpi, and frequency settings shown in the Output pane of the Print dialog box. For spot colors, how- ever, it’s basically a guess as to what screening angle a color should get. The traditional default is to give it the same angle as yellow because if a spot color’s dots overprint yellow dots, the effect is less noticeable than if it overprinted, say, black dots. But if you have multiple spot colors, that approach doesn’t work. In that case, choose a screening angle for the color whose hue is closest to the spot colors. Fortunately, InDesign calculates a recommended angle for you, so you don’t have to make any guesses. As always, don’t forget to consult your service bureau or printing manager. Working with Transparency InDesign lets you import objects with transparent portions, as well as create transparent objects using the Effects panel (see Chapter 12). Using features such as the Drop Shadow and Feather options in the Effects dialog box also might create transparency, but working with transparency can create unintended side effects in how overlapping objects actually appear when printed or 43_607169-ch31.indd 71643_607169-ch31.indd 716 4/22/10 8:06 PM4/22/10 8:06 PM [...]... negatives n Creating PDF Files Typically, you want to directly export your InDesign files as PDF files rather than create a PostScript file and translate to PDF using the separate Adobe Acrobat Distiller product First, I show how to export and then I explain how to print to PDF on those occasions when that’s the better option Exporting PDF files An easy way to create a PDF file from InDesign is to export... the default setting of None l Compatibility popup menu: This popup menu lets you choose what PDF file version to save the file as Your options are Acrobat 4 (PDF 1.3), Acrobat 5 (PDF 1.4), Acrobat 6 (PDF 1.5), Acrobat 7 (PDF 1.6), Acrobat 8 (PDF 1.7), and Acrobat 9 (PDF 1.8) Theoretically, choosing Acrobat 4 (PDF 1.3) is the best option for documents that will be distributed on CD or over the Web because... menu to Adobe PDF (Print) and preconfigures the PDF export settings covered in the following sections 725 Part VIII: Multimedia Fundamentals Tip If you’re working with the InDesign book feature (see Chapter 28), you can export the book’s chapters to PDF files from an open book’s panel The setup options are the same as they are for exporting individual documents n After you’ve selected Adobe PDF (Print)... popup menu and given the file a name and location, click Save to get the Export Adobe PDF dialog box shown in Figure 32.1 The dialog box has seven panes; General is the one shown when you open the dialog box FIGURE 32.1 The General pane of the Export Adobe PDF dialog box New Feature When you export PDF files in InDesign CS5, you no longer have to wait for the export to complete before being able to... transparency Adobe PostScript Levels 1 and 2, EPS, and Adobe PDF 1.3 do not support Adobe s transparency technology in its native state Therefore, transparency information must be flattened for export to 717 Part VII: Output Fundamentals EPS or Adobe PDF 1.3 format, or for printing to PostScript desktop printers, PostScript Level 2 raster-image processors (RIPs), and some PostScript 3 RIPs (Although newer Adobe. .. native transparency.) l Save Preset button: Click this to save any settings made in the Export Adobe PDF dialog box as a new preset (You can also define new PDF presets by choosing File ➪ Adobe PDF Export Presets.) l Cancel button: Click this to cancel PDF export l Export button: Click this to create the PDF file based on the settings selected in the various panes The General pane Use the General pane... whereas the Do Not Include option removes the object from the PDF file (blank space appears where the objects had been in the layout) New Feature InDesign CS5 drops the Multimedia popup menu and its controls over sound and movie files from the Export Adobe PDF dialog box The export options for these objects are now managed through the new Adobe PDF (Interactive) export option, as described in Chapter 34... password required, so these settings are usually irrelevant Printing to PDF files Sometimes, you may want to create a PDF file when printing, such as to save printer-specific options in the file Note that using this method, you need the $4 49 Adobe Acrobat Professional software to create a PDF file for prepress output, or the $ 299 Acrobat Standard for documents meant for display on-screen and printing... You can also create PDF files by exporting to an EPS or a PostScript file and then using the Acrobat Distiller program to convert the file to PDF You don’t need to do this if you have InDesign unless you happen to have EPS or PostScript files that you’ve previously generated and would rather convert to PDF through Distiller than find the InDesign originals and export PDFs from InDesign You can, of... know the preferred settings Using Distiller job options In addition to setting up PDF export presets as described in the last section, InDesign lets you import such settings from Acrobat Distiller job-options files You can load such job-option files by clicking Load in the Adobe PDF Presets dialog box (choose File ➪ Adobe PDF Export Presets ➪ Define) or simply by opening them in the Open a File dialog . Mean 43_6071 69- ch31.indd 7 094 3_6071 69- ch31.indd 7 09 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 710 Selecting the Simulate Overprint check box at the bottom of the Output pane lets InDesign. the 43_6071 69- ch31.indd 7 194 3_6071 69- ch31.indd 7 19 4/22/10 8:06 PM4/22/10 8:06 PM Part VII: Output Fundamentals 720 rasterized options display overlapping transparent objects that InDesign needs. Creating PDF Documents Chapter 35 Using Animation and Creating Flash Documents 44_6071 69- pp08.indd 72144_6071 69- pp08.indd 721 4/22/10 8:06 PM4/22/10 8:06 PM 44_6071 69- pp08.indd 72244_6071 69- pp08.indd