Chapter 31: Printing Documents 705 l Crop Marks: These are lines at the corners of the page that tell a commercial printer where the page boundaries are, and thus to where the paper is trimmed. l Bleed Marks: These add a very thin box around your page that shows the bleed area — where you expect items to print into, even though they’re past the page boundary. (A bleed is an object that you want to be cut at the page boundary; the object needs to over- shoot that boundary in case, during printing, the page is not trimmed exactly where it should be. Normally, 0p9 (9 points), or 0.125 inches, is sufficient area for a bleed. You set the bleed area in the Marks and Bleed pane, which I cover in the next section. l Registration Marks: These are the cross-hair symbols used to ensure that the color nega- tives are properly aligned on top of each other when combined to create a color proof, and to make sure that the colors are not misregistered on the final pages when they are lined up on a printing press. l Color Bars: These print the CMYK colors and tints so that a commercial printer can quickly check during printing whether ink is under- or oversaturated — the shades could be too light or dark. The CMYK colors also help a commercial printer know which color a particular negative is for (after all, negatives are produced using transparent film with black images). l Page Information: This lists the file name and page number. If a printer has options for printer’s marks, they display in the Type popup menu, but most simply have one option: Default. You can also adjust the thickness of the printer’s marks using the Weight popup menu settings of 0.125, 0.25, and 0.5 points; the default is 0.25 points (a hairline rule). You can also control the offset of crop marks from the page corners by adjusting the Offset value; the default of 0.833 inches (6 points) usually suffices. For all of these, check with your service bureau. Because printer’s marks print outside the page, your paper size may not be large enough to print the printer’s marks. For example, if your page is 8 1 ⁄ 2 × 11 inches and your paper is the same size, no room is available for the printer’s marks. (The page preview subpane on the left of the Print dia- log box shows you whether printer’s marks fall outside the page’s boundaries.) Be sure that your paper size is at least 1 inch wider and taller than your page size if you use printer’s marks. Note When outputting PDF files, InDesign is smart enough to automatically increase the paper size to add room for the printer’s marks. n Bleeds and slugs The Bleed and Slug area of the Marks and Bleed pane controls how materials print past the page boundary. A bleed is used when you want a picture, color, or text to go right to the edge of the paper. Because slight variation on positioning occurs when you print because the paper moves mechani- cally through rollers and might move slightly during transit, publishers have any to-the-edge mate- rials actually print beyond the edge so that there are never any gaps. It’s essentially a safety margin. A normal bleed margin would be 0p9 ( 1 ⁄ 8 inch), though you can make it larger if you want. 43_607169-ch31.indd 70543_607169-ch31.indd 705 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 706 Tip You can control whether all bleed margins are changed if any of them are changed by clicking the Make All Settings the Same iconic button: If the chain icon is broken, each can be adjusted separately; if the chain icon is unbroken, changing one causes the others to change automatically. Click the button to toggle between the two behaviors. n A slug is an area beyond the bleed area in which you want printer’s marks to appear. The reader never sees this, but the staff at the service bureau or commercial printer does, and it helps them make sure they have the right pages, colors, and so on. As is the bleed, the slug area is trimmed off when the pages are bound into a magazine, a newspaper, or whatever. (The word slug is an old newspaper term for this identifying information, based on the lead slug once used for this purpose on old printing presses.) The purpose is to ensure that enough room exists for all the printer’s marks to appear between the bleed area and the edges of the page. Otherwise, InDesign does the best it can. It’s best to define your bleed and slug areas in your document itself when you create the document in the New Document dialog box (choose File ➪ New ➪ Document or press Ô+N or Ctrl+N), as covered in Chapter 4. You can also use the Document Setup dialog box (choose File ➪ Document Setup or press Option+Ô+P or Ctrl+Alt+P). The two dialog boxes have the same options; if they don’t show the Bleed and Slug section, click More Options to see them. However, if you didn’t define your bleeds previously, you can do so in the Print dialog box’s Marks and Bleed pane. You can also override those document settings here. To use the document settings, select the Use Document Bleed Settings option. Otherwise, type in a bleed area using the Top, Bottom, Inside, and Outside fields. (The Inside and Outside fields are labeled Left and Right, respectively, in a document composed of single pages rather than facing pages.) If you want the bleed area to be the same on all four sides, click the broken-chain button to the right of the Top field; it becomes a solid chain, indicating that all four fields have the same value if any is modified. Any bleed area is indicated in red in the page preview subpane at the bottom left. If you want to set the slug area, select the Include Slug Area option. InDesign reserves any slug area defined in the New Document or Document Setup dialog box. You cannot set up the slug area in the Print dialog box. The Output pane The next pane is the Output pane, which controls the processing of colors and inks on imageset- ters, platesetters, and commercial printing equipment. You definitely want to check these settings with your service bureau. For proof printing, such as to a laser printer or inkjet printer, the only option that you need to worry about is the Color popup menu, shown in Figure 31.4. Caution These options should be specified in coordination with your service bureau and commercial printer — they can really mess up your printing if they’re set incorrectly. n 43_607169-ch31.indd 70643_607169-ch31.indd 706 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 31: Printing Documents 707 FIGURE 31.4 The Output pane of the Print dialog box Here’s what the options do: l Color: Use this popup menu to choose how you want the document to print. Your options are Composite Leave Unchanged, Composite Gray, Composite RGB, Composite CMYK, Separations, and In-RIP Separations. (RIP stands for raster-image processor, the device in a printer or imagesetter that converts lines, curves, colors, and pictures into the tiny dots that make up printed output.) The Composite menu options are meant for proofing devices such as inkjets and laser printers. Most such printers are black-and-white or CMYK, so you usually choose Composite Gray or Composite CMYK. Choose Composite RGB for documents output to PDF format for display on-screen. Composite Leave Unchanged is meant for proofing printers that support specialty ink swatches such as Pantone; very few do. (If your docu- ment uses colors such as Pantone colors, you typically pick Composite CMYK, and your printer approximates the Pantone colors. Choose Composite Leave Unchanged only if your proofing printer has actual Pantone inks.) Choose Separations if you’re printing to an imagesetter to create film negatives or to a pla- tesetter to create color plates. If your output device supports in-RIP separations — in which the device creates the separate color plates instead of having InDesign do it — choose In-RIP Separations. (Note that only a few printers’ PPDs support this option.) 43_607169-ch31.indd 70743_607169-ch31.indd 707 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 708 l Text as Black: If you select this check box, text appears in pure black, instead of being converted to gray or printed in a color (even if you apply a color to the text). This can make text more readable in a proof copy. l Trapping: Use this popup menu to select how color trapping is handled. (It is grayed out if Separations or In-RIP Separations are not selected in the Color popup menu.) The choices are Off, Application Built-In (meaning, as set in InDesign), and Adobe In-RIP (available only for printers that support Adobe’s in-RIP separations technology). Note At this point, the publishing world has not fully standardized on PostScript Level 3 printing language or default trapping and color technologies. Therefore, you’ll likely choose the standard Separations option that uses what- ever settings you created in InDesign, or you’ll choose the Off option and let your service bureau manage trap- ping directly. Check with your service bureau. n l Flip: Use this popup menu and the associated Negative option to determine how the file prints to film negatives or plates. Service bureaus and commercial printers have different requirements based on the technology they use. They tend to use language such as right reading, emulsion side up, which can be hard to translate to InDesign’s Flip settings. Type on the page is right reading when the photosensitive layer is facing you and you can read the text. Horizontally flipping the page makes it wrong reading (type is readable when the photosensitive layer is facing away from you). Check with your service bureau as to whether and how you should flip the output. Pages printed on film are often printed using the Horizontal & Vertical option in the Flip popup menu. l Negative: Selecting this check box creates a photographic negative of the page, which some commercial printers may request. This option is available only if Composite Gray, Separations, or In-RIP Separations are chosen in the Color popup menu. l Screening: This popup menu works differently depending on whether you choose Composite Gray or one of the separations options in the Color popup menu: l If you choose Composite Gray in the Color popup menu, your Screen popup menu choices are Default and Custom. If you choose Custom, you can specify the preferred line screen frequency and angle at the bottom of the pane using the Frequency and Angle fields. (See the sidebar “What lpi and dpi Mean” for details on line screens, and the section “Adjusting screen angles,” later in this chapter, for more details on screen angles.) l If you choose Separations or In-RIP Separations in the Color popup menu, you get a series of options that vary based on the selected printer and PPD, but all show an lpi setting and a dpi setting. (See the sidebar on lpi and dpi in this chapter for more about these.) And the Frequency and Angle fields at the bottom of the pane display very pre- cise angles optimized for the selected output device based on the chosen lpi/dpi set- tings. Although you can change the Frequency and Angle fields, you shouldn’t. The Inks section of the pane lets you see the frequency and angle settings for selected colors; you change a specific color plate’s settings by first selecting the color and then altering the Frequency and Angle fields. You can also disable output of specific color plates by clicking the printer icons to the left of the colors — a red line is drawn through the icon for disabled plates — as well as con- trol color plate output by clicking Ink Manager, which is covered later in this chapter. 43_607169-ch31.indd 70843_607169-ch31.indd 708 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 31: Printing Documents 709 The smallest dots on the physical output — paper, film, or press plate — are measured as dots per inch (dpi) and have a fixed size determined by the output device: a laser printer, imagesetter, or digital plate- maker. An output device typically supports 600 to 3600 dpi, dots that are too small to reproduce on an offset press. To create a continuous-tone image that can be reproduced with ink on a press, these fixed- sized dots are combined to form much larger, variable-sized dots called a line screen, measured as lines per inch (lpi). An image’s line screen typically ranges from 80 lpi for a photo on newsprint to 250 lpi for high-end color art prints on coated paper. Lines per inch specifies, in essence, the grid through which an image is filtered, not the size of the spots that make it up. Thus, a 100-lpi image with variably sized dots appears finer than a 100-dpi image. The figure shows an example, with a fixed-dot arrow at left and a variably sized–dot arrow at right. The output device’s dpi capabilities thus have a bearing on the lpi capabilities, and lpi is typically how a production person thinks of the desired output quality. A 300-dpi laser printer can achieve about 60-lpi resolution; a 1270-dpi imagesetter can achieve about 120-lpi resolution; and a 2540-dpi imag- esetter about 200-lpi resolution. Resolutions of less than 100 lpi are considered coarse, and resolutions of more than 120 lpi are considered fine. However, there’s more to choosing an lpi setting than knowing your output device’s top resolution. An often overlooked issue is the type of paper the material is printed on. Smoother paper (such as glossy- coated or super-calendared) can handle finer halftone spots because the paper’s coating (also called its finish) minimizes ink bleeding. Standard office paper, such as that used in photocopiers and laser print- ers, is rougher and has some bleed that is usually noticeable only if you write on it with markers. Newsprint is very rough and has a heavy bleed. Typically, newspaper images are printed at 85 to 90 lpi; newsletter images on standard office paper print at 100 to 110 lpi; magazine images print at 120 to 150 lpi; and calendars and coffee-table art books print at 150 to 200 lpi. Other factors affecting lpi include the type of printing press and the type of ink used. Your printer rep- resentative should advise you on preferred settings. If you output your document from your computer directly to film negatives (rather than to photographic paper that is then shot to create negatives), inform your printer representative. Outputting to negatives allows a higher lpi than outputting to paper because negatives created photographically cannot accu- rately reproduce the fine resolution that negatives output directly on an imagesetter have. (If, for exam- ple, you output to 120 lpi on paper and then create a photographic negative, even the slightest change in the camera’s focus makes the fine dots blurry. Outputting straight to negatives avoids this problem.) Printer representatives often assume that you’re outputting to paper and base their advised lpi settings on this assumption. What lpi and dpi Mean 43_607169-ch31.indd 70943_607169-ch31.indd 709 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 710 Selecting the Simulate Overprint check box at the bottom of the Output pane lets InDesign over- print colors for printers that normally don’t support this feature. (You would set an object to over- print another by selecting one of the Overprint options in the Attributes panel, as Chapter 29 explains.) This option is available only if the Color popup menu is set to Composite Gray, Composite CMYK, or Composite RGB. The Graphics pane The Graphics pane controls how graphics are printed and how fonts are downloaded. The options here are meant for professional printing, such as when you send your files to imagesetters, mean- ing that you’re working with a service bureau or in-house printing department. Your first option is the Send Data popup menu in the Images section. It has four options: All, Optimized Subsampling, Proxy (a low-resolution, 72-dpi version), and None. The Optimized Subsampling and Proxy options are meant to increase the speed of proof prints, with Proxy being the fastest. The None option is handy for quick proofs meant to focus on the layout and the text. The Fonts options require that you understand how your output device is configured to handle fonts. Be sure to ask your service bureau what options it prefers. Here are the options available: l Download: This popup menu specifies how fonts are downloaded to the printer, some- thing you may need to do if the printer doesn’t have its own store of fonts for use in print- ing text correctly. There are three choices: l Subset: Normally, when printing to a local printer, choose the Subset option, which sends font data to the printer as fonts are used. This means that if you use just one character of a font on a page, only that character is sent for that page, and if more characters are used on later pages, they are sent at that time. This is an efficient way to send font data to printers that don’t have a lot of memory or hard drive space to store complete font information for many typefaces. l Complete: If you’re printing to a device that has a lot of font memory — or if your document has many pages and uses a font in bits and pieces throughout — choose this option from the Download popup menu. This option sends the entire font to the printer’s memory, where it resides for the entire print job. In cases such as those described, this approach is more efficient than the standard Subset method. l None: Choose this option from the Download popup menu if you’re certain all the fonts you use reside in the printer’s memory or on a hard drive attached to the printer. Many service bureaus load all the fonts for a job into the printer memory and then print the job. They then clear out the printer memory for the next job and load just the fonts that job needs. This method is efficient when a service bureau has lots of cli- ents who use all sorts of fonts. Alternatively, some service bureaus attach a hard drive loaded with fonts to their imagesetters, saving the font-loading time for them and for InDesign. 43_607169-ch31.indd 71043_607169-ch31.indd 710 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 31: Printing Documents 711 l Download PPD Fonts: If this check box is selected, InDesign downloads any fonts specified as resident in the printer’s PPD file. Normally, PPD files include lists of fonts that should reside in printer memory and thus don’t need to be downloaded with each print job. Selecting this option overrides this behavior and instead downloads those fonts from your computer even if they should reside in the printer’s memory. You rarely need to select this option; it’s more of a safety when creating output files for printing by someone else. Finally, you can specify what PostScript language is used and how PostScript data is transmitted. Although you set these up in the standard Mac OS X and Windows printer settings dialog boxes, InDesign gives you the opportunity to override any defaults here, which can be handy when creat- ing output files for printing elsewhere: l From the PostScript popup menu, you can choose Level 2 or Level 3; choose whichever the output device supports. (Most still use Level 2.) l The Data Format popup menu is grayed out unless you chose PostScript File in the Printer popup menu; your choices are ASCII and Binary. If you choose ASCII, the PostScript file is more likely to be editable in programs such as Adobe Illustrator, but the file will be larger. Ask your service bureau which it prefers. The Color Management pane The Color Management pane is where you manage color output (apply color calibration). The options are straightforward. Cross-Reference Chapter 29 covers the techniques for and issues of applying color profiles and other color management settings that the profiles in the Color Management pane use. n l Document or Proof: In the Print section, select one of these options based on whether you want to use the document’s profile or a different profile for proofing. The Proof option is available only if you choose an output device such as an imagesetter, for which you might make a proof locally using an inkjet or other printer and then use the imageset- ter’s color profile (as explained in Chapter 30) when producing your final output. (Using the Proof option ensures that InDesign simulates on your proofing printer how the docu- ment’s colors will appear when printed on the final output device, such as an imagesetter. Using the Document option tells InDesign not to factor in how the final output device will alter the color during printing but instead to simulate what you see on screen instead.) l Color Handling: In the Options section, use this popup menu to choose between Let InDesign Determine Colors and PostScript Printer Determines Color. The first option uses the color-management options set in InDesign, whereas the second lets the PostScript out- put device choose the color-management approach. This latter option is not available unless you have chosen a color PostScript printer as the destination. (If you choose Composite Leave Unchanged in the Output pane’s Color popup menu, you have the No Color Management option in the Color Handling popup menu.) 43_607169-ch31.indd 71143_607169-ch31.indd 711 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 712 l Printer Profile: Use this popup menu to select the color profile of the device to which the document will ultimately be printed, for handling color management at output. This is by default the same as the color profile selected in the Color Settings dialog box, which is covered in Chapter 29, but you can override that default here, such as when you are using a different printer temporarily. Depending on which Color Handling and Printing Profile options you select, you may be able to use one or both of the following options: l Preserve CMYK Numbers: When selected, this option prevents the color management options from overriding the CMYK values in noncolor-calibrated imported graphics. l Simulate Paper Color: If you choose Proof of a Printing Condition as the Color Handling Method, selecting this check box makes InDesign simulate the typical color of the paper you’ve chosen for proofing (through View ➪ Proof Setup; see Chapter 29). The Advanced pane The options in the Advanced pane control printing of files as bitmaps, manage graphics file substi- tutions in an Open Prepress Interface (OPI) workflow, and set transparency flattening, which man- ages how transparent and semitransparent objects are handled during output. Bitmap printing For certain printers — mainly inkjet printers — InDesign lets you control the output resolution when you are printing the file as grayscale (by choosing Composite Gray in the Output pane’s Color popup menu). To do so, select the Print as Bitmap check box in the Advanced pane and select the desired dpi value from the popup menu at the right. Note that this feature is available only if you choose a compatible printer in the Printer popup menu and set the output to Composite Gray. OPI settings If graphics files exist in high-resolution versions at your service bureau — typically, this occurs when the bureau scans in photographs at very high resolutions and sends you a lower-resolution version for layout placement — select the OPI Image Replacement option. This ensures that InDesign uses the high-resolution scans instead of the low-resolution layout versions. The Omit for OPI section provides three additional related graphics file-handling options. You can have InDesign not send EPS, PDF, and bitmap images (such as TIFF files) by selecting the appro- priate options. You would do so either to speed printing of proof copies or when the service bureau has such files in higher-resolution or color-corrected versions and will substitute its graph- ics for yours. InDesign keeps any OPI links, so the graphics at the service bureau relink to your document during output. 43_607169-ch31.indd 71243_607169-ch31.indd 712 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 31: Printing Documents 713 Transparency flattening There are just two options in the Transparency Flattener section: l Preset: This popup menu lets you choose a transparency preset (a saved set of options). At the least, InDesign provides the three default transparency-flattening options: [Low Resolution], [Medium Resolution], and [High Resolution]. l Ignore Spread Overrides: If this check box is selected, any transparency settings you manually applied to document spreads are ignored and the selected preset is used instead for the entire document. Cross-Reference Transparency settings and presets are covered later in this chapter. n The Summary pane The final Print dialog box pane is the Summary pane. It simply lists your settings all in one place for easy review. The only option — Save Summary — saves the settings to a file that you can include with your files when you deliver them to a service bureau or distribute them to other staff members; this way, everyone knows the preferred settings. Working with Spot Colors and Separations When you print color separations, InDesign gives you expected control over how colors separate — which are converted to CMYK and which are printed on their own plates; but it goes much further, letting you control much of how those plates print, such as the order that plates print in and the angle of each color’s line screens. Managing color and ink output Accidentally using spot colors such as red and Pantone 2375M (say, for graphics and text frames) in a document that contains four-color TIFF and EPS files is very easy. The result is that InDesign outputs as many as six plates: one each for the four process colors, plus one for red and one for Pantone 2375M, rather than convert red and Pantone 2375M into CMYK mixes and thus output just the four CMYK plates. But you can avoid these kinds of mistakes. That’s exactly where the Ink Manager dialog box comes in. Accessed by clicking Ink Manager in the Output pane, this dialog box gives you finer control over how color negatives output. Figure 31.5 shows the dialog box. 43_607169-ch31.indd 71343_607169-ch31.indd 713 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 714 FIGURE 31.5 The Ink Manager dialog box If any colors should have been converted to process color but weren’t, you have three choices: l Click the spot-color iconic button. You can override the spot color in the Ink Manager dialog box by clicking this iconic button (a circle) to the left of the color’s name. That con- verts it to a process color and causes the iconic button to change to a four-color box that indicates a process color. (Clicking the four-color box iconic button converts a process color back to a spot color, as well as changes the iconic button back to a circle.) This is the way to go for a quick fix. l Make it a process color instead. Do this by closing the Ink Manager and Print dialog boxes and editing the color that was incorrectly set as a spot color in the Swatches panel (choose Window ➪ Color ➪ Swatches or press F5), as covered in Chapter 8. This ensures that the color is permanently changed to a process color for future print jobs. l Convert all spot colors to CMYK process equivalents. Do this by selecting the All Spots to Process check box. This is the easiest method to make sure you don’t accidentally print spot-color plates for a CMYK-only document. (You can also use the All Spots Process option to quickly convert all spot colors to process, and then convert back to spot colors just those colors you really do want on their own plates.) The other Ink Manager options are for experts and should be changed only in consultation with your service bureau and commercial printer: l You can change the ink type in the Type popup menu. Most inks — including the pro- cess inks — should be left at Normal. Use Transparent for varnishes and other finishes that let color through — you don’t want InDesign to trap such colors. If it did, no color would print under the varnish or finish. (A varnish is often used to highlight part of a page, such as making the text reflective in contrast to the rest of the page.) Use Opaque for metallics, pastels, and other thick colors; this setting lets adjacent colors trap to the edge of opaque objects, but it prevents trapping of underlying colors (because they will be 43_607169-ch31.indd 71443_607169-ch31.indd 714 4/22/10 8:06 PM4/22/10 8:06 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. [...]... this if you have InDesign unless you happen to have EPS or PostScript files that you’ve previously generated and would rather convert to PDF through Distiller than find the InDesign originals and export PDFs from InDesign You can, of course, use Distiller to create PDFs from any PostScript or EPS file, no matter what program created it Exporting EPS Files To create an EPS file from InDesign, choose... section, you can select the following options: l Bookmarks: This takes InDesign table of contents (TOC) information and preserves it as bookmarks in the exported PDF file l Hyperlinks: This preserves any hyperlinks added in InDesign Otherwise, the hyperlinks are converted to standard text (Chapter 33 explains how to create hyperlinks in InDesign. ) l Visible Guides and Grids: This includes the on-screen... modify, delete, export (Save), and import (Load) presets (You cannot modify or delete the three default presets.) Note InDesign uses pixels per inch, or ppi, rather than dpi in the Transparency Flattener Preset Options dialog box They’re equivalent measurements for computer-generated images InDesign uses ppi for transparency because it’s working with the pixels of your images rather than with the dots output... objects that overprint or underprint text, you likely will select the Convert All Text to Outlines option; otherwise, InDesign may make the text that interacts with transparent objects thicker than text that doesn’t l Convert Strokes to Outlines has the same effect on lines and strokes for InDesign objects that overlap or underlap objects with transparency l The Clip Complex Regions options apply only... transparent objects that InDesign needs to convert to bitmaps during flattening — not simply any bitmap images in your document.) Choose the area you’re concerned may not output at sufficient quality FIGURE 31.7 The Flattener Preview panel and its flyout menu (left) and the Highlight popup menu’s options in that panel (right) Tip If you select the Auto Refresh Highlight check box, InDesign updates the... dialog box by clicking Apply Settings to Print Summary In InDesign, you have many options from which to choose to control exactly how your document prints The right options depend on the document’s contents and the output device you’re using Be sure to define your colors as process colors unless you want them to print on their own plates Although InDesign lets you convert all colors to process colors... sent to many output devices or edited by a PostScript-savvy graphics program such as Illustrator or CorelDraw With InDesign, you can add a margin for bleeds, but you can’t include printer’s marks Most service bureaus can print directly from EPS files But note that each page or spread in your InDesign document is exported as a separate EPS file, so a service bureau may prefer a prepressoriented PostScript... Files Typically, you want to directly export your InDesign files as PDF files rather than create a PostScript file and translate to PDF using the separate Adobe Acrobat Distiller product First, I show how to export and then I explain how to print to PDF on those occasions when that’s the better option Exporting PDF files An easy way to create a PDF file from InDesign is to export it by choosing File ➪ Export... 32.1 The dialog box has seven panes; General is the one shown when you open the dialog box FIGURE 32.1 The General pane of the Export Adobe PDF dialog box New Feature When you export PDF files in InDesign CS5, you no longer have to wait for the export to complete before being able to work on your layout Instead, the export now happens in the background n Common options There are several common options... from a specific page to the end of the document, just type the hyphen after the initial page number, such as 4– InDesign figures out what the last page is Similarly, to start from the first page to a specified page, just start with the hyphen, as in –11 727 Part VIII: Multimedia Fundamentals InDesign also lets you type absolute page numbers in the Range field For example, typing +6–+12 prints the document’s . choose between Let InDesign Determine Colors and PostScript Printer Determines Color. The first option uses the color-management options set in InDesign, whereas. marks to appear between the bleed area and the edges of the page. Otherwise, InDesign does the best it can. It’s best to define your bleed and slug areas