InDesign Graphics and Printing Guide

Transcription

1 InDesign Graphics and Printing Guide InDesign Graphics / Managing graphics links About links and embedded graphics When you place a graphic, you will see a screen-resolution version of the file in the layout, so that you can view and position it, but the actual graphic file may be either linked or embedded. Linked artwork is connected to, but remains independent of, the document, resulting in a smaller document. You can modify linked artwork using transformation tools and effects; however, you cannot select and edit individual components in the artwork. You can use the linked graphic many times without significantly increasing the size of the document; you can also update all links at once. When you export or print, the original graphic is retrieved, creating the final output from the full resolution of the originals. Embedded artwork is copied into the document at full resolution, resulting in a larger document. You can control versions and update the file whenever you like; as long as the artwork is embedded, your document is self-sufficient. To determine if artwork is linked or embedded, or change its status from one to the other, use the Links panel. If the bitmap image you place is 48K or smaller, InDesign automatically embeds the full resolution image instead of the screen-resolution version in your layout. InDesign displays these images in the Links panel, so that you can control versions and update the file whenever you like; however, the link is not necessary for optimal output. Note: If you move a document to another folder or disk (for example, if you take it to a service provider), be sure you also move the linked graphics files; they are not stored inside the document. You can copy all related files automatically, using the Preflight and Package features. This message appears when opening a file if you have lost the relationship between the InDesign document and the linked graphics 1

2 Links panel overview All files placed in a document are listed in the Links panel. This includes both local (on disk) files and assets that are managed on a server. However, files that are pasted from a website in Internet Explorer do not display in this panel. Note: If you re working with files from an Adobe Version Cue project, the Links panel displays additional file information. Links panel A. Linked graphic file name B. Page containing linked graphic C. Embedded-link icon D. Modified-link icon E. Image from linked.indd file F. Missing-link icon G. Layer Visibility Override icon H. Adobe Stock Photos Comp icon I. Relink button J. Go To Link button K. Update Link button L. Edit Original button A linked file can appear in the Links panel in any of the following ways: Up-to-date An up-to-date file displays only the file s name and its page in the document. Modified This icon means that the version of the file on disk is more recent than the version in your document. For example, this icon will appear if you import a Photoshop graphic into InDesign, and then another artist edits and saves the original graphic in Photoshop. Missing The graphic is no longer in the location from which it was imported, although it may still exist somewhere. This can happen if someone moves the original file to a different folder or server after it s been imported into an InDesign document. You can t know whether a missing file is up to date until its original is located. If you print or export a document when this icon is displayed, the file may not print or export at full resolution. Embedded Embedding the contents of a linked file suspends management operations for that link. If the selected link is currently in an edit in place operation, this option is not enabled. Unembedding the file restores management operations to the link. 2

3 Perform a preflight check Before printing or handing off the document to a service provider, you can perform a quality check on the document. Preflight is the industry-standard term for this process. The preflight utility warns of problems that may prevent a document or book from imaging as desired, such as missing files or fonts. It also provides helpful information about a document or book, such as the inks it uses, the first page a font appears on, and print settings. Note: During preflight, InDesign cannot check the ICC profiles, color spaces, or images for placed PDF pages or placed InDesign files. For a video on preparing files for output, see To view a printing guide for prepress providers (PDF), see 1. Do one of the following: For a document, choose File > Preflight. For a book, in the Book panel menu choose Preflight Book or Preflight Selected Documents, depending on whether you want to check the entire book or only specific documents. The preflight utility checks content on hidden and nonprinting layers as well. The utility ignores pasteboard items; however, fonts applied to text on the pasteboard are included in the summary. 2. Using the Summary area in the Preflight dialog box as a guide, check fonts, links, graphics, and other information. An alert icon indicates problem areas. The Summary area also displays the page number of any transparent object in a document, or the number of documents with transparent objects in a book. 3. To show information for all layers, including those for which Show Layer and Print Layer have been turned off, select Show Data For Hidden And Non- Printing Document Layers on the Summary area. 4. To list only missing or incomplete fonts, missing or modified links, and RGB graphics, select Show Problems Only on either the Fonts area or the Links And Images area. 5. Click Report at any time to save the current information in each of the preflight sections to a text file, which you can open in a text editor. 3

4 Package files You can gather the files you ve used, including fonts and linked graphics, for easy handoff to a service provider. When you package a file, you create a folder that contains the InDesign document (or documents in a book file), any necessary fonts, linked graphics, text files, and a customized report. This report, which is saved as a text file, includes the information in the Printing Instructions dialog box; a list of all used fonts, links, and inks required to print the document; and print settings. You don t need to perform a final preflight check before packaging. InDesign performs an up-to-date preflight check. If problem areas are detected, a dialog box appears. You can also give your service provider a composite PDF file made from your document or a PostScript file. 1. Do one of the following to open the Package dialog box: Choose File > Package. In the Preflight dialog box, click Package. In the Book panel menu, choose Package Book or Package Selected Documents, depending on whether all, some, or none of the documents are selected in the Book panel. 2. If a dialog box appears alerting you to possible problems, do one of the following: Click View Info to open the Preflight dialog box where you can correct problems or get further information. When you re satisfied with the document, begin the packaging process again. Click Continue to begin packaging. 3. Fill in the printing instructions. The filename you type is the name of the report that accompanies all other packaging files. 4. Click Continue, and then specify a location in which to save all packaging files. 5. Select the following, as needed: Copy Fonts (Except CJK) Copies all necessary font files, not the entire typeface. Selecting this option does not copy CJK (Chinese, Japanese, Korean) fonts. Copy Linked Graphics Copies linked graphics files to package folder location. Update Graphic Links In Package Changes graphic links to the package folder location. Include Fonts And Links From Hidden And Non-Printing Layers Packages the objects located on hidden layers and layers for which the Print Layer option is turned off. View Report Opens the printing instructions report in a text editor immediately after packaging. To edit the printing instructions before completing the packaging process, click the Instructions button. 4

5 Effects panel overview Use the Effects panel (Window > Effects) to specify the opacity and blending mode of objects and groups, isolate blending to a particular group, knock out objects inside a group, or apply a transparency effect. Add and edit transparency effects in the Effects panel A. Blending mode B. Levels C. FX icon D. Clear effects E. FX button Blending Mode Specifies how colors in transparent objects interact with the objects behind them. (See Specify how colors blend.) Opacity Determines the opacity of an object, stroke, fill, or text. (See Set the opacity of an object.) Level Tells you the Object, Stroke, Fill, and Text opacity settings of the object, as well as whether transparency effects have been applied. Click the triangle to the left of the word Object (or Group or Graphic) to hide or display these level settings. The FX icon appears on a level after you apply transparency settings there, and you can double-click the FX icon to edit the settings. Isolate Blending Applies a blending mode to a selected group of objects. (See Isolate blending modes.) Knockout Group Makes the opacity and blending attributes of every object in a group knock out, or block out, underlying objects in the group. (See Knock out objects within a group.) Clear All button Clears effects stroke, fill, or text from an object, sets the blend mode to Normal, and changes the Opacity setting to 100% throughout the object. FX button Displays a list of transparency effects. (See Apply transparency effects.) 5

6 Transparency effects InDesign offers nine transparency effects. Many of the settings and options for creating these effects are similar. Effects A. Drop Shadow B. Inner Shadow C. Outer Glow D. Inner Glow E. Bevel and Emboss F. Satin G. Basic Feather H. Directional Feather I. Gradient Feather Drop Shadow Adds a shadow that falls behind the object, stroke, fill, or text. Inner Shadow Adds a shadow that falls just inside the edges of the object, stroke, fill, or text, giving it a recessed appearance. Outer Glow and Inner Glow Add glows that emanate from the outside or inside edges of the object, stroke, fill, or text. Bevel and Emboss Adds various combinations of highlights and shadows to give text and images a three-dimensional appearance. Satin Adds interior shading that makes a satiny finish. Basic Feather, Directional Feather, and Gradient Feather Soften the edges of an object by fading them to transparent. Note: In addition to the descriptions covered here, see Common transparency settings and options. 6

7 Creating separations To reproduce color and continuous-tone images, printers usually separate artwork into four plates one plate for each of the cyan (C), yellow (Y), magenta (M), and black (K) portions of the image. When inked with the appropriate color and printed in register with one another, these colors combine to reproduce the original artwork. The process of dividing the image into two or more colors is called color separating, and the films from which the plates are created are called the separations. Composite (left) and separations (right) Separation workflows Adobe InDesign CS3 supports two common PostScript workflows; the main difference is where separations are created at the host computer (the system using InDesign and the printer driver), or at the output device s RIP (raster image processor). Another alternative is a PDF workflow. Host-based separations In the traditional host-based, preseparated workflow, InDesign creates PostScript information for each of the separations required for the document, and sends that information to the output device. In RIP separations In the newer RIP-based workflow, a new generation of PostScript RIPs performs color separations, trapping, and even color management at the RIP, leaving the host computer free to perform other tasks. This approach takes less time for InDesign to generate the file, and minimizes the amount of data transmitted for any given print job. For example, instead of sending PostScript information for four or more pages to print host-based color separations, InDesign sends the PostScript information for a single composite PostScript file for processing in the RIP. For a video on preparing files for output, see To view a printing guide for prepress providers (PDF), see 7

8 Printing a composite You can print a color or grayscale composite proof to check colors in your document. A composite image can help you design and proof your layout before you print final (and costly) separations. When InDesign prints a composite, it prints all of the colors used in the file on one plate, regardless of whether any individual colors are selected. Consider the following issues when printing composites: While no proof will give you an exact representation of your final output, you can greatly improve its accuracy by calibrating all the devices you use to create a document (such as scanners, monitors, and printers). If the devices are calibrated, the color management system can help you get predictable and consistent color. Any overprinting options that you ve selected in the document will print correctly on a printer that supports overprinting. Since most desktop printers don t support overprinting, you can simulate the effects of overprinting by selecting Simulate Overprint in the Output section of the Print dialog box. Important: Selecting Simulate Overprint will convert spot colors to process colors for printing. If you intend to use a file for separations on a RIP, or for final output, do not select this option. When you print to a black-and-white printer, InDesign produces a grayscale composite version of the pages. If the document contains color, InDesign prints visually correct grays to simulate that color. For example, the gray that simulates a 20% tint of yellow is lighter than a 20% tint of black, since yellow is visually lighter than black. When you print a book with chapters containing conflicting spot inks or trap styles, you can instruct InDesign to synchronize settings with the master document. If you re using color management with the Book feature, make sure that each document in the book uses the same color management settings in the Color Settings dialog box. Note: Remember that, like monitors, color printers vary greatly in color reproduction quality; thus, proofs from your service provider are the best way to verify how the finished piece will look. 8

9 A4 folded leaflet layout guide A4 is 297mm wide. Folds are at 297/3 intervals, that is 99mm and 198mm Fold at 99mm --> Fold at 198mm --> INSIDE FLAP BACK < 20mm > < 20mm > FRONT COVER <--- 10mm 89mm --> <-- 109mm 188mm --> <-- 208mm 287mm --> Margins To avoid unsightly cut off by a laser printer I have set all the margins to 10mm. I have then set the number of columns to 3 (Layout>Margins and columns). To centre each panel within the folds I have set the space between columns to 20mm, to allow a 10mm margin all round on every panel. A tri-fold leaflet folds to the centre from both ends The result is perfectly centred panels A4 is 297mm wide. Folds are at 297/3 intervals, that is 99mm and 198mm Fold at 99mm --> Fold at 198mm --> INSIDE LEFT INSIDE MIDDLE < 20mm > < 20mm > INSIDE RIGHT <--- 10mm 89mm --> <-- 109mm 188mm --> <-- 208mm 287mm --> 9

10 Degree Schemes Offered Film Studies (SH, JH, CH) Film & Cultural Studies (SH) Film & Media Studies (SH) Media Studies (SH, JH, CH) Media & Cultural Studies (SH) Creative & Media Studies (SH) Cultural Studies in Geography (SH, JH, CH) The JH or CH degrees can be combined with courses such as Anthropology, Archaeology, Australian Studies, Classics, English, Geography, History, Islamic Studies, IT, Management, Philosophy, Religious Studies or Welsh. Admissions requirements SH Single Honours JH Joint Honours CH Combined Honours No specific A-level or equivalent qualifications are required for Film Studies or Media Studies although a background in English, Media Studies, Cultural Studies, Geography or Sociology would be an advantage. We welcome applications from nontraditional students. Each application is considered on an individual basis. Lampeter a highly attractive alternative to the large metropolitan universities. Located in West Wales, we offer: Beautiful scenic location Small attractive campus Guaranteed campus accommodation Easy access to modern IT facilities Stimulating and supportive learning environment Research active staff An emphasis on key skills and employability Lively Students' Union Wide range of shopping facilities Excellent opportunities for outdoor pursuits For further information please contact: Ms Margaret Roberts, Course Convenor Tel: m.roberts@lamp.ac.uk Dr Jane Norris-Hill, Admissions Tutor Tel: norris@lamp.ac.uk Address: Centre for Culture and Media, The Arts Building, University of Wales, Lampeter, Ceredigion, SA48 7ED. Website: Centre for Culture and Media University of Wales Lampeter Film and Media Degree Courses FM leaflet CS3.indd 1 4/12/09 10:52:38 Film Studies offers students the opportunity to study cultural, historic and economic aspects of film alongside a wide range of specialist practical and theoretical film modules. The course equips students for various employment opportunities in film and media related industries. Key Elements of Film Studies Introduction to Film Silent Cinema of the World Film and British Identities Stars and Performance City and Film Australian Film Sexuality and Performance Gender in Hollywood Film Digital Video Production Dissertation. Sir Anthony Hopkins is an Honorary Fellow of the University Media Studies combines technical skills in video production, publishing and web design with academically challenging and innovative modules. This well resourced course aims to equip students for a range of employment opportunities in the media and related industries. Key elements of Media Studies Introduction to Media Digital Video Production and Editing Creative Writing Creative Computing Creative Web Page Design Understanding Television and its Audiences Culture and Media in Everyday Life Encompassing Representations Cultural Technologies and Interpretations Introduction to Journalism Perspectives on the Media. Work experience During their studies students are encouraged to gain practical work experience. For example, students have worked with the Brith Gof Theatre Company, which is resident at Lampeter, created web sites for external clients and worked on projects with TV production companies. Facilities As part of the on-going expansion of the Film and Media Studies facilities, the University has invested in 20-seat Apple G4 laboratory Dedicated sound suite Film viewing facility Purpose built Media Centre Video conferencing suite Television studio Digital video editing suite Production gallery Subtitling training suite Digital video and still cameras Creative computing laboratory Industry standard software FM leaflet CS3.indd 2 4/12/09 10:52:38 10