Job Preparation. guide for. designers

Transcription

1 Create Your Design Prepare Your Design Print Job Preparation guide for designers Version 2.2 September 19, 2005

2 Global Knowledge & Language Services 800 Phillips Road Bldg S Webster, NY Copyright 2005 Xerox Corporation. All rights reserved. Printed in the United States of America. Copyright protection claimed includes all forms and matters of copyrighted material and information now allowed by statutory or judicial law or hereinafter granted, including without limitation, material generated from the software programs that are displayed on the screen such as styles, templates, icons, screen displays, looks, etc. Adobe and the Adobe logo, InDesign, Illustrator, PageMaker, Photoshop, Acrobat, Distiller, and the Acrobat logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. The Creo wordmark, Creo logo, and the names of Creo products and services referred to in this document are trademarks of Creo, Inc. Kodak and Digital Science are trademarks of Eastman Kodak Company. Apple, Macintosh, Power Macintosh, and Mac are registered trademarks of Apple Computer, Inc. Microsoft Windows NT and Microsoft Windows are trademarks of Microsoft Corporation. PANTONE is a registered trademark of Pantone, Inc. Pageflex is a trademark of Pageflex. XMPie and ucreate are either trademarks or registered trademarks of XMPie. SWOP is a registered trademark of SWOP, Inc. Quark and QuarkXPress are trademarks of Quark, Inc. and all applicable affiliated companies, Reg. U.S. Pat. & Tm. Off. and in many other countries. Macromedia FreeHand is a trademark of Macromedia, Inc. This product includes software developed by the Apache Software Foundation ( This product includes software developed by the JDOM Project ( This product includes software developed by the Jaxen Project ( igen3 is a registered trademark of Xerox Corporation in the US and/or other countries. XEROX and SmartPress are the trademarks of or licensed to XEROX CORPORATION.

3 Table of Contents Special notes iii i Introduction to igen3 v Benefits of the igen vii Specifications vii 1 2 Select your stock 1-1 Paper properties that affect xerographic color output Brightness Finish / Smoothness Stock categories for the igen Formation Impurities Opacity Shade Size and weight specifications Recommended stocks Stocks not recommended Setup...before you begin 2-1 Color spaces which to use? The closed-loop system The open-loop system Which one to use? Assigning color spaces, achieving color consistency For Photoshop, InDesign, Illustrator, Acrobat For FreeHand For QuarkXPress Soft proofing i

4 Table of Contents A Create your design 3-1 Text design considerations Graphic design considerations Saving graphics files Saving graphics or page layouts as EPS files Saving image files Image considerations Embedding color spaces Microsoft Office design considerations Designing for variable print What is variable information (VI)? Generating variable information jobs Benefits of using variable information applications Designing documents with variable information Prepare to handoff your job 4-1 QuarkXPress - collect for output InDesign preflighting and packaging Preflighting PDF files Print your work 5-1 File formats supported Selecting your print settings Export PDF Create PDFs using Acrobat Distiller Finishing Appendix - Quick reference A-1 Setup... before you begin A-2 Create... begin your design A-4 Print... preparing your output A-7 ii

5 Special notes Every production method has unique characteristics and designers often make minor design adjustments to take advantage of unique capabilities of a particular process to produce an even more pleasing, desirable, and saleable document. This book is intended as a reference tool for the graphic designer and prepress operator as they begin the process of designing and preparing documents for print. While the following provides recommendations and overall best design practices that could be applied to most digital production printing systems, some information applies only to the igen3. Text that pertains specifically to the igen3 is highlighted in blue. Your print provider or service bureau may have additional requirements. Always consult with them first. iii

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7 Introduction to igen3 What s inside... Benefits of the igen3 Specifications v

8 Introduction to igen3 MORE BUSINESS THROUGH MORE SERVICES. The Xerox igen3 Digital Production Press and its revolutionary 3rd generation imaging technology gives your business an enormous edge through new services that you can offer to your customers. These include high quality color at a cost that makes sense even for short runs, print jobs (from books to brochures and from statements to sell sheets) that grab their audience and a bigger piece of your customers printing business, personalized marketing pieces to dramatically increase the effectiveness of and response to printed communications, and new digital services addressing every point along the printing value chain. vi

9 Introduction to igen3 Benefits of the igen3 New business opportunities, new revenue streams longer short run digital color jobs fast turnaround personalized, customized communications Versatile, high quality print print quality that rivals offset wide array of stocks, weight and sheet sizes mixed stocks in a single run Increased Return on Investment (ROI) for your marketing dollars sell more effectively get your message to market faster competitive advantage Rapid turnaround of jobs speeds up to 6,600 impressions per hour, auto duplex no drying time Reduced operating costs elimination of warehousing costs and inventory disposal rates automatic collation with offset stack delivery no hazardous waste Specifications Printing Speed Image Quality Paper Format Image Format Paper Weight Up to 6,600 full process color A4 (letter) 4/0 impressions per hour (100 impressions per minute) 1,500 A3 (tabloid) 4/4 sheets per hour Resolution: 600 x 4800 dpi Line Screens: 150 lpi, 175 lpi, 200 lpi, stochastic; all utilizing 256 gray levels Process Colors: Cyan, Magenta, Yellow, Black Maximum sheet size in. x 20.5 in. (364 x 521 mm); optional in x 22.5 in (364 x 571 mm); minimum sheet size 7 in x 7 in (178 x 178 mm) Maximum image area 14.2 in x 20.4 in (361 x 519 mm) 16 lb bond/60 gsm up to 130 lb cover/350 gsm; all stock weights run at rated speed vii

10 Introduction to igen3 Paper Flexibility Coated (gloss, matte, dull, silk), uncoated, textured, speciality stocks; recycled, perforated, cut tabs, transparencies, labels including crack and peel, synthetics, DocuCard, NeverTear, DuraPaper, mixed-stock jobs supported at rated speed; no drying time before coating viii

11 1. Select your stock What s inside... Paper properties that affect color output Brightness Finish / Smoothness Formation Impurities Opacity Shade Size and weight specifications 1-1

12 Select your stock The type of stock used for digital printing has a significant effect on color reproduction. Paper reflects unabsorbed light back to the eye of the viewer, so the more reflective the paper s surface, such as coated paper, the wider the range of colors that can be produced. 1-2

13 Select your stock Paper properties that affect xerographic color output Choosing the right paper calls for a strong knowledge of paper characteristics and how they relate to the specific print technology. The Xerox igen3 press uses dry ink, which is a very fine powder. The following paper properties interact with the dry ink to determine the quality of color images. Brightness Blue-white papers contain ultraviolet (UV) brighteners that break down over time when exposed to UV light. As UV brighteners break down, the paper shade may change from bright white to a warm white (yellow cast). UV light exists naturally indoors and outdoors. A paper s ability to reflect blue light is called brightness. Brighter papers produce images with higher contrast. Be aware that some artificial brighteners can affect color reproduction by reflecting colors unevenly. A bright blue-white paper may reflect more blue and less red and green, which affects how the eye perceives the paper color. Recommendations As a general rule, use brighter papers when printing documents with photographs, halftone images, or complex graphics. Finish / Smoothness Finish is the smoothness or roughness of a paper s surface. Paper is processed to have a specific type of finish, ranging from very smooth to highly textured. Finish can significantly impact image quality. If paper is too rough, light patches and graininess appear in solid areas. Halftone images also appear grainy. Dry ink may not fuse properly to extremely rough paper, which may cause deletions where the ink rubs or flakes off. Smooth and coated papers produce sharp images because they reflect light more directly than rougher papers. 1-3

14 Select your stock Recommendations Use smooth or coated papers for proper dry ink transfer, to ensure the best color density and image detail, and to increase the appearance of glossiness. Using a very smooth paper is especially important when printing fine lines and detailed images. Table 1-1 provides descriptions of the paper finish categories. Table 1-1 Stock finish categories Finish Description Examples Smooth All coated papers Coated text Coated cover Regular Rough All uncoated papers with Sheffield smoothness (refer to note below) between 40 and 225 All uncoated papers with Sheffield smoothness above 225 Uncoated papers that are highly calendared or very smooth Papers with low texture (vellum) Uncoated papers for digital color printing Papers with highly textured finishes (felt, linen) Bristol papers Index papers Sheffield is a test that is used to measure the smoothness of paper. It measures the rate of air flow over the surface of a sheet. The lower the Sheffield smoothness number, the smoother the sheet. 1-4

15 Select your stock Stock categories for the igen3 Table 1-2 provides descriptions of the coating categories. Table 1-2 Stock coating categories Stock Library coating types High gloss Common names / descriptions (supplied by the paper manufacturer) Cast, Chrome coated, C1S/C2S, cast coated, and any other high gloss special process media Gloss range (% reflectance) Gloss range = 80+ Gloss Gloss, Enamel, Art Gloss range = 50 to 80 Semi-gloss Dull, Silk Gloss range = 35 to 50 Satin Satin, Velvet Gloss range = 23 to 35 Matte Matte, Reply card Gloss range = 10 to 25 The gloss ranges in Table 1-2 are measured at a 75 degree angle with the TAPPI test method T 480. Gloss ranges are not rigidly fixed, which accounts for the slight overlap in values. You can normally use the name or description of the finish, which is supplied by the manufacturer, to determine the coating type. Paper mills may not be consistent in how they describe stock coatings. Formation Formation is the distribution of fibers and fillers in paper. Fibers and fillers should be distributed evenly throughout the sheet. Although formation is not included in the manufacturer s specifications, you can check it by holding a sheet up to a light. If the sheet looks even throughout, it has good formation. If you see uneven light and dark areas, formation is poor. Good formation is especially important when documents include halftone images of photographs or high ink coverage. Halftone images appear sharper on paper with good formation. Solid images can appear uneven or spotty when printed on paper with poor formation. Recommendations Choose paper with good formation to ensure uniformity of color images. 1-5

16 Select your stock Impurities Impurities in the paper-making process can leave tiny specks in some stocks. The specks can appear as marks or spots in printed images, especially in high resolution images, fine type and fine lines. Impurities in recycled papers consist of inks and adhesives (from window envelopes, stick-on notes, labels, etc.), which are difficult to remove during the recycling process. Recommendations Use high quality non-recycled papers when the best image quality is required. Opacity Opacity impacts the ability of a printed image to show through from the opposite side of a sheet or from another sheet below it. To increase a paper s opacity, a filler may be added during the manufacturing process, its thickness may be increased, or it may be coated. Opacity is measured according to how much light a sheet blocks and is expressed as a percentage between 0 and 100. Most papers fall in the 80 to 90% range, however, an opacity of 98% will prevent a printed image from showing through on the opposite side of the sheet. Recommendations Choose paper with high opacity when printing on both sides of the paper or when heavy dry ink coverage will be applied. Shade Shade is the color of the paper. Paper shade may change the colors of printed images because dry ink is applied in dot patterns that allow the paper shade to show through. Lighter images reveal more of the paper color than darker images. Recommendations Select a true white for the truest colors and natural looking skin tones. Be aware that shaded paper will affect image colors and overall hues. Remember that paper shades can vary significantly among brands. 1-6

17 Select your stock Size and weight specifications The paper stock size and weight specifications for the igen3: Table 1-3 Paper size range Measurement Minimum Maximum Size in inches 7.0 inch x 7.0 inch inch x 20.5 inch Size in millimeters mm x mm mm x mm Table 1-4 Paper weight range Measurement Minimum Maximum Weight in pounds Weight in grams per meter squared 16 pound bond 45 pound uncoated text 60 pound coated text 60 gsm bond 67 gsm uncoated offset 90 gsm coated 130 pound cover 350 gsm If the press is configured with the Extra Large Paper Option, the acceptable paper sizes range from 10 in. x 10 in. (254 x 254 mm) up to in. x 22.5 in. (364 mm x 572 mm) and the weight range of the stock is 120 gsm to 350 gsm. Recommended stocks The following stocks are recommended for the igen3 output: Table 1-5 Stocks that can be run on an igen3 press Stock Type Bond Bristol Cover weight coated and uncoated Drilled paper Index Label Stock perforated and scored paper preprinted recycled synthetic papers and plastics text weight coated and uncoated tabs 1-7

18 Select your stock Stocks not recommended The following stocks are not recommended for the igen3 output: Table 1-6 Stocks that should not be run on an igen3 press Stock Type Highly conductive papers, such as foil-backed papers Stocks with melting points at or below 365 F (185 C) Stocks smaller than 7.0 in. x 7.0 in. (177.8 mm x mm) or larger than 22.5 in. x in. (572 mm x 364 mm) Non-paper backed transparent stocks Stocks with caliper greater than 500 microns (18 pt) Papers containing talc or plasticizer Preprinted sheets printed with non-laser compatible inks or inks that are not sufficiently cured Preprinted sheets that were dried with offset drying powder See your printer or service bureau for a list of the supported media for use with the igen3. 1-8

19 2. Setup...before you begin What s inside... Color spaces - which to use Assigning color spaces For Adobe Creative Suite For Freehand For QuarkXPress Soft proofing 2-1

20 Setup...before you begin Color spaces which to use? Each color space has a defined gamut a range of possible colors. There is no single color space that can reproduce all the possible colors from the entire spectrum. Some color spaces can reproduce more shades of red, but fewer blues, while other spaces can produce a wide range of blues but fewer reds. The Xerox igen3 can produce many colors that are outside the gamut of traditional SWOP offset systems such as vivid blues, deep and bright purples and brilliant magentas. Keeping to an RGB color space such as Adobe RGB allows designers to take advantage of the igen3 s color gamut. The answer is not so simple, however, because there are benefits to working in CMYK as well. CMYK is refined and has been proven over time. Either way, a choice must be made and each color space will only render a subset of all the visible colors. The closed-loop system CMYK CMYK color spaces typically have color gamuts that are slightly smaller than RGB spaces. That means fewer colors, and usually less vivid colors. The benefit, however, is that a color space such as SWOP CMYK has a color gamut that is achievable by almost all CMYK printing devices. This is helpful in terms of color consistency if jobs are to be printed across different print devices. Keeping to a CMYK color space for line art or vector art can also improve the match to image color to spot color (such as PANTONE) and preserving or editing the black channel (or curve) is also possible when the color space is CMYK. Figure 2-1 CMYK 2-2

21 Setup...before you begin The open-loop system RGB Generally, larger color spaces are able to reproduce more colors that are brighter and saturated in color. RGB color spaces are typically larger than CMYK spaces and are becoming more popular as the preferred color space used when jobs are sent to the printer. Keeping files in RGB allows for greater repurposing for a variety of output such as web, press or digital print, lending itself to a more diverse range of output processes. RGB also means smaller file sizes, which can increase productivity. Most print devices use CMYK inks, however, so at some point the RGB elements will be converted to CMYK. The print shop can generally do the conversion at the RIP just prior to printing and will generally yield the most pleasing results. Figure 2-2 RGB 2-3

22 Setup...before you begin Which one to use? When in doubt, always consult with the printer and use their recommendations. Some times it s possible to design artwork using CMYK colors to yield more precise matches and yet keep images in RGB spaces in order to retain more vivid color. RGB and CMYK elements can then be placed into page layout applications such as QuarkXPress or InDesign and then be output in such a way that none of the color get converted until they should be, at the printer. Note that you won t want to use this workflow unless you ve worked out the details with your print provider first. Figure 2-3 RGB and CMYK gamut 2-4

23 Assigning color spaces, achieving color consistency Setup...before you begin Color Management / Color Consistency You will have greater predictability (& consistency) of what the output will look like when you use color preference settings that are consistent with the print providers recommendations. When the print provider is unavailable, apply the following Adobe CS recommendations to all of your Adobe applications. In general, all application color settings should be as similar as possible to the Adobe Photoshop color settings. A color settings file that is created and saved in Photoshop CS will also appear in the Color Settings (or Color Management Settings) pull down menu in Illustrator CS, InDesign CS and Acrobat 6 or higher. However, this will not happen by default. You must go into each application and select the customized setting you created. 2-5

24 Setup...before you begin For Photoshop, InDesign, Illustrator, Acrobat Use these color settings for all of the Adobe applications. 1. From the menu bar, select [Photoshop: Color Settings...]. Figure 2-4 Photoshop recommended color settings Appropriate environmental conditions and calibration monitoring are required for accurate display. Refer to the Adobe Photoshop documentation for more information on soft proofing. 2. Select either the default [North American General Purpose Defaults] or, if possible, create a new custom settings and name it igen3. Use the following recommended settings for creating a custom igen3 color setting. Set the Working Spaces for RGB to [srgb IEC ] or [Adobe RGB (1998)], CMYK to [U.S.Web Coated (SWOP) v2], Gray to [Gray Gamma 2.2] and Spot to [Dot Gain 20%]. More information regarding color spaces can be found in the section on opening files. Color Management Policies should be set to [Preserve Embedded Profiles] for RGB, CMYK and Gray. Do not check the boxes for Profile Mismatches. Check the box for Missing Profiles [Ask When Opening]. The Settings drop-down window should then display the word [Custom]. The user can [Save] this set of options using the name igen3. Check the Preview box so that images will display in the selected color spaces on the screen. 2-6

25 Setup...before you begin For FreeHand For consistency, all application color settings should be as similar as possible to the Adobe Photoshop color settings. Color Preferences can be found by selecting [FreeHand MX: Preferences: Colors]. Select Apple ColorSync (or Kodak Digital Science for PC clients) for the Color Management type and then click the Setup button to set the specific color spaces. See Figure 2-5 for default profile selection. Figure 2-5 FreeHand color preferences Figure 2-6 FreeHand color management 2-7

26 Setup...before you begin For QuarkXPress For consistency, all application color settings should be as similar as possible to the Adobe Photoshop color settings. The Color Management window can be found by selecting [QuarkXPress: Preferences: Quark CMS]. Figure 2-7 QuarkXPress color management - RGB 2-8

27 Setup...before you begin Figure 2-8 QuarkXPress color management - CMYK Soft proofing Soft proofing is often used to make color critical decisions from the monitor by both designers and prepress operators. Computer monitors use the RGB (additive) model to display colors. In order to display correctly, a captured image is translated into pixels (picture elements) that can be projected as rays of red, green, and blue light. Digital presses use the CMYK (subtractive) model to produce colors. Cyan, magenta, and yellow dry ink is placed on white reflective paper. Each then absorbs, or subtracts, its opposite color from the white light that it reflects back. Black (K) is primarily used to change the color s luminosity value (lightness or darkness). Since most print providers have unique workflows, check with your print provider for the best method on implementing soft proofing in your environment. As a result, you will see: Differences in color from one monitor to another. Differences in color from the monitor to the printed output due to the different mediums used for viewing a job (monitor vs. ink on paper). 2-9

28 Setup...before you begin Figure 2-9 Example of a poor monitor to print match Use of monitor characterization may improve this situation. To achieve optimal soft proofing the user should also calibrate and characterize the monitor. Calibration can generally be done through a tool resident in the operating system. Characterization generally requires special color management software and hardware (e.g., spectrophotometer). Your print provider may be able to provide recommendations on which tools or methods to use. 2-10

29 3. Create your design What s inside... Text design considerations Type color Type size Graphic design considerations Color Gray balance Pantone Black Tint uniformity Lines Gradients Transparencies Trapping Saving graphic and image files Image considerations Opening images Size and scale Total ink and dot gain Saving images and compression Microsoft Office design considerations Designing for variable print 3-1

30 Create your design Text design considerations General Include all fonts in both page layout and vector graphics files. Supported font types include PostScript Type 0, 1, 3, Open Type, True Type 42, Multiple Master, Kanji and more. Select fonts from the Font menu and not from the Style menu (bold, italic, etc.). Preserve text as a font; do not rasterize text in the application. When converting fonts to outlines (for example, in a logo with which you do not want to distribute a special font) be sure to check the [Flatness] or [Output Resolution] setting in your application. If possible, set to printer default or to a minimum of 600 dpi. Type color Create solid black text with 100% K only for the most dense black. The igen3 produces high quality solid text. Compared to offset, black text is especially sharp due to the igen3 black toner being very dense. As with any digital or offset printing system, saturated text presents the best appearance. When a tint is used, the halftone screen may be visible on the edge and cause a jagged appearance. Text containing at least one ink of 100% C or M or K presents the best appearance with solid, rich colors. RGB solid text, such as 100% red, may reproduce as a tint. Define solid color text in CMYK if possible. 3-2

31 Create your design Type size For solid text, the type size should be a minimum of 2 point. For reverse type, the type size should be 3 point or higher. For tinted text, the type size should be a minimum of 4 point. For reverse type, the type size should be 6 point or higher. When using Kanji fonts in both positive and reverse/negative text, select a font size of 8 point or larger for best results. With smaller text, sans serif fonts are recommended. Figure 3-1 Serif text Figure 3-2 Sans serif text 3-3

32 Create your design Graphic design considerations Color Colors for fine rules or small graphics, such as bullets and icons, print best when at least one color separation (except yellow) is set to a solid or near solid color (e.g., %). Gray balance Gray balance is dependant upon selections made at the printer. If you are creating gray colors with RGB or CMYK combinations, consult your print shop for the appropriate values needed to achieve good neutrals. Spot colors (PANTONE ) Select PANTONE colors by choosing them from the PANTONE spot color library. Be sure to specify the color as a [Spot] color. This will allow the printer RIP to provide the best consistency and color matches. Figure 3-3 QuarkXPress Edit Color Do not change the name of PANTONE colors (for example, Pantone 106C to Sunshine Yellow or to Pantone 106C copy). When PANTONE colors are desired, refer to a printed press sample provided by the print shop. If CMYK values for PANTONE colors are needed, the print shop can supply the appropriate values. Do not use values supplied by QuarkXPress, Illustrator, or other applications as the color will not match PANTONE spot colors defined in the RIP. 3-4

33 Create your design Best black The Xerox igen3 produces the most dense black with 100% K (black) only. Additional amounts of C or M or Y or CMY at 100% K will generally lighten blacks. When printing black on uncoated substrates, add a small amount of C, M or Y to improve uniformity and minimize paper texture. It will, however, produce a black slightly less dense than just 100% K only. Gray text, graphics, and gradients will be best produced if they are created with K only in a CMYK working space. Figure % Black vs. Rich Black Tint uniformity Digital printing systems, in general, may show slight variations in color within large areas of mid-density tints. Color variation may be emphasized with coated paper due to smoothness of the paper. Design with smaller areas when using tints and/or design with colors that are less than 40% or greater than 70% in value. The sensitivity to color variations may be reduced by selecting a texture or adding noise for large area tints. However, adding noise to the background may not be required with highly detailed foreground images. Graphic edges Edges of tinted areas may also have a jagged appearance, dependent on the angle of the halftone screen with respect to the angle of the edge. When selecting the color for fine rules or elements, better results will be achieved by choosing saturated colors or setting at least one separation (except yellow) to 100%. 3-5

34 Create your design Consult with your print provider about using a higher screen frequency such as 200 lpi, which can help to minimize the jagged edge appearance of graphic (vector) elements. Applying a thin dense border or frame to these elements will also help to avoid the appearance of jagged edges. Figure 3-5 Tint uniformity examples 3-6

35 Create your design Lines With the igen3, relative line width will be preserved from positive hairlines of 0.03 point and larger. Relative line width for reverse lines will be preserved from 0.09 point and larger. Note, however, that line pairs with less than 0.3 points of separation may resolve as a uniform screen tint instead of an individual line pair. Gradients The smoothness of gradients can be affected by several factors such as file compression, the application that creates the gradient and the resolution of the gradient. Following are suggestions for achieving the smoothest gradients: Use a color change of 100% of at least one color separation for gradients 7.5 inches (19.5 cm) in length and a change of 50% for gradients 3.75 inches in length. Sometimes adding Noise or a Gaussian blur can improve a gradient in Photoshop. Saturated colors generally produce the smoothest blends, however, avoid creating gradients that blend from a very dark color to white. They have a tendency to have more banding. For gradients blending to white, set the same color to 0%. Do not use white. For example, first color PANTONE 032C: 100%, second color PANTONE 032C: 0%. Use PostScript Level 3 format at the printing stage. Figure 3-6 Example of gradients 3-7

36 Create your design Transparencies Transparent objects, including Drop Shadows and Feathered objects, are flattened when printed. Use an overprint preview or flattener preview to determine how the objects will look when flattened. In Adobe Illustrator CS, use the [Window: Flattener Preview] command to view how objects will be affected by transparency and how they will look when flattened. In the page layout or design application, set the transparency raster/vector control to the highest setting to prevent objects from being rasterized. For the most predictable results, always flatten transparencies before printing by using the [Object: Flatten Transparency...] command. In most instances selecting [High Resolution] will yield the best results. Be sure Outline Text and Outline Strokes are set to [Off], as all text and strokes will be converted in the document (not just in transparency areas). Figure 3-7 Illustrator transparency flattener presets 3-8

37 Create your design Transparency cautions Creating PDF files directly from applications (e.g., using Export or Save As PDF) will not always flatten transparencies. Since printing results may be unpredictable, always use Acrobat 1.4 Distiller when creating PDF files. When the image is flattened, PS Overprint objects may be flattened along with transparencies. Flattening of transparencies may cause vector elements to be rasterized within the file. Spot colors should not be used with transparencies as they may be converted to process CMYK when flattened. Documents with mixed color spaces may be converted to a common color space when flattened. 3-9

38 Create your design Saving graphics files While you are working on files, you'll want to save them in the applications native file format (i.e., Adobe Illustrator Document). These files, however, usually can't be placed into page layout applications. When you are ready to place them in the page layout application, use the PDF format for the best portability. NOTE: Be sure to flatten all transparencies prior to saving final files. This may prevent unexpected output results. NOTE: For the greatest portability and, in some cases, better previews when placed in page layout applications, it is recommended that graphic files be saved in PDF format rather than EPS format. Saving Illustrator files Use the Save As feature to save files as PDF (not EPS or other proprietary formats) from Illustrator. This will allow the PDF file to be placed into a page layout application such as InDesign or QuarkXPress. Other formats may not allow you to import them into other applications. Follow the recommendations for Acrobat Distiller in Chapter 5 when setting up the Save As Adobe PDF function from Illustrator. Create your own setting and call it igen3. Figure 3-8 Illustrator Save As PDF options NOTE: When saving PDF files in Illustrator, apply the same PDF settings used in Acrobat Distiller. 3-10

39 Create your design Saving FreeHand files Use the Export feature, not Save As, to export files as PDF (not EPS or other proprietary formats) from FreeHand. This will allow the PDF file to be placed into a page layout application such as InDesign or QuarkXPress. Other formats may not allow you to import them into other applications. Use the settings in Figure 3-9 and be sure to click the [Setup] button and use those recommendations shown. In the [Convert Colors to:] pull down, be sure to select [CMYK and RGB]. FreeHand will not modify CMYK images or RGB & CMYK native elements (note that it will, however, convert any RGB placed images to CMYK). Choosing [CMYK] will convert all RGB content to CMYK. Follow the recommendations for Acrobat Distiller in Chapter 5 when setting up the Export Adobe PDF function from FreeHand. Create your own setting and call it igen3. Figure 3-9 PDF Export screen Figure 3-10 FreeHand PDF setup 3-11

40 Create your design Saving graphics or page layouts as EPS files Occasionally you may need to save files from Illustrator, FreeHand, InDesign or QuarkXPress in the EPS file format. When saving graphics or page layouts, the following are recommended: Use TIF 8-bit color preview Do not assign a color space when possible and select [Leave Unchanged] or [As Is] Preserve overprints Use high resolution when flattening graphics Embed all or complete fonts Send all image data Include CMYK PostScript in RGB files Only use OPI if the printer requests it Use Binary format Use Adobe PostScript Language Level 3 Saving image files Saving Photoshop files Photoshop EPS format: Save graphics in EPS format for placement into page layout applications. Embed all fonts into graphic EPS vector art files. Embed both the ICC Color Profile and PostScript Color Management (PSCM) Color Space Array (CSA) if possible. This will probably yield a slightly large file but could possibly preserve colors that may otherwise be converted by an application such as Microsoft Power Point or QuarkXPress. When images are saved as TIFF of JPEG, the color may be converted prematurely in the page layout application. Colors in EPS format will be preserved. Check [PostScript Color Management] in the EPS Options window. 3-12

41 Create your design Figure 3-11 Photoshop EPS Save As screen Figure 3-12 Photoshop EPS Options screen The CSA remains with the image when the EPS file is placed in the page layout application (or even with applications that are not color managed, such as Microsoft Word). The RIP will then recognize the embedded CSA in the PostScript stream and perform the conversion from that embedded color space to the igen3 CMYK final destination color space. 3-13

42 Create your design Photoshop TIFF format: When saving images as TIFF files, embed the ICC Color Profile if possible. Save the file in TIFF format without LZW compression. Check [Embed Color Profile] in the Save As window. Figure 3-13 Photoshop Save As screen Figure 3-14 Photoshop TIFF options screen 3-14

43 Create your design Image considerations Opening image files Images can be in RGB, CMYK or grayscale color spaces. Though most images are either acquired through a digital camera or scanner, Photoshop is generally the first step in assigning the color space of an image. If images come from an outside source, request that they always be supplied with an embedded ICC profile (of the source color space). If the Color Settings in Photoshop are set to [Ask When Opening] for Missing Profiles, the user may encounter a window asking how to handle the color of an image being opened. Figure 3-15 Missing Profile screen If no embedded profile is detected when the file is opened: Leave as is will not embed a color profile into the image. However, for operations that require a color space definition, Photoshop will use the RGB or CMYK Working Space defined in the Color Settings preferences (for example, when performing a Mode change between RGB and CMYK). Assign Working Space Will assign the profile of the Working Space defined in the Color Settings preferences. Select this option when the working space matches the source space of the received file. Assign Profile Will assign the specific profile selected. Assign the image source color space if known when the file is opened. If the RGB or CMYK source space of the image is known, always assign the profile that matches that color space. Images without the source color space information may require guesswork to determine the most appropriate source color space. srgb has a smaller gamut but is a universal working space ideal for images coming from digital cameras and the internet (or destined for the internet). Adobe RGB has a wider color gamut and may work best for images that contain vivid colors such as imagery created in Photoshop. Do not select [and then convert document to working...]. 3-15

44 Create your design For unknown CMYK images, SWOP (v2) is recommended for US markets and Fogra or Euroscale for European markets. If an ICC profile is detected: Use the embedded profile instead of the default working space. Photoshop will automatically use the embedded profile when the Color Settings are set to Preserve under the Color Management Policies. Discard the embedded profile only if the embedded profile is not an accurate representation of the image. Size and scale All images should be edited, rotated, cropped and sized in an imaging software application such as Adobe Photoshop. Do not resize, crop, rotate or adjust images in page layout applications if possible. Place images into the page layout at 100%. In order to obtain high-quality output, the recommended image resolution should be no less than 300 dpi at the actual finished size. Scale images with bicubic sampling and crop all images in Photoshop. Do not use page layout applications such as QuarkXPress to make image size adjustments. Also note that submitting images with higher than needed resolution adds unnecessary processing time, creates larger files and may degrade image quality. For the best print quality, do not include transfer functions or screen angles unless directed to do so by the print provider. If the job requires specific screen angles or transfer functions, make sure to consult with your print provider to create the best results. Figure dpi resolution 3-16

45 Figure dpi resolution Create your design Total ink and dot gain The Xerox igen3 is designed to expect a total ink limit of 325% and the traditional commercial print amount of dot gain. No special considerations are necessary. Embedding color spaces Saving image files in Photoshop Embed the correct source color space with each image saved in either TIFF or CPS file format. All images have a source color space. They may originate as a digital file from a digital camera, scanner or digitally-created art work in Photoshop. Whenever possible, embed that source color space (such as the camera or scanner profile) of the image into the file so that the RIP can perform the color conversion to the igen3 color space. This workflow generally provides good color matches. Since ICC profiles in TIF files cannot be embedded into the PostScript code on print, they are mainly used to convert from one color space to another within applications such as Photoshop and QuarkXPress. The EPS format, however, can embed the color information (CSA) into the PostScript code and then be picked up by the RIP at the printer. Compression It is recommended that you do not use JPEG or LZW compression as it may cause undesirable results. If sampling is required, although this is not recommended, use bicubic. 3-17

46 Create your design Figure 3-18 Example of no compression Figure 3-19 Example of JPEG compression Figure 3-20 Example of upsampling 3-18

47 Create your design Microsoft Office design considerations Black text Approximating PANTONE and CMYK colors Images Gradients Microsoft uses an RGB color model (unlike other graphics applications that use CMYK) and creates black text using equal amounts of red, green and blue. This can be problematic as the saturation of dry ink in a small area can produce a halo. Consult with your print provider to ensure the best black text rendering. To assign a specific PANTONE color within Microsoft Office applications: Ask your print provider for the exact CMYK PANTONE color values needed, or go to and select [Support: Color Library Updates] for a close approximation. Download the PDF Color Chart and Value List for your system to obtain the latest 1,089 PANTONE equivalent values. Using Photoshop 7 or higher, create a new color with the corresponding CMYK PANTONE values to determine the RGB equivalents. Make sure the Color Setting in Photoshop is set to [srgb] for the RGB working space and SWOP CMYK for the CMYK working space unless otherwise directed by your print provider. Use the RGB values from Photoshop to create new color equivalents in MS Office. Microsoft Office applications will send RGB data to the printer, unlike page layout applications that send CMYK data. Images can be in TIFF, EPS or JPEG file formats (though JPEG compression is not recommended). CMYK images, however, will be converted to RGB unless they are in the EPS file format. When printing an Office file that contains a gradient fill within non- EPS graphics or drawing objects, banding may occur in the printed output. Microsoft Office does not render gradient fills into PostScript gradients. Instead, Office uses the Microsoft Windows Graphical Device Interface (GDI) to generate half-tone steps that are then sent to the press. The banding effect may appear more obvious with larger gradients and depend on the percentage of colors used. For the smoothest gradients, create them in another graphic program (such as Adobe Illustrator or Photoshop), save as an EPS file, and import into the Office application. Processing an Office file into a PDF with [Convert Gradients to Smooth Shades] selected in Acrobat Distiller may improve smoothness or reduce banding. Experimentation is recommended. 3-19

48 Create your design Designing for variable print What is variable information (VI)? Variable information, as defined by Adobe, is a digital print run where each printed page is different and personalized because the page content relates to customer information in a database. This type of information is also referred to as Personalization, 1:1 marketing, Variable Data Printing (VDP), Versioning, Direct Marketing, Mass Customization, and more. Personalized documents are created by extracting names, addresses, purchase information or other account data from records in a database. The data fields such as last name, zip code, and even images, are called variables because they change, or vary, for each record. Generating variable information jobs There are a variety of Variable Data Printing applications in the marketplace offering a broad range of capabilities. They range from mail merge applications to multi-user enterprise systems. Some are simply a plug-in to Quark (Darwin, DesignMerge) or InDesign (ucreate component of XMPie); others are standalone applications (Lytrod, PageFlex), web-based (iway), some with multiple components for design, database logic and production (XMPie). Common output formats include XML, VIPP, VPS, PPML or optimized PostScript and PDF. Output can be in the form of , dynamic web pages or a file to be printed. The VDP applications are designed to meet various needs. For example, XMPie is geared toward cross media Direct Mail or oneto-one marketing and Printshop Mail allows an easy way to create mail. Another application for mainframe users is Exstream Dialogue which is designed to build transactional documents for statements and billing traditionally for health care or financial services industries. Benefits of using variable information applications The output file (PDL) is created such that static elements should get ripped only once then reused as needed. Both static and variable images, graphics and text can be printed on the same page. In many cases, large elements such as images are not embedded in the output file, similar to an OPI workflow (referred to APR by Creo). This allows the output file to be much smaller. 3-20

49 Create your design Designing documents with variable information Unlike designing documents for offset presses, careful consideration must be given to the placement of static versus variable information. Graphic artists should have a good understanding of database and printing technology. They must also understand the capabilities of the software and hardware they re working with in order to successfully design a variable document. Image quality considerations For the best performance, ensure that all images are set at 300 dpi. Using a different resolution may slow down RIPping or reduce image quality. Ensure that all images are at their final resolution, size and orientation. All variable elements for a specific area should be the same size. Rotating, scaling and clipping images during the RIP will slow down performance. When creating Variable Print Specification (VPS) for Automatic Picture Replacement (APR) printing, the static and variable images can be TIFF, EPS, JPG, GIF or CT format. Do not save TIFF images with LZW compression. Layout and design considerations Avoid using Quark frames on elements that contain variable information. When designing VI documents, keep in mind that trapping text at the RIP may not be applied to variable elements. When using variable imposition, ensure that all document pages are the same size and orientation. Printing documents containing simplex and duplex pages within the same document may not be supported. If documents must be printed with simplex and duplex pages within the same document, insert blank pages in the original layout and duplex the entire document. Whenever possible, embed all fonts or else the font must have the exact match at the RIP. However, Truetype fonts are crossplatform compatible. Type 1 fonts may have issues with kerning (may not be able to supply the kerning file). Some VI applications that create VIPP will take PDF resources and convert them to EPS but the result can be unpredictable. When creating resources (e.g., images, graphics) to be used in applications that create VIPP, create EPS according to the guidelines specified in Chapter

50 Create your design For Creo APR workflow, TIFF, EPS and Creo CT (continuous tone) are the only formats supported by VPS. While Postscript and PDF may work, they are not supported. Variable formats Some VI languages may not comprehend layering. If the VI authoring tool allows, position variable elements above static objects (bring to the front). When using APR with variable images in the Creo workflow, ensure that the names of the variable images conform to the same naming restrictions associated with APR and static images. 3-22

51 4. Prepare to handoff your job What s inside... Trapping Bleeds Imposition Preflight checklist Packaging and collect for output 4-1

52 Prepare to handoff your job Use the following tips when preparing for output to the igen3. Trapping For best results, apply trapping at the printer and not in the application. Trapping settings made in the application are not included in the PostScript when printing with the Composite mode. Avoid instances where trapping to gradients or images is required (the change in color may not reproduce well). Bleeds It is recommended that you do not design sheets to be printed to the edge. The press is designated to maintain a in. (3 mm) blank band around the edge of the sheet. This prevents excess dry ink from contaminating later sheets. For full bleeds use a larger stock and trim to the finish size. Include a in. (3 mm) bleed for all areas that extend off the page when trimming is required. Imposition Basic imposition can usually be performed by the RIP of the igen3. Your print provider can work with you on setting up for multi-up jobs. If you plan to use binding, leave ample room for the gutter. Preflight checklist... are you ready? Ensure that all graphics and images are in their final size, 100% at 300 dpi. Rotate, scale and edit images and graphics prior to placing them in page layout applications. Deliver all source files to the printer: fonts, graphics, images and layout documents (even for PostScript or PDF files when possible). Image file formats should be EPS or TIFF (not JPEG or TIFF with LZW compression). All spot colors should be designated as spot colors and not as CMYK recipes. Spell check your document. Remove all locally stylized fonts and mixed font types. Remove any trapping (allow the printer to do this). All bleeds should be set to inches (3 mm). Prepare a mock-up to give the printer as a finished example. 4-2

53 Prepare to handoff your job QuarkXPress - collect for output Use the [Collect for Output] feature in QuarkXPress or the [Package] feature in other page layout applications to gather all fonts, graphics and images used in the job. This will ensure all elements will be collected when the job is delivered to the print provider. Figure 4-1. Collect for Output screen InDesign preflighting and packaging Preflighting Use the Preflight feature under the file menu to make sure all fonts, graphics and image links are present. Figure 4-2. Preflight settings Packaging Use the [Package] feature under the file menu to collect all fonts, graphics and images used in the job. This will ensure all elements will be collected when the job is delivered to your print provider. Instructions and contact information can also be included by the designer for the print provider. 4-3

54 Prepare to handoff your job Figure 4-3. InDesign packaging settings Preflighting PDF files In Adobe Acrobat 6 or higher you can use the Preflight tool, located in the Document menu, to create your own custom preflight profile or use one of the default profiles (e.g., List all potential problems or PDF/X-1a compliant). Neither of these are exactly ideal for digital print (especially since they both will flag RGB images if they are present) but they can still be very helpful. If you are not familiar with this tool you may want to talk with your print provider first. They may be able to provide you with a customized profile or walk you through the process of how to use the tool. Also, refer to the Adobe documentation provided with Acrobat. 4-4

55 5. Print your work What s inside... File formats supported Selecting your print settings General print settings For InDesign For QuarkXPress Acrobat Distiller settings Create PDFs using Acrobat Distiller Finishing 5-1

56 Print your work File formats supported PostScript Level 1, 2, and 3 Portable Document Format (PDF) version 1.3 and above Xerox VIPP TIFF (Tag Image File Format) Any color space (RGB, CMYK, CIELab Indexed, and PANTONE) There are several variable formats supported. Check with the print shop or Service Bureau for the preferred formats. Selecting your print settings General print settings If you send PostScript or PDF files to your printer (as opposed to supplying the original source files), use the following print settings in your page layout application. Use either the igen3 PPD or Acrobat Distiller PPD for the Printer Description setting. Print a composite file (not separations) Be sure the paper size in the Page Setup is the same as in the Print dialog box Set bleeds to in. (3 mm), if applicable Do not apply color management when printing Send all data (graphics and images) in binary format, when possible Images should be full resolution. Do not use sampling. Always download all fonts Always use PostScript Level 3 Set the Transparency setting to the highest setting Print settings for InDesign Use the following print settings for InDesign when sending files to the Xerox igen3 or when preparing PostScript files for PDF. When possible, print files to PostScript and use Acrobat Distiller for the most thorough control over how files are created. General Use either the igen3 PPD (supplied by your print provider) or the Acrobat Distiller PPD for your Printer Description (PPD). 5-2

57 Figure 5-1 InDesign general settings Print your work Setup Be sure the paper size under both the [Paper Size] in the Print Dialog box and the [Paper] in the Page Setup dialog box match to ensure your document prints correctly. Also check that the orientation is correct. Figure 5-2 InDesign setup settings 5-3

58 Print your work Marks and Bleeds If bleeds are used, in. (3 mm) is generally recommended for printing on the igen3 like most other printing systems. Figure 5-3 InDesign marks and bleeds settings Output Always print with Output Color set to [Composite Leave Unchanged] to prevent any color conversions. This allows the RIP to convert both RGB and CMYK objects to the igen3 instead of InDesign. Only use [Composite CMYK or RGB] if the preference is to have the entire job in one single color space. Do not use [Text as Black]. This will convert all color text to black. This feature should only be used for quick proofing. Do not use [Simulate Overprint]. This should be used for low end proofing only as it may convert spot colors to process. 5-4

59 Figure 5-4 InDesign output settings Print your work Graphics Use Send Data [All] for Graphics, Images. Always Download [Complete] fonts. In general, check [Download PPD Fonts] to ensure proper trapping and in case your print provider resident fonts are different than the fonts resident on the client station. Always use PostScript [Level 3]. Figure 5-5 InDesign graphics settings 5-5

60 Print your work Color Management Color Management will be grayed out if the Color is set to [Composite Leave Unchanged] in the Output window. If [Composite CMYK] is used for CMYK jobs, select [Document] for the source space and the appropriate output for the Print Space Profile. Figure 5-6 InDesign color management settings 5-6

61 Print your work Advanced Only enable OPI if your print provider requests it. Set the Transparency Flattener Preset to [High Resolution] for high-end output requirements. Use [Ignore Spread Overrides] if styles are thought to be set incorrectly. When checked, a single transparency flattener style will be applied to the document and will override all other flattening settings. Figure 5-7 InDesign advanced settings 5-7

62 Print your work Print settings for QuarkXPress Use the following print settings for QuarkXPress when sending files to the igen3 or when preparing PostScript files for PDF. When possible, print files to PostScript and use Acrobat Distiller for the most thorough control over how files are created. Layout Do NOT print with Separations. For duplex printing, select [Print Blank Pages]. This will ensure that chapters start on the right-hand page. If bleeds are used, in. (3 mm) is generally recommended for printing on the igen3 as with most other printing systems. Figure 5-8 QuarkXPress layout settings 5-8

63 Print your work Setup Use either the igen3 PPD (supplied by your print provider) or the Acrobat Distiller PPD for your Printer Description. Be sure the paper size under both the [Paper Size] in the Print Dialog box and the [Paper] in the Page Setup dialog box match to ensure your document prints correctly. Also check that the orientation is correct. Figure 5-9 QuarkXPress setup settings 5-9

64 Print your work When Blends are made with PANTONE colors in Quark 6, they will print as RGB when the Print Colors selection is set to [As Is]. To preserve PANTONE Blends, set Print Colors to [Device N]. Using [Device N] will, however, convert any RGB text, objects and images to CMYK. Output Always Print Colors [As Is] to maintain original source color. Using a setting such as [Composite CMYK] will convert any non-cmyk colors (e.g. RGB images and graphic elements) to the Composite CMYK profile selected under Profiles tab. Instead, allow the igen3 to convert all colors (RGB and CMYK) from their source spaces to the igen3 destination space to render the best output. Halftoning will be determined at the RIP. Figure 5-10 QuarkXPress output settings 5-10

65 Print your work Options Pictures Output should be set to [Normal] for high resolution printing. Always use [Binary] Data. Select Full Resolution TIFF Output. Figure 5-11 QuarkXPress options settings When creating PDF files from PostScript generated from QuarkXPress, be aware that Distiller v5 does not process OPI 2.0 comments correctly from QuarkXPress v5. This results in jumbled outlines for type in placed EPS files. If OPI is required, be sure to upgrade Distiller to v6. OPI Do not enable OPI unless instructed to do so by the print provider. Follow their recommendations. Figure 5-12 QuarkXPress OPI settings 5-11

66 Print your work Profiles The Separation and Composite profiles should be set to [None]. Do NOT use [Composite Simulates Separation] unless instructed to do so by the print provider. This feature is used for proofing to printers other than the final output device. One of the many benefits of the Xerox igen3 Digital Production Press is that proofs can be made on the same output device. Figure 5-13 QuarkXPress profiles settings Export PDF When Exporting files from InDesign or QuarkXPress you can use the following Acrobat Distiller recommendations. Using Acrobat Distiller will give you greater control over how the PDF is made. However, many prefer the ease of use with the Export feature. In QuarkXPress be sure to click on [Options...] to access all the available controls over PDF settings. You will want to check the options under the Job Options and the Output tab. Take special care to ensure the Color Output Type is set to [Composite] and Print Colors is set to [As Is]. The PDF options for InDesign are more similar to that of Distiller. Use the settings shown below under the Distiller section. 5-12

67 Print your work Create PDFs using Acrobat Distiller Create all PDF files using Acrobat Distiller when possible. Create PostScript from the source application using either the Xerox igen3 PPD (supplied by your print provider) or the Distiller PPD. Be sure to include all fonts. Be sure to use the Binary data format and include all fonts. Open this file with Acrobat Distiller to generate the PDF file. Do not use Save As features in PDF Writer/Maker, or the Mac OS X Save As PDF feature. Consult with your print provider for preferred Distiller settings or use the following custom igen3 Distiller recommended settings. Avoid compression where possible and use the Smooth Shading feature in Acrobat Distiller. Do NOT use the default Job Options or Adobe PDF settings (High Quality, PDF/X-1a, PDF/X-3, Press Quality, Smallest File Size and Standard). Create a custom job option set when creating files for the igen3. In some instances, PDF/X-1a Distiller settings may be appropriate. Acrobat Distiller settings Consult your print provider for preferred Distiller settings. If the print provider is not available, use the following recommended settings for high quality printing options. Open Acrobat Distiller and go to the Settings menu. If you have Acrobat Distiller v6, select [Edit: Adobe PDF Settings...]. For v5, select [Job Options...]. Create a custom set choosing the following settings and select [Save As...] using a new file name (suggest igen3 ). General The Optimize For Fast Web View feature may cause files to take longer to distill. Consult your print provider if this function is preferred on or off. To ensure that the orientation of the pages prints correctly, do not select the Auto-Rotate Pages feature. 5-13

68 Print your work Figure 5-14 Acrobat Distiller general settings Images Compression is generally not recommended so as to preserve the best image quality. Consult with your print provider if compression is needed and get their preferred settings. Figure 5-15 Acrobat Distiller images settings 5-14

69 Print your work Fonts If jobs fail while distilling, check the job in the PostScript file for missing fonts. The following settings recommend to cancel the job when fonts are missing to ensure the document prints correctly. To guarantee the font information is successfully included in the Adobe PDF file, the required fonts must reside either in the system folder of the computer or in the PostScript file. Figure 5-16 Acrobat Distiller fonts settings 5-15

70 Print your work Color The Settings File selection under Adobe Color Settings should always be set to [None] to turn off Color Management. Use of Color Management in Acrobat Distiller is not recommended. Figure 5-17 Acrobat Distiller color settings While version 6 of Distiller correctly processes OPI comments from Quark XPress, Distiller v5 does not process them correctly. Either disable the OPI active in the Print window or set Distiller s Preserve OPI Comments to [Off]. Advanced Many of the Advanced settings are dependent on preferences of your print provider. Always consult with them for best results. The Convert Gradients to Smooth Shades feature can help smooth vignettes/sweeps/gradients with Vector- based programs such as Adobe Illustrator or QuarkXPress. Using this feature with Microsoft Office jobs may or may not improve the job due to the way sweeps are generated in those applications. As a precautionary measure, use the Save Adobe PDF Settings Inside PDF File feature. The recipient of the PDF may be able to troubleshoot problem files more easily if the settings are included with the job. 5-16

71 Print your work Figure 5-18 Acrobat Distiller advanced settings PDF/X Generally, PDF/X-1a and PDF/X-3 settings should not be selected unless requested by the service provider. Figure 5-19 Acrobat Distiller PDF/X settings 5-17

72 Print your work Save Adobe PDF To create a custom set, open Acrobat Distiller and go to the Settings menu. If you have Acrobat Distiller v6, select [Edit: Adobe PDF Settings...]. For v5, select [Job Options...]. Make the desired selections and select [Save As...] using a new file name (suggest igen3 ). Distiller will save the file in the right place so it can be accessed as a new Job Option set. Figure 5-20 Acrobat Distiller screen 5-18

73 Print your work Finishing How the final design is finished is up to you. Virtually any finishing option that would be available for a commercial print job is a possibility. Coating and laminating As with traditional litho-printed pieces, coating and laminating are excellent ways to improve the durability of digital output for end uses such as direct mail, transport, or heavy usage. Choosing between coating and laminating is a trade-off between cost and the requirements of the piece. In general, laminating is 10 times the cost of coating, but provides much stronger protection. Optimal coating considerations: The paper type does affect coating performance. Coated, glossy stocks at weights above 148 gsm typically provided the best results. Uncoated stocks tend to absorb the coating material, and the roller used to apply the coating may warp lighter weight stocks. Optimal laminate considerations: Uncoated stocks yield a better laminate film to paper bond than coated stocks and they are more cost effective. Booklet making The production of saddle-stitched, folded, and possibly trimmed booklets is an important job type for the Xerox igen3 and the feature set makes it easy to do. Job programming at the front end enables the automatic imposition of pages into signatures with just a few keystrokes using pre-built templates. The system can deliver fully collated sets ready to be finished into booklets to the stacker. This finishing option is best suited to low page count publications. Keys to optimized quality: Most tests showed dry ink cracking on the paper fold. This can be avoided by designing the piece so that dry ink is not placed on the fold or minimized by pre-scoring the sheet and or laminating or UV coating the cover. Perfect binding Perfect binding is most often used for larger page counts, and is common in textbooks, software documentation, and paperback novels. The image will crack at the cover folds, with repeated use of the book. The best way to avoid this is to design the cover image to eliminate image in the cover fold areas if possible. Alternatively reverse creasing may yield acceptable results. 5-19

74 Print your work Tips for optimal binding strength: For body sheet design, a 2-3 mm image free gutter at the binding edge, if possible, will optimize bind force. For cover design, the inside surface should be free of image, where the cover interfaces to the spine of the book block plus 2-3 mm at front and back edges, to allow for good adhesive to substrate engagement. Toner in this area will yield a low bind force, as the adhesive doesn t bond well to it. Minimize image bleed into the spine as much as possible. Uncoated stock (or C1S for cover) will yield better adhesion characteristics. If coated stock is required, matte/silk versions have higher bond strength than gloss versions. Lightfastness In accelerated lightfastness testing, the igen3 prints are exposed to intense radiation that simulates about four years of typical office environment exposure or around 2 weeks in a south-facing window. Cyan, yellow and black dry inks are extremely stable and exhibit barely perceptively shifts in color. The magenta dry ink changes somewhat more, with a moderate loss of saturation. This compares favorably with lithographic inks, where magenta, cyan and black are relatively stable, while yellow fades almost completely away in similar tests. Durability For the most part, images will be durable and resistant to erasure. However, scratch resistance can vary by stock used. Depending on the end use, coatings may be needed to improve durability. Mailing operations guidelines Typical post office equipment includes friction feed mechanisms that may stress digital output. Uncoated stocks will perform better than coated stocks. Knowledgeable design and /or coating/ laminating of the piece can improve results. Certain postal processing steps may be avoided by following United States Postal Service pre-sort guidelines ( If bar coding is to be used, it is recommended that you print it with the address as part of the variable print job. In Europe, local postal services should be contacted for mail regulations. To ensure a successful mailing, especially for a large run, the process should be tested. In the United States, there is no charge for this testing by the USPS. 5-20

75 A. Appendix - Quick reference What s inside... All that you need to know to design and print your documents has been summarized in this section. Setup...before you begin Create...begin your design Print...preparing your output A-1

76 Appendix - Quick reference Setup... before you begin Color consistency Before you start your design, follow the recommendations below regarding prepress topics such as calibrating your monitor and determining the paper stock to use. These tips will help you design a document with the print results you want. To achieve greater predictability and consistency in the appearance of the printed output: Use the color preference settings recommended and used by the print provider. If the print provider is unavailable, apply the Adobe color settings shown in Figure A-1. to all of your Adobe applications. Since color management is always enabled, select the most common source space for both RGB and CMYK. Figure A-1. Recommended color settings Soft proofing If a standard CMYK space such as SWOP is the intended destination color space, you can display an on-screen preview of how your document s colors will look when printed from your desktop application. Be sure to calibrate and characterize your monitor monthly for best results. A-2

77 Appendix - Quick reference Paper size A list of supported media can be obtained from the printer or the Xerox igen3 Paper Guide. Printable sheets range in size from 7.0 in. x 7.0 in. (177.8 mm by mm) to in. x 20.5 in. (364 mm x mm) and the acceptable weight range is 16 lb. bond to 130 lb. cover (60 gsm bond to 350 gsm). If the press is configured with the Extra Large Paper Option, the maximum paper size is in. x 22.5 in. (364 mm x 572 mm). Paper guidelines Use brighter papers to produce images with higher contrast. True white papers print with the most natural looking skin tones. Smooth or coated papers produce sharp images and increase the appearance of glossiness. The best image quality is achieved with premium non-recycled papers. Design folds so that they run in the same direction as the paper grain. Use minimal ink coverage at the fold as cracking may occur with heavy ink coverage. Image size and bleeds Do not design jobs to be printed to the edge of the sheet. Maintain a minimum in. (3 mm) blank border around the edge of the paper. For bleeds use the traditional in. (3 mm) and trim to the desired finish size. Color gamut advantages Gray balance The Xerox igen3 can produce many colors that are outside the gamut of traditional SWOP offset systems such as vivid blues, deep and bright purples and brilliant magenta. Gray balance is dependant upon selections made at the printer. If you are creating gray colors with RGB or CMYK combinations, consult your print shop for the appropriate values needed to achieve good neutrals. A-3

78 Appendix - Quick reference Create... begin your design Use the following tips to make the best design selections for both text and graphics when printing to the igen3. Text Include all fonts in the file. Supported font types include PostScript Type 0, 1, 3, Open Type, True Type 42, Multiple Master, Kanji and more. Select fonts from the Font menu and not from the Style menu (bold, italic, etc.). Preserve text as a font; do not rasterize text in the application. Create solid black with 100% K only for the most dense black. For solid text, the type size should be a minimum of 2 point. For reverse type, the type size should be 3 point or higher. For tinted text, the type size should be a minimum of 4 point. For reverse type, the type size should be 6 point or higher. When using Kanji fonts in both positive and reverse/negative text, select a font size of 8 point or larger for best results. With smaller text, sans serif fonts are recommended. Text containing at least one ink of 100% C or M or K presents the best appearance with solid, rich colors. RGB solid text, such as 100% red, may reproduce as a tint. Define solid color text in CMYK if possible. Graphics Save graphics in PDF format for placement into page layout applications, when possible. Embed all fonts into graphic files. Colors for fine rules or small graphics, such as bullets and icons, print best when at least one color separation (except yellow) is set to a solid or near solid color (e.g., %). Spot colors (PANTONE ) Select PANTONE colors by choosing them from the PANTONE spot color library. They should be designated as spot colors and not as CMYK recipes. Do not change the name of PANTONE colors (for example, Pantone 106C to Sunshine Yellow or to Pantone 106C copy). When PANTONE colors are desired, refer to a printed press sample provided by the print shop. The print shop can supply CMYK values for PANTONE colors if you need to match colors in images. A-4

79 Appendix - Quick reference Best black The Xerox igen3 produces the most dense black with 100% K (black) only. Additional amounts of C or M or Y or CMY at 100% K will generally lighten blacks. When printing black on uncoated substrates, add a small amount of C, M or Y to improve uniformity and minimize paper texture. It will, however, produce a black slightly less dense than just 100% K only. Gray text, graphics, and gradients will be best produced if they are created with K only in a CMYK working space. Transparencies Files containing transparencies are flattened when printed to PostScript. In the page layout or design application, set the transparency raster/vector control to the highest setting to prevent objects from being rasterized. Use an overprint preview or flattener preview to determine how the objects will look when flattened. Tint uniformity Digital printing systems may show slight variations in color within large areas of mid-density tints. Color variation may also be emphasized with coated paper due to the smoothness of the paper. Add a texture or noise to large area mid-density tints to improve color uniformity and appearance, if needed. Design with smaller areas when using tints and/or design with colors that are less than 40% or greater than 70% in value. Gradients Use PostScript Level 3 format. Use a color change of 100% of at least one color separation for gradients 7.5 inches (19.5 cm) in length and a change of 50% for gradients 3.75 inches in length. Sometimes adding noise or a gaussian blur can improve a gradient in Photoshop. Saturated colors generally produce the smoothest blends, however, avoid creating gradients that blend from a very dark color to white. For gradients blending to white, set the same color to 0%. Do not use white. A-5

80 Appendix - Quick reference Images All images should be at their final resolution size of 300 dpi and placed in the page layout at 100%. Images can be in RGB, CMYK or grayscale color spaces. Embed the correct ICC source color space profile with each image saved. Save images in EPS or TIFF format. Use an EPS format to preserve colors that may otherwise be converted by an application such as Microsoft PowerPoint or Quark. Do not use JPEG or LZW compression. If sampling is required (although discouraged), bicubic should be used. Total ink and dot gain The Xerox igen3 is designed to expect a total ink limit of 325% and the traditional commercial print amount of dot gain. No special considerations are necessary. Variable data Designs specifically created for variable printing require special considerations. Consult with your print provider before you begin your design. A-6

81 Appendix - Quick reference Print... preparing your output Preflight checklist...are you ready? Use the following tips when preparing for output to the igen3. Trapping For best results, apply trapping at the printer and not in the application. Avoid instances where trapping to gradients is required (the change in color may not reproduce well). Collect for output packaging File formats for printing Print settings Ensure that all graphics and images are in their final size, 100% at 300 dpi. Rotate, scale and edit images and graphics prior to placing them in page layout applications. Deliver all source files to the printer: fonts, graphics, images and layout documents (even for PostScript or PDF files when possible). Image file formats should be EPS or TIFF (not JPEG or TIFF with LZW compression). All spot colors should be designated as spot colors and not as CMYK recipes. Spell check your document. Remove all locally stylized fonts and mixed font types. Remove any trapping (allow the printer to do this). All bleeds should be set to in. (3 mm). Prepare a mock-up to give the printer as a finished example. Use the Collect for Output or Package feature in the page layout application to gather all fonts, graphics and images used in the job. This will ensure all elements are delivered to the print provider. The Xerox igen3 accepts a variety of file formats for printing including PostScript 1, 2, 3, PDF/Acrobat, Xerox VIPP and more. If you send PostScript or PDF files to your printer (as opposed to supplying the original source files), use the following print settings in your page layout application: Use either the igen3 PPD or Acrobat Distiller PPD for the Printer Description setting. Print a composite file (not separations). Be sure the paper size in the Page Setup is the same as in the Print dialog box. Set bleeds to in. (3 mm), if applicable. Do not apply color management when printing. Send all data (graphics and images) in binary format, when possible. Images should be full resolution. Do not use sampling. A-7

82 Appendix - Quick reference Always download all fonts. Always use PostScript Level 3. Set the Transparency setting to the highest setting. PDF files Create all PDF files using Acrobat Distiller. Do not use PDF Writer/Maker or the Mac OS X Save As PDF feature. Create PostScript from the source application using either the Xerox igen3 PPD (supplied by your print provider) or the Distiller PPD. Be sure to include all fonts. Consult with your print provider for preferred Distiller settings or use the custom igen3 Distiller settings recommended in Chapter 4, Application setups. Avoid compression where possible and use the Smooth Shading feature in Acrobat Distiller. Imposition Basic imposition can be performed by the RIP of the igen3. Your print provider can work with you on setting up for multi-up jobs. If you plan to use binding, leave ample room for the gutter. Finishing How the final design is finished is up to you. Virtually any finishing option that would be available for a commercial print job is a possibility. A variety of coatings and varnishes are available. Consult with your print provider about specific options offered at their shop. Booklet making and/or perfect binding may be possible depending on your print shop s finishing options. Talk with them ahead of time to clarify what choices are available. To optimize binding strength, avoid ink coverage in the binding area and use uncoated or matte stocks. Minimize or avoid ink coverage at the folds, if possible, as dry ink may crack. A-8

83 Index A Acrobat Distiller 2-6, 5-13, A-8 color management 5-16 PDF settings 5-18 settings 5-13 Automatic Picture Replacement (APR) 3-21 B binary data format 5-13 binding 4-2, A-8 black 3-5 bleeds 4-2, 5-4, A-3, A-7 blends 3-7 brightness 1-3 C calibrate monitor A-2 CMYK color spaces 2-2 coated papers 1-4 color consistency 2-2, 2-5, A-2 color gamut A-3 color management A-7 color settings 2-5, A-2 color spaces 2-2 color variation 3-5 compression 3-17, A-8 D designing VI documents 3-21 direct marketing 3-20 dot gain A-6 E edges 3-5 embedded profile 3-16 EPS file format 3-12 Index-1

84 EPS format A-6 Export feature 5-12 Export feature in FreeHand 3-11 Extra Large Paper Option 1-7, A-3 F file formats for printing A-7 file formats supported 5-2 finish 1-3 finishing 5-19, A-8 flattener preview A-5 font types 3-2, 4-2, A-4, A-7 formation 1-5 FreeHand 2-7 G gradients 3-7, 4-2, A-5, A-7 graphic design A-4 gray balance 3-4, A-3 grayscale color spaces 3-15 I ICC profiles 3-14, 3-16, 3-17 igen3 benefits vii specifications vii Illustrator 2-6 image file formats 4-2, A-7 image size A-3 images 3-15 imposition 4-2, A-8 impurities 1-6 InDesign 2-6 color management 5-6 OPI 5-7 print settings 5-2 ink and dot gain 3-17 J jagged edges 3-6 Index-2

85 K K (black) 3-5, A-5 Kanji fonts 3-2, 3-3, A-4 kerning 3-21 L lines 3-7 LZW compression 3-21 M mass customization 3-20 Microsoft Office applications 3-19 gradients 3-19 images 3-19 O opacity 1-6 P packaging 4-3 PANTONE colors 3-4, A-4 paper finish categories 1-4 paper guidelines and sizes A-3 paper properties 1-3 paper specifications 1-7 PDF files 3-10, A-8 PDF/X-1a and PDF/X-3 settings 5-17 personalization 3-20 Photoshop 2-6 image quality 3-16 PostScript A-7, A-8 Preflight feature 4-3, 4-4 prepress A-2 print settings 5-2 printing black 3-5, A-5 Q Quark Xpress collect for output 4-3 color management 2-8 OPI 5-11 Index-3

86 print settings 5-8 R rasterization A-5 recycled paper 1-6 resolution 3-21, A-7 resolution size A-6 resolution, recommended 3-16 RGB color spaces 2-3 RIP 3-21 S sans serif fonts 3-3 saturated colors 3-7 saturated text 3-2 saving graphic files 3-10 saving Photoshop files 3-12 screen frequency 3-6 shade 1-6 Sheffield smoothness 1-4 soft proofing 2-9, A-2 solid black text 3-2 solid color text 3-2 source color space (CSA) 3-17, A-6 spot colors 3-4, 4-2, A-4, A-7 stock size and weight specifications 1-7 stock coating categories 1-5 stock properties brightness 1-3 finish 1-3 formation 1-5 impurities 1-6 opacity 1-6 shade 1-6 stock recommendations 1-7 stocks not recommended 1-8 SWOP A-3 T text design A-4 texture A-5 TIFF files 3-14 tinted text 3-3 Index-4

87 tints A-5 transparencies A-5 transparent objects 3-8 trapping 4-2, A-7 Truetype fonts 3-21 V variable data printing (VDP) 3-20 variable imposition 3-21 Variable Print Specification (VPS) 3-21 variable printing 3-20, A-6 versioning 3-20 VI languages 3-22 Index-5

88 Index-6

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90 2005 Xerox Corporation. Xerox and igen3 are trademarks of Xerox Corporation.