Adobe 65023809 - Creative Suite 4 Master... Configuration guide

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Adobe Creative Suite 4 Printing Guide
Adobe® Creative Suite 4 Printing Guide
Introduction....................................................................................1
WhatThisGuideIsIntendedtoDo...............................................................1
HowThisGuideIsStructured....................................................................1
PartnerProgramforPrintProfessionals ..........................................................2
Chapter1:CommonResources ..........................................................3
TheAdobePDFPrintEngine.....................................................................3
AdobeGraphicsModel..........................................................................3
ColorBlindnessPreview.........................................................................3
PDFCreation....................................................................................3
HelpingCustomersPrepareFilesforSubmission.................................................9
Transparency..................................................................................10
Chapter2:AdobeInDesignCS4.........................................................16
PreparingInDesignDocumentsforOutput .....................................................17
AboutInDesignProgramVersions..............................................................20
TextFeatures ..................................................................................30
RotatedSpreadViewing........................................................................32
UsingtheInDesignforensictools...............................................................33
FindingProblems:AdditionalForensicTools ....................................................35
ColorManagementIssues......................................................................39
Workingwithabookle .......................................................................41
CreatingPDFFilesfromInDesign...............................................................42
PrintingfromInDesign.........................................................................43
HelpingCustomersPrepareInDesignFiles......................................................50
Chapter 3: Adobe Photoshop CS4 and Photoshop CS4 Extended. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
GeneralGuidelines.............................................................................56
AppropriateFormats ..........................................................................61
PrintingfromPhotoshop.......................................................................69

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Adobe Creative Suite 4 Printing Guide
Chapter4:AdobeIllustratorCS4........................................................73
Bleed..........................................................................................74
WorkingwithmultipleArtboards...............................................................74
Working with Text from Dierent Versions of Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
DocumentColorModes........................................................................78
LiveEects ....................................................................................80
ExaminingCustomerFiles......................................................................86
Forensictools..................................................................................88
PrintingfromIllustrator ........................................................................89
CreatingPDFFiles..............................................................................92
OpeningIllustratorPDFFilesinIllustrator.......................................................93
Chapter5:AdobeAcrobat9Pro.........................................................95
Changes, Enhancements, and New Features in Acrobat 9 Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
ExaminingPDFs ...............................................................................96
OverprintPreviewinAcrobat9Pro.............................................................97
Acrobat9ProPrintProductionTools............................................................98
ComparingDocuments .......................................................................109
EditingPDFles ..............................................................................110
PreviewingandFlatteningtransparency.......................................................120
UsingtheJobDenitionFormat(JDF) .........................................................125
Using Comment and Review features in Acrobat 9 Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
PrintingPDFFiles.............................................................................132
Linkstoknownissuesandresources...........................................................137

Adobe Creative Suite 4
Printing Guide
Introduction
Welcome to the Adobe® Creative Suite® 4 Printing Guide. Adobe is dedicated to provid-
ing soware that allows designers to express their visual ideas, while providing tools
and resources to printers to ensure that those ideas print as intended. While designers
explore the creative features of Adobe Photoshop® CS4, Adobe InDesign® CS4, and
Adobe Illustrator® CS4, as well as the capabilities of Acrobat® 9 Pro, printers need to
take a rather dierent approach. You might call it “reverse engineering”: inspecting,
analyzing, and, if necessary, modifying customer les to facilitate printing. While this
document is focused on the needs and requirements of printers, it is also useful for
production artists who are preparing les for print.
Some modications (for example, replacing solid black areas with a rich black build, or
converting RGB text to black-only) are dictated by the physical requirements of print-
ing. Some tweaks may be necessary to accommodate a particular raster image proces-
sor (RIP) or imaging device. Not all workows are the same, and solutions vary accord-
ingly. Regardless of your particular workow, the more you know about the tools used
by designers to create les, the better equipped you are to anticipate, prevent, nd, and
x problems. In addition, you’ll be better able to advise your customers as they prepare
les for submission.
What This Guide Is Intended to Do
is guide serves as both a detailed technical reference for handling Creative Suite 4
les from your customers, and as a training tool for your sta.
For example, this guide will introduce you to forensic tools, such as the Overprint
Preview option in Illustrator, InDesign, and Acrobat 9 Pro, as well as the Output
Preview function in Acrobat, all of which are invaluable in highlighting potential
problems. e earlier you can pinpoint problems in a job, the less expensive and com-
plicated they are to rectify.
As RIPs have matured and transparency attening has become more sophisticated,
there are fewer issues with jobs containing transparency. e advent of pure PDF
workows based on the Adobe PDF Print Engine will result in more reliable reproduc-
tion of PDF content—that is, greater consistency and delity to the designer’s intent.
For example, transparency eects in InDesign CS4, such as gradient feather, glow, and
inner shadow eects, image without the need for attening when output through a PDF
Print Engine-based RIP. You’ll nd guidance in this document for identifying such
eects and for preparing jobs to correctly render them during output. Additionally,
you’ll nd links to other available reference materials that cover such topics in depth.
How This Guide Is Structured
Some technologies and concepts—such as PDF creation, transparency, and the Adobe
Graphics Model—are common across the Adobe products used for print design and
production in Creative Suite 4 Design Premium, Design Standard or Master Collection.
You’ll nd information about such topics in the “Common Resources” chapter.
is document is organized so that you can quickly nd information about specic
soware. As a job enters production in a printing plant, its path varies according to the
conventions of the particular plant, as well as the requirements of the job. But because
many jobs involve the aggregation of artwork and text in an InDesign layout, it makes
sense to treat InDesign as a “hub,” and Photoshop, Illustrator, and Acrobat as related
TABLE OF CONTENTS
1 Introduction
3 Chapter 1: Common Resources
16 Chapter 2: Adobe InDesign CS4
55 Chapter 3: Adobe Photoshop CS4 and
Photoshop CS4 Extended
73 Chapter 4: Adobe Illustrator CS4
95 Chapter 5: Adobe Acrobat 9 Pro

Adobe Creative Suite 4 Printing Guide 2
spokes. As the applications themselves are deeply integrated, you’ll nd cross references that
mirror the interdependent ecosystem of the Creative Suite. For example, it’s not enough to know
how to place an image in InDesign: you also need to know how certain aspects of a Photoshop
image (such as opacity, blending modes, or vector content) will print from InDesign.
Because an Adobe PDF is oen the nal product of the job, Acrobat wraps up this guide. You’ll
nd advice for generating PDFs in the “Common Resources” chapter, with additional applica-
tion-specic information in sections on individual applications. e Acrobat section will famil-
iarize you with the preview, preight, and editing tools available in Acrobat 9 Pro.
Additional resources are included throughout and at the end of this guide, to help you locate
specic information online.
Partner Program for Print Professionals
As a Member of the Adobe Partner Connection Print Service Provider Program, your company
will enjoy the support of our industry’s benchmark service and support program. Don’t miss the
opportunity to put Adobe’s technical, product and promotional resources to work for your busi-
ness’ success. Join this winning team today.
For complete information about membership and benets, please visit http://www.adobe.com/
go/printserviceprovider.

Adobe Creative Suite 4 Printing Guide 3
Chapter 1: Common Resources
e integration between components in the Creative Suite 4 family allows for such productiv-
ity enhancing features as shared color management settings, common PDF presets les, shared
color swatches, and the ability to use native les—such as Photoshop .psd, Illustrator .ai, Acrobat
.pdf, and even InDesign .indd formats—as artwork. Since there is so much “common ground,”
this section addresses features and issues that are the same across many of the Creative Suite 4
components.
The Adobe PDF Print Engine
e Adobe PDF Print Engine is not a shrink-wrapped product. It is a printing platform based
on PDF and other Adobe core technologies. OEM RIPs and workow systems incorporating
the PDF Print Engine can process PDF les natively (without converting data to PostScript® or a
proprietary intermediate format), thus maintaining live transparency. Being able to use native,
unconverted (and unattened) PDF les throughout a workow provides a complete, end-to-end
PDF environment that uses common technology to generate, preview, and print PDF les.
e Adobe PDF Print Engine combines the strengths of Adobe PDF for content denition and
the Job Description Format (JDF) standard for job ticketing and process control in powering
RIP and workow systems. Available in printing systems from Adobe print solution partners,
the Adobe PDF Print Engine enhances output consistency throughout the workow, improving
overall print productivity and protability. Adobe PDF Print Engine 2 will extends these benets
to production workows for Variable Data Printing (VDP) used in personalized publishing (e.g.
direct marketing), and output to a digital color press.
For more information on the Adobe PDF Print Engine and the partners who market RIPs and
workow systems incorporating it, see http://www.adobe.com/products/pdfprintengine.
Adobe Graphics Model
e Adobe Graphics Model ensures consistent rendering and display of color and transpar-
ency eects in Illustrator, Photoshop, InDesign and Acrobat. It is essentially a soware RIP that
processes graphics instructions and displays the results on screen. e Adobe Graphics Model
allows InDesign to consistently display placed raster and vector art at full resolution, as if you
were viewing the original art in Photoshop or Illustrator. It also enables you to view realistic
rendering of overprinting and special eects such as opacity settings and blending modes.
Color Blindness Preview
Photoshop and Illustrator now oer the option to view content as it would be seen by people with
two forms of color blindness, Protanopia, and Deuteranopia.
PDF Creation
e Adobe PDF Library is used consistently by Creative Suite 4 components which generate PDFs
natively (that is, without needing to generate PostScript and Distill). Consequently, Illustrator,
InDesign, and Photoshop can directly generate PDF les without the need for Acrobat Distiller®.
Of course, Distiller is still available to convert PostScript les into PDFs if necessary, but directly
exporting PDF les is the recommended method of creating PDF les. It’s faster and easier to
generate PDF les through direct export and, in addition, if you wish to maintain live transpar-
ency (if your RIP supports it), directly exporting PDFs is the only way to do so.
Note: Prior to Creative Suite 2, exported PDFs contained font information encoded in CID (charac-
ter identier) form. Some non-Adobe RIPs could not correctly process such PDFs, even though CID
encoding had been part of the PDF specication for some time. To work around the problem and
eliminate most instances of CID encoding, many printers created PDFs by generating PostScript
and distilling. Today, most RIP vendors support CID encoding; issues with PDFs containing CID
encoding should be moot. Occasionally, CID encoding is needed to support some glyphs, whether
the PDF is exported or created by Distiller. Also note that you may nd that Creative Suite 4 pro-
duces PDFs that are smaller in le size than PDFs exported from previous versions.

Adobe Creative Suite 4 Printing Guide 4
While it may be more familiar to create PostScript and use Distiller to generate PDFs rather
than exporting PDFs, that’s unnecessary in current workows. Even if your imposition so-
ware or RIP dictates that you submit Acrobat 4.0-compatible les, there should be no issues in
using exported PDFs created using the PDF/X-1a preset, which meets the PDF 1.3 specication.
Contact your RIP and imposition vendors to obtain updated versions that support more modern
PDF formats. For more information on PDF specications, see the “Acrobat 9 Pro” section in
this document.
If your workow includes a RIP that utilizes the Adobe PDF Print Engine (APPE), take advan-
tage of the support for unattened transparency by exporting to the latest level of PDF supported
by your RIP, or to standards-based PDF such as PDF/X-4, rather than generating PostScript and
Distilling to create a PDF (which would atten transparency).
PDF settings: An overview
Whether you are generating PDFs from Illustrator, Photoshop, InDesign, or through Distiller,
the categories of PDF settings are the same. ese settings are found in the Export Adobe PDF
dialog (InDesign), the Save As dialog (Illustrator and Photoshop), and under Edit PDF Settings
(Distiller).
PDF Export Options: InDesign PDF Save As Options: Illustrator
PDF Save As Options: Photoshop
• Adobe PDF Preset indicates whether a default preset or a user-created preset is
being used. If you’ve started with an existing preset and modied some of its set-
tings, the preset name is followed by “(modied).”

Adobe Creative Suite 4 Printing Guide 5
• Standard species whether the setting achieves a dened PDF/X format for the le
(such as PDF/X-1a, PDF/X-3, or PDF/X-4), or meets the denitions for one of the
PDF/A (archival) standards.
• Compatibility indicates the minimum version of Acrobat required to read the le.
e label in parentheses shows the PDF le specication that applies; for example,
“Acrobat 5 (PDF 1.4)” indicates that the resulting PDF will be compatible with
Acrobat 5.0 and later, and that the le meets the PDF 1.4 specication. Proper
compatibility also aects other applications that must process the PDF, such as
imposition soware. While an Acrobat 9-compatible le may seem more “modern,”
your imposition soware may not allow you to use it. Consult the documentation for
such soware, as well as the requirements for your RIP, to determine the appropriate
compatibility setting.
• General includes basic le options, such as page range. e choices in the “Options”
and “Include” sections of the General pane (such as Bookmarks, Hyperlinks, and
Tagged PDF) aect only web-appropriate PDFs and do not pertain to print-ready
PDFs. However, if you are producing a document that may be used in various media
or that could be archived, it is recommended that you congure these options appro-
priately as well.
• Compression allows you to specify settings for compression and downsampling of
images. Additional options let you compress text and line art, and crop images to
frame limits.
• Marks and Bleeds options let you include crop and bleed marks, as well as page
information, bleed, and slug area.
• Output controls how colors are converted (or preserved), based on your choices and
the color management settings in eect.
• Advanced controls font embedding and subsetting, OPI comments, transparency
attening (if necessitated by the PDF compatibility setting), and the inclusion of JDF
information.
Embedding includes the entire character set of a font in the resulting PDF; subsetting
is a form of embedding that includes only characters used in the document, and
results in a smaller le size. Although Illustrator, InDesign, Photoshop and Distiller correctly
embed fonts in PDF les, some non-Adobe applications may not. Additionally, some fonts can-
not be embedded in PDFs because of vendor licensing restrictions. It is advised that you never
create a PDF without embedding or subsetting fonts.
• Security allows you to add password-based security to the PDF le. (Security
options are not available during creation or editing of a PDF preset. Security options
are available only at the time of PDF creation or later within Acrobat). Note that
imposition soware may reject a PDF with security settings, even if the le does not
require a password. It’s best to avoid any security restrictions on PDFs intended for
print. If a customer supplies a PDF with security settings applied, request that they
submit a replacement PDF without security settings. Note that security is not sup-
ported in PDF/X compliant les for this reason.
• Summary displays an overview of the PDF settings. To expand the description for
each category, click the arrow to the le of the topic. If any conicts occur (such as a
source color prole that doesn’t match the color settings le in eect), a warning will
appear in the Warnings area.
Default PDF settings
Several of the default PDF presets (also referred to as joboptions les) are specically intended
for commercial printing, with some important dierences noted. Typically, it’s most appropri-
ate to start with one of the default settings, modify it to suit your needs, and save that setting
as a custom job option. Since PDF settings are stored in a common repository and shared by
InDesign, Illustrator, Photoshop, and Distiller, you can create custom presets in one of the
applications, and the settings will automatically be available to the other applications. (However,
some installed presets are available only within Distiller or Illustrator). Adobe applications
install a default set of PDF creation presets, which cannot be edited; however, you can start with

Adobe Creative Suite 4 Printing Guide 6
a default preset, duplicate it, and edit the duplicate preset for your workow. While the interfaces
for creating PDF options dier slightly between the applications, the concepts are the same. An
introduction to the features of the common default presets follows.
Smallest File Size
Appropriate for online distribution or e-mail attachments (but not for commercial printing), the
Smallest File Size option aggressively compresses and resamples image content, and converts all
RGB, CMYK, and grayscale content to the sRGB color space (spot colors are retained, however).
is may result in noticeable color shis from the original artwork. Note that the compatibility
setting for Smallest File Size is now Acrobat 6.0, to reect latest best practices and requirements.
Settings include:
• Compatibility: Acrobat 6.0 (PDF 1.5), which maintains live transparency and layers.
• Color Images: Bicubic downsampling to 100ppi; Compression = Automatic (JPEG);
Image Quality = Low.
• Grayscale Images: Bicubic downsampling to 150ppi; Compression = Automatic
(JPEG); Image Quality = Low.
• Output: Destination = sRGB IEC61966-2.1.
High Quality Print
Intended for imaging on in-house proofers and desktop printers. Any RGB, Lab or spot-color
content will remain in the original color space and won’t be converted to CMYK. While this
might be appropriate for desktop printers or other digital imaging devices, color appearance may
be compromised if the PDF is processed in a workow that does not honor color proles. High
Quality Print settings include:
• Compatibility: Acrobat 5.0 (PDF 1.4), which maintains live transparency.
• Color Images: Bicubic downsampling to 300ppi; Compression = Automatic (JPEG);
Image Quality = Maximum.
• Grayscale Images: Bicubic downsampling to 300ppi; Compression = Automatic
(JPEG); Image Quality = Maximum.
• Output: No color conversion; include tagged source proles.
Press Quality
e settings of the Press Quality preset create a PDF that is appropriate for commercial oset
printing. Note that PDF Compatibility is Acrobat 5.0, which maintains live transparency. Press
Quality settings include:
• Compatibility: Acrobat 5.0 (PDF 1.4).
• Color Images: Bicubic downsampling to 300ppi; Compression = Automatic (JPEG);
Image Quality = Maximum.
• Grayscale Images: Bicubic downsampling to 300ppi; Compression = Automatic
(JPEG); Image Quality = Maximum.
• Output: Convert content with proles to destination; preserve color numbers for
untagged content; maintain spot colors.
Settings available from within individual applications
Standard [available in Distiller only]
Intended for viewing and printing business documents (but not for commercial print). Most spot
color content is usually maintained, but areas interacting with transparency may be converted to
RGB. Standard settings include:
• Compatibility: Acrobat 6.0 (PDF 1.5).
• Color Images: Bicubic downsampling to 150ppi; Compression = Automatic (JPEG);
Image Quality = Medium.
• Grayscale Images: Bicubic downsampling to 150ppi; Compression = Automatic
(JPEG); Image Quality = Medium.
• Output: Destination = sRGB IEC61966-2.1.

Adobe Creative Suite 4 Printing Guide 7
Oversized Pages [available in Distiller only]
Intended for use in architectural and engineering environments, this option allows pages in
excess of 200 x 200 inches (such as CAD les) to be saved as PDFs. Most spot color content is
maintained, but areas interacting with transparency may be converted to RGB. Settings include:
• Compatibility: Acrobat 7.0 (PDF 1.6).
• Color Images: Bicubic downsampling to 150ppi; Compression = Automatic (JPEG);
Image Quality = Medium.
• Grayscale Images: Bicubic downsampling to 150ppi; Compression = Automatic
(JPEG); Image Quality = Medium.
• Output: Destination = sRGB IEC61966-2.1.
PDF/A-1b:2005 (CMYK) and PDF/A-1b:2005 (RGB) [available in Distiller only]
PDF/A is an ISO standard for long-term storage of electronic documents (the Astands for
“archival”). Audio and video content are not allowed, and the PDF may not invoke external
information sources (such as attachments, fonts, or hyperlinks). No encryption is permitted, and
JavaScript is not allowed. Settings include:
• Compatibility: Acrobat 5.0 (PDF 1.4).
• Color Images: Bicubic downsampling to 300ppi; Compression = Automatic (JPEG);
Image Quality = Maximum.
• Grayscale Images: Bicubic downsampling to 300ppi; Compression = Automatic
(JPEG); Image Quality = Maximum.
• Output: Color mode depends on the choice of the PDF/A-1b:2005 (CMYK) or
PDF/A-1b:2005 (RGB) standard.
Illustrator Default [available in Illustrator only]
A PDF created with Illustrator’s Default setting is essentially an Illustrator le in a PDF wrapper:
to Illustrator, it’s just a normal Illustrator le, with all layers, objects, and eects intact. To other
applications, it’s a PDF with Acrobat 6.0 compatibility. Unlike other PDF les, these les can be
opened safely in Illustrator and edited, provided that the necessary fonts are active, if the option
to “Preserve Illustrator Editing Capabilities” is selected. Settings include:
• Compatibility: Acrobat 6.0 (PDF 1.5).
• Color and Grayscale Images: No downsampling; Compression = ZIP 8-bit.
• Output: No color conversion.
PDF/X: Industry standards
Tailored specically for the printing industry, PDF/X specications are intended to provide a
framework for creating print-ready PDFs. PDF/X is a subset of the full PDF specication, rened
to prevent the inclusion of non print-appropriate content such as movies and hyperlinks, and to
ensure that important needs—such as correct font embedding—are honored. As RIPs and other
workow components become more sophisticated, the PDF/X standards evolve to meet the needs
and capabilities of the changing environment, hence the multiple specications. How do you
determine which of the PDF/X standards is appropriate for your workow? e compatibility
level (Acrobat 4 or 5) may be dictated by the capability of your RIP or other components (such
as imposition soware); the output settings will be determined by whether or not you’re using a
color-managed workow.
Given the proven reliability of PDF/X formats in print workows, it is highly recommended that
you start with the most appropriate PDF/X specication for your workow, and make whatever
modications you need (such as invoking bleed or adding marks).
PDF/X-1a:2001
PDF/X-1a les can contain CMYK, grayscale, and spot-color content, but no RGB content. e
ArtBox or TrimBox must be internally dened in the le; fonts must be embedded and/or subset.
Acrobat 4.0 compatibility dictates that transparency is attened (ideally, at the high-quality
resolution Settings include:
• Compatibility: Acrobat 4.0 (PDF 1.3). Transparency will be attened.

Adobe Creative Suite 4 Printing Guide 8
• Color Images: Bicubic downsampling to 300ppi; Compression = Automatic (JPEG);
Image Quality = Maximum.
• Grayscale Images: Bicubic downsampling to 300ppi; Compression = Automatic
(JPEG); Image Quality = Maximum.
• Output: Convert to destination color space; no embedded proles.
PDF/X-3:2002
e specication for PDF/X-3 builds on PDF/X-1a, adding support for embedded color proles
and thus allowing RGB and Lab content in addition to the color spaces supported by PDF/X-1a.
Use this format in a color-managed workow Setting include:
• Compatibility: Acrobat 4.0 (PDF 1.3). Transparency will be attened.
• Color Images: Bicubic downsampling to 300ppi; Compression = Automatic (JPEG);
Image Quality = Maximum.
• Grayscale Images: Bicubic downsampling to 300ppi; Compression = Automatic
(JPEG); Image Quality = Maximum.
• Output: No color conversion; embedded proles.
PDF/X-4:2008
PDF/X-4 extends the PDF/X-3 specication, adding support for live, unattened transparency, as
well as layers. e inclusion of layers and live transparency may make PDF/X-4 les inappropriate
in workows using older devices and processes. Consult the documentation for your RIP and any
other steps in your workow, such as imposition, to determine if PDF/X-4 les can be processed
correctly. Part of the PDF/X-4 standard is the requirement that a “conforming reader” application
shall be used to properly process it, which may mean that you need to obtain a patch or upgrade
for your RIP or other processes (such as trapping and imposition) that will handle PDFs (RIPs
using the Adobe PDF Print Engine can correctly process PDF/X-4 les). Settings include:
• Compatibility: Acrobat 5.0 (PDF 1.4). Live transparency is maintained. (Note that,
while the ocial PDF/X-4 specication allows Acrobat 7.0 [PDF 1.6] compatibility,
CS4 applications use Acrobat 5.0 compatibility.)
• Color Images: Bicubic downsampling to 300ppi; Compression = Automatic (JPEG);
Image Quality = Maximum.
• Grayscale Images: Bicubic downsampling to 300ppi; Compression = Automatic
(JPEG); Image Quality = Maximum.
• Output: No color conversion; embedded proles.
Managing custom PDF presets
Supplied PDF presets are stored in one common location for access by Illustrator, InDesign,
Photoshop and Distiller (with the exceptions of application-specic presets noted previously).
Because the presets are stored in a common repository, if you attempt to delete a preset, you’ll
receive an alert that deletion will aect more than the application you’re using at the moment.
User-created custom presets are also available to Illustrator, InDesign, Photoshop and Distiller,
but are stored in a separate location from the factory presets. On the Mac, you’ll nd custom set-
tings in [user]/Library/Application Support/Adobe/Adobe PDF/Settings. On a PC, they’re stored
in C:\Documents and Settings\[user]\Application Data\Adobe\Shared Documents\Adobe PDF\
Settings. As you establish methods for the creation of PDFs for your particular workow, stan-
dardize all of your prepress workstations, and share those methods and the correct presets with
your customers to ensure submission of appropriate PDF les as nal job les. You can provide
the correct PDF presets to your customers as *.joboptions les; they simply double-click the le
and it’s automatically installed in the correct location.
e methods for exporting and importing saved PDF presets varies slightly by Creative Suite 4
component; see this document’s section on the individual component (or consult the Help menu
for the application) for specics.

Adobe Creative Suite 4 Printing Guide 9
“Save as PDF” feature [Mac OS® only]
Clicking the Printer button (not the Print button) in print dialog boxes on the Apple® Macintosh®
takes you to the operating system’s printer dialog. e PDF button at the bottom of the dialog
box opens a pull-down menu with PDF options. ese options are a function of the operating
system, and do not invoke Distiller or any other Adobe process. e Save as PDF function is an
Apple operating system capability, and does not provide exible control over color handling, nor
have any options for font embedding (although embeddable fonts are embedded and subset by
this process). Consequently, a PDF created with the Save as PDF function may not be appropriate
for CMYK-based commercial print workow. Some Adobe applications do not allow you to use
this system function, but non-Adobe applications allow you to use it.
Macintosh PDFs
The Save as PDF option available in print
dialog boxes does not use Distiller to
create PDF les. You have no control over
color handling.
If your workow requires that you submit PostScript les for RIP processing, consult the vendor
documentation for your system before creating PostScript. Some vendors require that you use a
proprietary, vendor-specic PostScript Printer Description (PPD) as the target when you create
the PostScript le. Such workows may limit editability and repurposing PDFs. If you are not
required to use a vendor-specic PPD, generate device-independent PostScript. Generally speak-
ing, you should keep the following guidelines in mind when creating PostScript les:
• Use PostScript Language Level 3 whenever possible, if your RIP is compatible with
Level 3.
• Include fonts in the PostScript.
• Add the le extension .ps to the PostScript le. If the le is processed through
Distiller, the PDF will be given the same name, but with the extension .pdf. Some
Windows applications, such as Microso® Word, may automatically add a .prn
extension; Distiller recognizes both .prn and .ps extensions. If you are submitting
PostScript to an imposition process, consult the documentation for that process to
determine the correct naming convention.
• Choose an appropriate PPD le for your output device. If there is no vendor-specic
PPD, use Adobe PDF as your target printer. Even if you do not plan to process the
PostScript le through Distiller, using the Adobe PDF PPD provides maximum ex-
ibility in print options and media sizes.
Helping Customers Prepare Files for Submission
Educating your customers makes your life—and theirs—easier on many levels, and as a result
also builds customer loyalty. It’s very helpful if you provide reference materials outlining correct
procedures for job submission. Do you prefer native application les (for example, an InDesign
le plus support art)? Advise your customers on proper usage of InDesign’s Preight (greatly
enhanced and customizable in CS4) and Package features, and point out the forensic tools built
into InDesign and Illustrator that can help them nd errors before sending their les to you.
For example, Illustrator CS4 now includes a Separation Preview function, and you can create
and share custom InDesign Preight proles with your customers. See the “InDesign CS4” and
“Illustrator CS4” sections of this document for more information.

Adobe Creative Suite 4 Printing Guide 10
If you prefer that customers submit print-ready PDF les, the preceding advice is still benecial,
because using the tools correctly and understanding your needs helps them build better les,
which become better PDFs. No doubt you know all too well that a poorly constructed
document becomes an unusable PDF. With that in mind, show customers how to use the foren-
sic tools in Acrobat 9 Pro to highlight potential problems before they send a PDF that won’t print
as expected. Encourage your customers to perform preight inspections on PDF les they are
preparing for print, to ensure a smoother ow in your processes and reduce the amount of time
you spend xing PDF les to meet your production needs.
Consider providing custom presets to your customers, to enable them to create PDFs to your
specications. It is also helpful to provide customized preight proles for Acrobat and the new
InDesign Live Preight to customers to ensure that they perform all the proper preight checks
according to your settings. For more information on the Print Production tools in Acrobat 9 Pro,
see that section of this document.
Communicating with ConnectNow (free for up to three participants per meeting)
All Creative Suite 4 applications provide a portal to Adobe ConnectNow (part of Acrobat.com), a
personal online web-conference tool, so you can conduct real-time meetings from your desk-
top. All you need is a web browser and the free Flash player plug-in — no additional soware is
required. Attendees join the meeting by logging into a web-based meeting space from their own
computers. In a ConnectNow online meeting, you can share your desktop, use live chat, share
online whiteboards, and use many other collaboration features. In addition, participants can give
each other permission to control their computers: imagine how helpful it would be for a client
to hand over control of their desktop so you can show them step-by-step how to x a problem
le. In Acrobat 9, choose Share My Screen from the Collaborate menu. In Photoshop, Photoshop
Extended, Illustrator, InDesign, Flash, Dreamweaver, Fireworks and InCopy, choose File > Share
My Screen. You will nd that ConnectNow can be a powerful tool in customer communications.
is basic access to ConnectNow , which allows you to share your screen with two other par-
ticipants at once, is free. If you need to regularly collaborate with a larger audience of attendees,
consider purchasing one of the commercial versions of Connect. For more information, see
http://www.adobe.com/products/acrobatconnectpro/
Transparency
As Adobe applications have developed more sophisticated methods of attening transparency to
meet the limitations of PostScript-based workows, and as RIP manufacturers have enhanced
the capabilities of their devices, imaging transparency is no longer the challenge it was in earlier
versions of the soware. Transparency is completely and natively supported by the PDF imag-
ing model. Because transparency rendering is dependent upon the color prole and resolution
of the nal output device, it is desirable to maintain transparency eects in a live, unattened
state right through to nal output. PDF jobs which are rendered by a PostScript RIP must be
attened to opaque objects prior to rendering. If the job is properly constructed, this can happen
very late in the workow, and the desired results can be achieved. Print workows which utilize
the Adobe PDF Print Engine can maintain live transparency eects all the way through to nal
rendering. is provides a high degree of condence that the printed jobs will reproduce with a
high degree of delity to the designer’s intent.
InDesign, Illustrator, and Photoshop create and support opacity and blending mode attributes
for content, and PDF les compatible with Acrobat 5.0 and later can contain live, unattened
transparency. PDF les compatible with Acrobat 4.0 and earlier cannot have live transparency;
such content is attened into opaque objects in the PDF.
USING CONNECTNOW TO HELP CUSTOMERS
In addition to providing your custom PDF presets to
customers, consider using the Share My Screen func-
tion in Creative Suite 4 to demonstrate how to load
and use custom presets. You can even take over con-
trol of their computer if necessary to show them how
to use the correct preset to create PDFs in Creative
Suite 4 applications.

Adobe Creative Suite 4 Printing Guide 11
While the requirements of your own workow dictate some parts of your approach to imaging
transparency, here are some general, benecial guidelines for you and your customers:
• If possible, place text and vector content higher in stacking order than objects using
transparency. For example, move a text frame in InDesign so that it is positioned
above a placed Photoshop le that is silhouetted with so-edged transparency. is
can be accomplished by changing the stacking order of objects, or by moving the
text frame to a higher layer. Of course, if this would alter the design, it may not be an
option.
• Keep transparency live as long as possible. Rather than attening a layered
Photoshop le to a single layer, keep the layers intact and save the le as a native
Photoshop le (.psd). Use Illustrator native (.ai) les rather than saving artwork in
the EPS format, which attens transparency. When creating PDFs from documents
containing live transparency, use a PDF format (compatible with Acrobat 5.0 or later,
such as PDF/X-4 that supports live transparency, if your workow supports such
PDF les.
• Use the Overprint Preview in Illustrator, InDesign, Acrobat 9 Pro, and Adobe
Reader to check the interactions of objects using blending modes. Activating
Overprint Preview in these components generates a more realistic display of art-
work, providing the opportunity to catch objects that may image dierently from the
way they appear when viewed in the normal, composite view. Note that Acrobat 9
Pro and Adobe Reader 9 now automatically activate Overprint Preview when open-
ing PDF/X les. Overprint Preview can also be controlled in Preferences in both
applications.
• If your workow system requires that transparency be attened, you may want to
create a customized transparency attener preset and share it with your customers.
e High Resolution attener preset is satisfactory for most circumstances, but you
may wish to create a custom attener preset that uses a Line Art and Text Resolution
setting in keeping with the resolution of your RIP. For example, if your platesetter
uses a 2400dpi resolution, create a custom preset using that resolution. You also have
the option to convert all text and strokes to outlines in the interest of consistency
across attened and unattened areas, but this option may result in larger le sizes
in the PDF or EPS les produced, and renders text uneditable.
Transparency Flattener Presets
While the High Resolution attener preset (left)
is usually sucient, you may wish to create a
custom preset that incorporates a Line Art and Text
Resolution that matches the resolution of your RIP
(right). You also have options to convert text or
strokes to outlines.
Flattened and Unattened Transparency
The original InDesign le (far left) contains a
transparent native Photoshop le—the dandelion—
and a drop shadow. Objects in an unattened PDF
(center; pulled apart to show intact live transparency)
remain intact, and transparency is still live. But a
PDF/X-1a le requires attened transparency, which
results in many opaque, separate “atomic regions”
(right; pulled apart to show how atomic regions divide
content during attening).

Adobe Creative Suite 4 Printing Guide 12
•
Invoking a Flattener Preset
You can choose a attener preset
during PDF or EPS export, and in
the Print dialog box.
Use the Flattener Preview feature, available in Illustrator, InDesign, and Acrobat,
to highlight areas in artwork that will be aected by attening. In InDesign and
Illustrator, use the preview as a guide to help you decide how you should stack page
objects to avoid attening text and vector segments.
Flattener Preview
Red highlight indicates vector areas that will be
aected by transparency.
For more information about transparency, see “Transparency in Adobe Applications:
a Print Production Guide” (http://www.adobe.com/go/learn_transparency_print_en )
and “Designer’s Guide to Transparency for Print Output” (http://www.adobe.com/go/
learn_transparency_designer_en).
Color Management in Creative Suite 4 Components
e goals of color management are to reduce the amount of proong needed to accurately assess
color, and to ensure predictable output and print. When used properly, color management speeds
the process and reduces the costs associated with achieving the color your customer expects.
Keep in mind that, even if you choose to turn o color management in Adobe applications (note
that you cannot turn o color management in Acrobat 9 Pro), color management is still being
performed by your operating system to govern monitor display and printing. It’s best to leave
color management on in Adobe applications, and to ensure that the same settings are used across
all the applications for consistency. Use Adobe Bridge to easily synchronize color settings for
Illustrator, Photoshop, InDesign and Acrobat simultaneously.
Illustrator, Photoshop, InDesign and Acrobat use the same underlying code to render color—
whether displaying an image on a monitor, printing to a desktop printer, or sending data to a
RIP. If color management is carefully implemented and maintained, you should be able to better
communicate color expectations with your customers.
In addition to providing an environment for consistent color viewing and rendering, color-man-
aged workows allow—and encourage—the use of RGB images. With a larger color gamut than
CMYK, RGB oers the potential for more exibility in a print workow, especially if the content
might be repurposed for the web, video, or mobile phones. Some color corrections are much
more easily performed in the RGB color mode, and many digital devices (such as inkjet print-

Adobe Creative Suite 4 Printing Guide 13
ers and toner-based digital presses) are capable of rendering a wider gamut than is possible with
oset inks. Consequently, in such an environment, it is benecial to maintain maximum color
possibilities by not converting to CMYK prematurely. Using RGB also makes it easier for you to
move the project from one press to another while keeping the color looking consistent among
your own equipment, deferring the conversion to CMYK until the latest point possible.
Managing color needs for a customer is a comprehensive job. Start by encouraging customers to
at least calibrate their monitors using Adobe Gamma (Windows) or the Color System Preference
under Displays (Mac OS). is provides them with a very basic system prole to be used in color
management. For more reliable proling, encourage them to obtain a monitor proling device
and use it at recommended intervals to maintain reliable on screen display. Don’t share custom-
ized monitor proles; each monitor needs a prole specically generated for that particular
monitor
In many cases, choosing North America Prepress 2 as your color setting will be a sucient start,
but you can customize settings as you develop more specic RGB-to-CMYK conversions. For
example, North America Prepress 2 uses a CMYK conversion that is based on Specication for
Web Oset Publications (SWOP), and although it does work for sheetfed printing, it’s not always
the best choice. A more appropriate conversion for a sheetfed operation might be to choose the
U.S. Sheetfed CMYK working space by selecting U.S. Sheetfed Coated (or Uncoated) v2 from the
CMYK menu in the Color Settings dialog box. If you want to take more control, you can create a
custom CMYK conversion. From the same CMYK working space menu, choose Custom CMYK.
In the Custom CMYK color settings dialog box, enter the values that will result in a CMYK
conversion that best meets your needs. You may nd it easiest to establish your settings in the
Photoshop Color Settings dialog box (Edit > Color Settings). Keep in mind that, for optimum
results, you should ngerprint your presses and proong systems, and use custom proles.
Once you have established a color setting in Photoshop, save and name it by clicking the Save
button in the Color Settings dialog box. e settings will be placed in the correct folder so that
the entire Creative Suite can access them. However, you can save them to another location as a
way to distribute them to others. e le you create, with the extension .csf, contains the settings
you share with other users in your shop or with customers.
To import color settings, click the Load button in the Edit > Color Settings dialog box in
Illustrator, InDesign, or Photoshop. Navigate to the .csf le you want to load and select it. Once
the color setting is imported into one of the applications, you will need to synchronize settings
so that the other components can access them. e easiest way to do that is to use Adobe Bridge
CS4. Here’s how:
1. Launch Bridge.
2. Choose Edit > Creative Suite Color Settings.
3. From the list, choose your color settings by name. If you have not already loaded a supplied
color setting, you can browse for it by clicking the Show Saved Color Settings Files and then
navigating to the desired settings le.
4. Click Apply.
Using Bridge to Synchronize Color Settings
Adobe Bridge displays a red “pie” section to indicate that color
settings are not synchronized across components that use color
management (left). To synchronize settings in all applications, select
the proper color setting from the list of Suite Color Settings, or
browse to import a supplied setting by clicking the Show Saved Color
Settings Files button. Click Apply. Bridge then displays an intact color
“pie” to indicate that color settings are synchronized (right).

Adobe Creative Suite 4 Printing Guide 14
Photoshop, Illustrator, InDesign, and Acrobat 9 Pro will now be able to use the same color set-
tings. Each application will render color the same way, so color across the applications will look
consistent on screen and will print consistently.
If you do not wish to implement color management, you may elect to use what is termed a safe
CMYK workow. A safe CMYK workow ensures that CMYK color numbers are preserved all
the way to the nal output device, as opposed to being converted by the color management sys-
tem. is workow is benecial if you want to incrementally adopt color management practices.
For example, you can use CMYK proles to so-proof without risking unintended color conver-
sions before nal output.
Illustrator and InDesign support a safe CMYK workow by default; when you open or import a
CMYK image with an embedded prole, the soware ignores the prole and preserves the raw
color numbers. If you want your Creative Suite application to adjust color numbers based on an
embedded prole, change the CMYK color policy to Preserve Embedded Proles in the Color
Settings dialog box. You can easily restore the safe CMYK workow by changing the CMYK
color policy back to Preserve Numbers (Ignore Linked Proles).
You can override safe CMYK settings when you print a document or save it to PDF. However,
doing so may cause colors to be rendered in dierent color values. For example, pure CMYK
black objects may be re-separated as rich black. For more information on color management
options for printing and saving PDFs, consult the Help les for each Creative Suite 4 component.
For more information on color management in Adobe products, see the self-help guide, available
here: http://www.adobe.com/studio/print/pdfs/CS3_color_workows.pdf
Color swatches
Creative Suite 4 components can easily share color swatches by using the Adobe Swatch
Exchange (ASE) format. is makes it easy to establish standard swatches for a project, regard-
less of the originating application.
For example, to save swatches from an InDesign document, select a range of swatches in
the Swatches panel, and then choose Save Swatches from the Swatches panel menu. You are
prompted to name and save the swatch le, and InDesign creates a le with the le extension
.ase, containing all the selected swatches.
To import swatches from an Adobe Swatch Exchange le, choose Load Swatches from the
Swatches panel in Photoshop, Illustrator, or InDesign, and navigate to the saved .ase le. All
swatches—regardless of color mode—are imported.
OpenType font format
Photoshop, Illustrator, InDesign fully support the extended features of OpenType® fonts. e
OpenType format oers exciting features for designers, while being compatible with a wide range
of imaging devices and workow systems. Among the features of OpenType fonts are:
• Cross-platform compatibility. A le created on a PC using OpenType fonts can be
opened on a Macintosh computer using the same OpenType fonts, without any text
alteration or reow.
• Extended character sets, including ligatures for letter combinations other than , ,
, and so on. ese discretionary ligatures are correctly interpreted during spell-
check. (Not all OpenType fonts include discretionary ligatures.)
• Special characters such as diacriticals for non-English text, swashes, and arbitrary
fractions (again, not available in all OpenType fonts). In PostScript fonts, such
features have traditionally required the use of separate fonts (called Expert Sets) con-
taining the special characters. Since an OpenType font can have in excess of 65,000
characters, all of these special features can be incorporated within one font.
• Unicode number identication of characters. Unicode numbering means that, if a
character exists in more than one OpenType font, it exists at the same position in
the font. us, changing the font used by text would not result in missing or incor-
rect characters. (Again, not all special characters exist in all OpenType fonts, and
switching to an OpenType font that did not have the desired special character would
result in something called a “notdef” (not dened) character, usually indicated by a
rectangle, where the character should be.)

Adobe Creative Suite 4 Printing Guide 15
OpenType fonts coexist peacefully with PostScript Type 1 and TrueType fonts without conict.
Adobe OpenType fonts have distinct names (such as Helvetica LT Std or Adobe Garamond Pro)
that prevent font conicts and allow easy identication in font listings. You should have no imag-
ing issues whatsoever with OpenType fonts, regardless of the font vendor. For more information
on OpenType font technology, see http://www.adobe.com/go/opentype.

Adobe Creative Suite 4 Printing Guide 16
Chapter 2: Adobe InDesign CS4
For most designers and service providers, InDesign is the cornerstone of Adobe Creative Suite 4
Design Premium and Standard. e advanced layout and output capabilities in InDesign expand
creative freedom and streamline production workows.
InDesign CS4 includes many new features to enhance productivity, both for designers and print
service providers. Such new features include:
• Live Preight: Preight while you design. Continuous preighting alerts you to
potential production problems in real time so you can quickly navigate to a prob-
lem, x it directly in layout, and keep working. InDesign’s Live Preight function
is congurable to check for conditions specic to your workow. Dene and share
custom proles to pinpoint problems early in the life of a job. A Preight indicator
in the status bar at the lower le of the document window dynamically displays the
current Preight state of the document. A green light in the status bar indicates that
the document currently meets the preight prole in eect. A red light indicates
preight problems; open the Preight panel for detailed information. e dynamic
preight behavior enables designers to monitor the content of their documents
throughout the design process, rather than discovering problems by preighting just
before they send their job for print.
• Customizable Links panel: Find, sort, and manage all of your document’s placed
les in the customizable Links panel. View attributes that are most critical to your
workow such as scale, rotation, and resolution. Links Panel options allow you to
choose whether to display columns that display Eective PPI, color space, rotation,
and much more. e new Relink to Folder speeds the updating of links by allowing
you to target a folder.
• Smart Guides: Quickly align, space, rotate, and resize single or multiple objects with
the help of dynamic guides. e guides, object dimensions, rotation angles, and x
and y coordinates appear dynamically so you can quickly snap an object’s edge or its
vertical or horizontal center to another nearby object or page edge in the layout.
• Spread rotation: Temporarily rotate the spread view without physically turning your
monitor. Enjoy full editing capability at 90-, 180- and 270-degree angles so that you
can easily include non-horizontal elements in your designs. Note that the rotation is
just a display eect that makes it easier to work on rotated content; rotated spreads
print in their original, unrotated orientation.
• Place multiple graphics as a contact sheet: Interactively create grids of multiple
images as they are placed. While placing multiple graphics, hold down Ctrl+Shi
(Mac: Command+Shi) to drag a grid of images. Use keyboard arrows to control the
number of rows (up/down arrows) and columns (le/right arrows).
• Smart Text Reow: Automatically add pages at the end of a story, selection, or
document when text is overset using this new preference. Smart Text Reow works
hand-in-hand with conditional text as pages are automatically deleted or added
when conditional text is hidden or shown in the document.
• Text Stroke Enhancements: Miter limit and Join options allow you to control the
appearance of strokes applied to text.
InDesign CS4 also includes new features dedicated to long-document creation. While you may
not be creating such content, it is useful to be familiar with the features if you are required to edit
content. ese features include:
• Conditional text: Deliver multiple versions of a document for dierent users, all
from a single InDesign source le. Hide text at paragraph, word, and even character
level without relying on layers. e remaining text and anchored objects automati-
cally reow in the layout.

Adobe Creative Suite 4 Printing Guide 17
• Cross-references: Simplify the writing, production, and management of long
documents with exible and powerful cross-references that dynamically update as
content is changed or moved within a document.
As cross-media publishing grows, your customers may wish to repurpose their print content for
online use. InDesign CS4 builds on the HTML export features of CS3 and adds new features
to enable designers and print production operators to create interactive online content without
learning an extensive new set of skills:
• Interactive document design with SWF le export: Transform page layouts into
dynamic SWF les without working in the Adobe Flash® authoring environment.
Create digital documents with interactive buttons, hyperlinks, and unique page
transitions for playback in the Adobe Flash Player runtime.
• Page transitions in SWF and PDF les: Apply page transitions such as wipe,
dissolve, fade, and more to individual pages or all spreads, and output to SWF or
PDF. Preview a page transition before it is applied, and experiment with speed and
direction for greater design control. You can even add a page curl eect during SWF
export.
• Export to Adobe Flash CS4 Professional (XFL): Export InDesign documents to
the XFL format and open them in Adobe Flash CS4 Professional with the visual
delity of your original InDesign layout maintained. Use Flash to add sophisticated
interactivity, animation, and navigation to complex layouts for an engaging reading
experience.
• Kuler panel: Easy access to the Adobe Kuler online community, so you can experi-
ment with color harmony rules, and create, save, and download color themes, auto-
matically adding them to the Swatches panel. Note that Kuler-generated swatches
are RGB.
• Collaboration tools: Use the Share My Screen function via ConnectNow (File >
Share My Screen) to collaborate and communicate with customer. Corrections and
revisions are much easier when you and your customer are looking at the same le
simultaneously.
Preparing InDesign Documents for Output
Your particular workow will dictate some of the operations you perform on incoming InDesign
les; for example, you may wish to substitute a four-color rich black formula in large areas of
black that the customer built as 100%-process black. You may need to re-separate customer
images to accommodate the total ink limit of the press running the job, and so on. But there are
some general operations that you should consider performing on every job, as part of preparing
it for imaging.
Cleaning up extraneous content in files
While extra content such as non-printing objects, hidden objects, and objects outside the page
limits won’t actually image, such content can add to le size and le complexity, or even produce
unnecessary alerts.
Cleaning up the Pasteboard
Objects in the pasteboard area do not image, nor do they appear in exported PDF les, unless
they fall within the designated bleed or slug area. But the proxy representations of graphics
used in those objects are still present in the le, and they contribute to le size. When a le is
packaged, InDesign does not include the links for objects in the pasteboard that are fully outside
the printable area of the document. However, when the le is opened on another computer, it
produces a Missing Link alert triggered by that absent content, that at rst appears to be a prob-
lem. However, links in the pasteboard area are marked by the page designation “PB” in the Links
panel, which will help you narrow down the issue. To prevent future confusion, delete unused
content in the pasteboard area.
Unused layers
Empty layers don’t cause any problems in imaging, but deleting them from a complex document
may facilitate troubleshooting or other le operations. In the Layers panel menu, choose Delete
Unused Layers. ere’s no conrmation or intermediate alert; the layers are instantly deleted.

Adobe Creative Suite 4 Printing Guide 18
Managing swatches
Like empty layers, unused swatches have no impact on output, but you may nd that simplifying
an overly long list of swatches makes it easier to see what inks are actually used in the docu-
ment. To eliminate unused swatches, choose Select All Unused from the Swatches panel menu,
and then click the Trash Can icon at the bottom of the Swatches panel to delete the selected
swatches. If you are unable to delete a swatch you believe to be unused, it’s possible that it’s used
by imported artwork. If so, you will be unable to delete the swatch. To determine if a spot-color
swatch is used by imported artwork, you can use Separations Preview (Window > Output >
Separations Preview) to search for objects using the swatch. In a long document, this may be
tedious, but it’s eective. Process swatches, of course, will not generate unnecessary plates.
To nd InDesign objects such as text, lines, or frames that use unwanted swatches, use the
enhanced Find/Change function. Choose Edit > Find/Change, select the Object tab at the top
of the dialog box, and then click the small magnifying glass icon to the right of the Find Object
Format area of the dialog box. e Find Object Format Options dialog box opens; select Fill
in the le column, and select the name of the swatch in the swatch list at the right. Click OK,
return to the Find/Change dialog box, and click the Find button. e rst object lled with the
swatch should be highlighted. If nothing is highlighted, or if the alert “Cannot Find Match”
appears, click the small trash can to the right of the Find Object Format eld to clear the attri-
butes, and click the magnifying glass to return to the Find Object Format Options dialog box.
Change the Attribute from Fill to Stroke, click OK, and run Find again. If you still can’t nd an
object, you can continue eliminating attributes such as shadows, and so on. And note that if the
swatch name does not appear in this list, this indicates that there is no InDesign-created object
using the swatch; that alone eliminates one of the possible causes of the mystery swatch.
Find/Change to Locate Objects by Attributes
Click the Object tab at the top of the dialog box
(above); then click the magnifying glass to open the
Find Object Format Options dialog box (right).
If you cannot locate any page elements using the unwanted spot color, but are still concerned that
an unwanted plate may be output as a result of artwork you’ve overlooked, try this: Print the le
as separated output to a laser printer, selecting only the problem plate for output. If no objects
or artwork are using the problem swatch, when you start to print, an alert will appear that the
selected pages do not use the ink.
If you determine that the swatch is truly not used in the document, you should feel condent that
no unnecessary plates will be generated by the le. However, you may want to delete the swatch
to avoid confusing anyone who handles the le later in the prepress process. If you still can’t
delete the swatch, try exporting the le to InDesign Interchange to clean it up. Choose File >
Export, and choose InDesign Interchange as the format. A le with the extension .inx is created.
Close the problem le, and open the InDesign Interchange le. You should now be able to delete
the problem swatch, and save the le under a new name.
Editing swatches
It’s better to manage, examine, and edit colors when they are saved as swatches. To nd colors
used in the document that are not designated as named swatches, choose Add Unnamed Colors
from the Swatches panel menu. InDesign then nds all colors and adds them to the Swatches