Adobe 718659340025 - InDesign CS - PC Configuration guide

TECH N I C A L RE F E R E N C E
Adobe® InDesign® CS
Printing Guide
for Service Providers

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Contents
Introduction............................................................................................................. 1
Advancing the state of the art .................................................................................. 2
Separations Preview palette ........................................................................................................................... 3
Flattener Preview palette ................................................................................................................................ 4
Bleeds, slugs, and pasteboard enhancements.............................................................................................. 5
Mixed inks.......................................................................................................................................................... 6
Mixed ink groups .............................................................................................................................................. 6
PDF/X-1a, PDF/X-3, and PDF 1.5 (Acrobat 6-compatible) support ............................................................ 7
Enhanced Photoshop color support............................................................................................................... 8
Merging raster-based Photoshop DCS and EPS files ................................................................................... 8
Info palette ........................................................................................................................................................ 9
Stroke enhancements....................................................................................................................................... 9
Display and workspaces................................................................................................................................. 10
Story editor...................................................................................................................................................... 10
Subset control for large character sets during output...............................................................................11
Helping customers prepare InDesign files...............................................................12
Preparing transparency ..................................................................................................................................12
Preparing book files ........................................................................................................................................13
Using presets and settings files to further streamline customer handoffs ............................................ 14
Preflighting ..................................................................................................................................................... 14
Packaging files for handoff ............................................................................................................................15
Handing off Adobe PDF files ......................................................................................................................... 18
Opening InDesign files............................................................................................19
About InDesign icons and program versions .............................................................................................. 19
Handling dictionary differences................................................................................................................... 19
Managing missing fonts................................................................................................................................. 19
Managing links and relinking imported files.............................................................................................. 22
Handling alerts about missing or mismatched color profiles .................................................................. 26
Preparing InDesign documents for output ............................................................. 30
Working with a book file................................................................................................................................ 30
Previewing the output area and printable items ....................................................................................... 33
Checking for dif ferences if the f ile was conver ted from earlier versions of Adobe InDesign ............. 33
Checking for dif ferences if the f ile was conver ted from QuarkXPress or Adobe PageMaker ............... 34
Preflighting the document ............................................................................................................................ 36
Trapping documents ...................................................................................................................................... 41
Previewing separations, transparency, and overprints ............................................................................. 46
Flattening transparency for high-resolution output................................................................................. 50
Print dialog box reference...................................................................................... 63
Common areas................................................................................................................................................. 64
Setting up PostScript output paths.............................................................................................................. 69
General panel .................................................................................................................................................. 73
Setup panel...................................................................................................................................................... 75
Marks and Bleed panel ................................................................................................................................... 80
Output panel ................................................................................................................................................... 83
Graphics panel ................................................................................................................................................ 91
Color Management panel .............................................................................................................................. 94
Advanced panel .............................................................................................................................................. 96
Summary panel ............................................................................................................................................... 98

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Exporting Adobe PDF files ..................................................................................... 99
Common areas............................................................................................................................................... 100
General panel ................................................................................................................................................ 101
Compression panel ....................................................................................................................................... 104
Marks and Bleed panel ................................................................................................................................. 106
Advanced panel ............................................................................................................................................ 107
Security panel ................................................................................................................................................110
Summary panel ..............................................................................................................................................111
Streamlining output with print presets ................................................................. 112
Setting up print presets................................................................................................................................113
Distributing print presets throughout your shop .....................................................................................115
Applying your print presets to customer files...........................................................................................116
Streamlining output with PDF presets................................................................... 117
About the predefined PDF export presets .................................................................................................117
Setting up PDF export presets.....................................................................................................................119

1
Introduction
Welcome to the Adobe® InDesign® CS Printing Guide for Print Service Providers. You’ll nd
this document useful as both a detailed technical reference for handling InDesign CS jobs
from your customers, and as a training tool for your staff. This document is organized so
that you can quickly nd information about specic customer situations. You may also want
to read the entire document to gain a comprehensive understanding of service-provider-
related features in InDesign CS.
Each generation of Adobe InDesign has incorporated feedback from print professionals
worldwide. This close collaboration with the print publishing community brought forth
great advances in output efciency and quality in Adobe InDesign 1.5.2 and Adobe InDesign
2, such as support for a wide variety of Adobe PostScript® workows, advanced built-in
trapping, and the Ink Manager. The number of service providers embracing Adobe InDesign
continues to accelerate as production-tested experience conrms the reliability and consis-
tency of Adobe InDesign output. Adobe continues to be committed to working closely with
print professionals, to build upon the experience gained from releasing three major versions
of Adobe InDesign since 1999.

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Advancing the state of the art
The starting point for Adobe InDesign CS is a modern printing architecture that’s entering
its third generation, and that’s already proven on the latest prepress output devices and oper-
ating systems. Support for Adobe PostScript® 3™ in Adobe InDesign CS is a known quantity
backed by over four years of renement and optimization. Similarly, Adobe InDesign
has produced output on Mac OS X since the release of version 2, and its long-established
integration with PDF workows advances even further with Adobe InDesign CS. Mastering
the fundamentals of output on today’s systems and workows has freed Adobe InDesign CS
to pursue more advanced enhancements that can reduce costs and increase productivity in
prepress environments.
Adobe also remains committed to giving prepress service providers production and output
capabilities that are an even match for the sophisticated layouts that designers can create
in Adobe InDesign CS. Another priority is to ensure that Adobe InDesign CS successfully
outputs advanced features used in les placed from Adobe Photoshop®, Adobe Illustrator®,
and Adobe Acrobat®. Adobe continues to make advanced design and output features more
consistent across its product line—for example, the new Flattener Preview works the same
way in Adobe InDesign CS, Adobe Illustrator CS, and Adobe Acrobat 6 Professional.
As a result, the output improvements in Adobe InDesign CS can be grouped into the follow-
ing general categories:
• New preview palettes for accurately evaluating separations, transparency, and attening
before committing to output, to prevent costly mistakes on press.
• New PDF output options that conform to the most current standards, including
PDF/X-1a and PDF/X-3.
• More ways to evaluate a document and its objects for potential output issues.
• More consistent user interface and terminology with other Adobe applications for
prepress-related features.
• More options for managing swatches and inks.
• More opportunities to save standard workow and output settings as custom presets,
which you can provide to your customers to help ensure that their documents are ready
for press.
The following sections are an overview of these improvements.

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Separations Preview palette
Accurately predict how an Adobe InDesign document will color-separate, including spot
colors. The Separations Preview palette displays changes you make to overprinting, rich
black, and other press-related settings. An ink limit display shows the areas of a layout
that exceed the ink limit you specify. As you move the mouse over a page, each ink in the
Separations Preview palette displays the percentage of that ink under the mouse pointer,
acting as a digital densitometer. The preview appears in the regular document window so
you can edit the document while previewing separations or the ink limit.
The Separations Preview palette shows how process and spot colors will color-separate.
The Separations Preview palette also indicates areas exceeding the ink limit.
Note:
All Adobe InDesign
screen shots in this
document were
created with Mac OS X.
You can also use
Adobe InDesign CS in
Microsoft® Windows®
2000 with Service
Pack 2 or Windows XP.

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If you’re familiar with the Channels palette in Adobe Photoshop, you’ll quickly understand
how the Separations Preview palette works. All process and spot inks dened in the le are
listed in the palette, and you can hide or show inks to preview any combination of them.
To accelerate your prepress workow, you can use the Window > Arrange > New Window
command to view the same page or spread in multiple windows—one that previews separa-
tions, another view to indicate areas over the ink limit, and a third to view the composite.
You can then make adjustments in any view while simultaneously and continuously moni-
toring how your changes affect each separation, areas over the ink limit, and the composite
document.
For more information, see “Previewing separations, transparency, and overprints” on
page 46.
Flattener Preview palette
Evaluate the effects of transparency attener settings before generating output. The Flattener
Preview palette shows how page areas would be affected by attening, without altering
the document. You can try different presets and see the results. When you’re satised
with the results of the attener preview, you can apply the currently viewed settings to the
document’s print settings by clicking the Apply Settings to Print button.
Training on this feature is minimized because it works similarly to the transparency attener
in Adobe Illustrator and Adobe Acrobat 6 Professional. In addition, attening is previewed
directly on the page (not in a separate window or palette), so you can edit page objects
while the attener preview is in effect. For more information, see “Previewing transparency
attener presets” on page 59.
The original object is on the left. The attener preview on the right indicates the page areas affected by using
the selected attener preset to atten the transparency in the drop shadows.

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Bleeds, slugs, and pasteboard enhancements
Set up bleed and slug areas outside the document area. You can specify a distance outside the
page within which page objects can bleed. You can also specify a slug area where information
can be added outside the page area and be included in output if desired. Slugs are commonly
used in advertising to show information about an ad that is not part of the ad itself.
In the Document Setup dialog box, clicking the More Options button reveals the Bleed and Slug options.
Bleeds and slugs are completely integrated into all phases of your workow. Adobe InDesign
CS adds Bleed and Slug preview modes, which display a document on screen as it would
appear when trimmed to the bleed area or slug area. (Adobe InDesign 2 already includes a
Preview mode that displays a document trimmed to the page edge.) As you would expect,
bleed and slug areas can optionally be included in print or PDF output.
Screen preview of document areas
A Margins
B Page edge
C Bleed
D Slug A
B
C
D
Adobe InDesign CS can preview the page area, the bleed area, and the slug area.
For clarity, the preference for Guides In Back now controls the page border as well, in case
you want the guides and the page border to display in front of or behind all other objects on

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screen. (Guides in Back is off by default.) In addition, the Guides and Pasteboard preferences
now include a Minimum Vertical Offset option for extending the height of the pasteboard.
Mixed ink s
Create swatches that can be mixed using spot colors. A mixed ink is based not on color
values but on inks already dened in the document, such as spot blue and process yellow
inks. For example, you can create a brown mixed-ink swatch that’s dened as a combina-
tion of specic percentages of a yellow spot and process black inks. When a document using
mixed inks is color-separated, a plate is marked only if it contains an ink that was actually
used. This is true when color-separating mixed inks using a built-in, in-RIP, or composite
workow. In addition, mixed inks are preserved when you export PDF les, and when print-
ing to a composite printer.
Mixed ink swatches let you dene color swatches using at least one spot color.
Mixed ink groups
Use a mixed-ink group to automatically generate a range of swatches based on existing
swatches. This is a quick way to create a set of related mixed-ink swatches. You create a
mixed-ink group by selecting two “parent” swatches and specifying increments for creat-
ing intermediate swatches (similar to using step-and-repeat with objects). This is valuable
when working with spot colors, because swatches in a mixed ink group can only use the
parent swatches as ink components—creating a mixed ink group from two spot colors does
not create process colors. Wide-ranging color palettes can be created even when the budget
limits the number of inks. Mixed-ink groups are linked to their parent inks, so if you edit
the parent inks, all of the swatches update in the mixed ink group. Objects that use swatches
in the mixed ink group are also updated.

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Mixed ink groups let you generate whole ranges of swatches while printing no more than two inks.
PDF/ X-1a, PDF/X- 3, and PDF 1. 5 (Acrobat 6 - compatible) support
Output Adobe PDF les using the PDF/X-1a, PDF/X-3, and PDF 1.5 (Acrobat 6-compat-
ible) formats. PDF/X-1a and PDF/X-3 were developed as ISO standards to increase output
reliability by constraining the content and output requirements of a PDF le. PDF/X-1a is
based on CMYK and spot colors, while PDF/X-3 also accommodates RGB color and ICC
color management proles. You can use Adobe Acrobat 6 Professional to preight PDF les
for compliance with the PDF/X-1a and PDF/X-3 standards.
Adobe InDesign CS also supports PDF 1.5, which is useful for workows that involve
PDF 1.5 layers or images compressed using JPEG 2000. Adobe InDesign CS can export
document layers to PDF 1.5 layers. PDF 1.5 is also supported by Adobe Acrobat 6
Professional. However, most PDF prepress workows are currently based on earlier versions
of PDF, so PDF 1.5 workows won’t be common until PDF 1.5 is supported by more RIPs
and prepress applications.
Adobe InDesign CS can import PDF 1.5 les that already contain JPEG 2000-compressed
images and provides JPEG 2000 compression as an option when exporting PDF 1.5 les.
Note, however, that Adobe InDesign CS can’t directly place image les compressed using
JPEG 2000. Service providers may need to check with vendors of RIPs and prepress applica-
tions to verify support for JPEG 2000.

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Enhanced Photoshop color suppor t
Seamlessly output Adobe Photoshop and TIFF les that use spot channels, and Photoshop
multitone les. These changes make it easier to use native Photoshop les in a wider variety
of output scenarios.
Merging raster - based Photoshop DCS and EPS f iles
Automatically merge, or composite, Adobe Photoshop DCS 2.0 les placed in Adobe
InDesign CS. Because DCS les are preseparated, it can be a challenge to integrate them
into some prepress workows. By automatically merging DCS 2.0 les created from Adobe
Photoshop, it’s easier to reuse legacy les. Merging is supported when exporting or printing,
including color separation and trapping with the built-in trapping engine. These enhance-
ments are made possible because Adobe InDesign CS reads Photoshop DCS and EPS les
as images. Reading these le types as images enables two more benets: their resolution is
determined and reported in the Info palette and when preighting, and Photoshop EPS les
can be color-managed if an ICC prole was embedded.
For an EPS or DCS le to benet from these enhancements in Adobe InDesign CS, the le
must meet the following requirements:
• The le must be created by Photoshop.
• The le must be an 8-bit le. The CMYK, RGB, and gray color models are supported. It
can include spot colors, and it can be a multitone le (such as a duotone).
• A DCS le must not be saved with the Include Vector Data option selected. (Clipping
paths are supported.)
• DCS les must conform to the DCS 1.0 or 2.0 specication.
EPS and DCS les not meeting these requirements can still be placed, but they won’t benet
from the enhanced workow.

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Info palette
View detailed information about the selected object. Like the Info palette found in other
Adobe applications, the Info palette in Adobe InDesign CS displays information such as
position, size, color swatch or values, and color space and prole. The Info palette also
indicates image metadata, if present.
The Info palette provides useful information about an image, including image resolution.
Signicant for prepress providers, the Info palette indicates two resolution gures for a
selected image: Actual ppi, the resolution of the image as it was saved in another applica-
tion; and Effective ppi, which can be higher or lower than the Actual resolution if the image
is scaled within Adobe InDesign CS. For example, if a designer imports an image that
was saved at 300 dpi and scales it 200%, its effective resolution becomes 150 dpi. The Info
palette reports horizontal and vertical resolutions, which can indicate non-proportional or
anamorphic scaling.
Stroke enhancements
Overprint the gap color of dashed, dotted, or striped strokes, and control how strokes center
over a path. When working with dotted, dashed, or striped strokes that use a gap color other
than None, you can use the new Overprint Gap option on the Attributes palette to overprint
the gap color over underlying colors.
The Attributes palette features a new Overprint Gap option
Dotted, dashed, and striped strokes color-separate in a specic way. For the purposes of
color separation, think of the gap color not just as a gap, but as a continuous stroke of color
behind the dots, dashes, or stripes. During color separation, the Overprint Gap option
operates rst on the gap color, then on the dots, dashes, or stripes. For example, if Overprint
Stroke and Overprint Gap are both selected for a dashed line, the gap color overprints
continuously along the entire length of the stroke, and then the stroke color overprints.

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Customers unaware of this behavior may not expect the gap color to overprint behind the
dashes. Before creating actual output, verify that multicolored, non-solid strokes overprint
as the customer intends by using the Overprint Preview feature on screen or the Simulate
Overprint feature in a PDF exported for proong or when printing to a composite device.
Adobe InDesign CS also adds stroke styles, which let you customize dotted, dashed, and
striped strokes. Custom stroke styles appear in the Type pop-up menu on the Stroke palette.
You can also apply custom stroke styles to paragraph rules, underlines, and strikethroughs.
In the Edit Stroke Styles dialog box, you can customize dashed, dotted, or striped strokes.
Display and work spaces
Save custom palette congurations and ensure standard display settings. Each operator in
your shop can create their own palette layout and save it under the Window > Workspace
submenu. Saving workspaces is especially useful when you use the new Separations Preview
and Flattener Preview palettes, because you can save a palette arrangement specically for
evaluating a document and preparing it for output.
New display controls ensure that Adobe InDesign documents display as quickly as possible
when they come into your shop. The new Preserve Object-Level Display Settings preference
lets you override the display settings of individual graphics in any documents you open, so
that you can always use your shop’s display preference as the default. A service provider will
usually want to use a fast display setting such as Typical Display.
Stor y editor
Edit text in a window separate from the layout. For rapid text editing, the Story Editor
window displays text in a single scrolling view without using the layout composition engine.
You can customize Story Editor display in the Preferences dialog box.

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Subset control for large character sets during output
Enable higher output performance when printing a document containing a large character
set, such as some OpenType fonts or Japanese fonts. Adobe InDesign downloads complete
font sets by default, but output can be slowed when very large fonts are embedded, such as
Japanese fonts which have many more glyphs than Roman alphabets. You can use the Always
Subset Fonts With Glyph Counts Greater Than preference to specify a limit below which
Adobe InDesign CS embeds only the subset of glyphs that are actually used in the document.
By default, Adobe InDesign CS subsets any font containing over 2000 glyphs. If you want to
specify a different limit, this option is available in the General Preferences dialog box. Note
that this option only applies when Complete is not selected in the Download pop-up menu
in the Graphics panel of the Print dialog box.
The improvements mentioned in this introduction are just a partial list of ways Adobe
InDesign CS enhances the efciency of print service providers; the rest of this document
covers them in detail. Adobe’s goal is to make Adobe InDesign documents the easiest jobs to
move through your shop. To reach and maintain that standard, the InDesign product team
will continue to listen to and implement service provider requests as they have for Adobe
InDesign CS. You can participate in this process by using the following resources to send
requests, suggestions, or other feedback, or to discuss Adobe InDesign with other service
providers.
To submit a feature request, go to:
http://www.adobe.com/support/feature.html
To exchange ideas and solutions with other Adobe InDesign service providers, go to the
Adobe InDesign Service Providers User-to-User Forum:
http://www.adobeforums.com/cgi-bin/webx?14@@.ee6b338
To report a bug, go to:
http://www.adobe.com/misc/bugreport.html

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Helping customers prepare InDesign les
If you provide handoff checklists to your customers, you can use this section to adapt your
checklists for InDesign CS. The InDesign features described in this section are covered in
more detail later in this document.
Preparing transparenc y
For complete information on transparency issues, see “Flattening transparency for high-
resolution output” on page 50. To minimize issues with transparency, advise customers to
do the following:
• Use color settings compatible with your shop’s workow—particularly the CMYK (default)
and RGB working spaces. See “Using presets and settings les to further streamline cus-
tomer handoffs” on page 14.
• Set the transparency blend space to CMYK (choose Edit > Transparency Blend Space >
CMYK).
• Place Adobe native formats that support unattened transparency: Illustrator 9 or later
(native .AI format, not EPS), Photoshop 4 or later, or PDF 1.4 (Acrobat 5) or PDF 1.5
(Acrobat 6).
Adobe InDesign CS can atten EPS versions of Illustrator les that intersect an object that
uses transparency, but results may not be satisfactory if the Illustrator EPS le was already
attened at settings that are not appropriate for high-resolution color output.
• Use Illustrator 10 or later for best results with spot colors and overprinting.
• If pages using transparency include Illustrator 9 or 10 artwork—particularly if the artwork was
saved in Illustrator native or EPS formats earlier than Illustrator 9—use Overprint Preview to
verify that results will be as expected.
• When using transparency with spot colors, use Overprint Preview to monitor the results.
Customers should feel free to use spot colors with transparency, but placed les created
with older versions of other graphics applications may cause issues that can be identied in
advance using the output preview features.
• When applying the Difference, Exclusion, Hue, Color, Saturation, or Luminosity blending
modes to transparent objects that use spot colors, use Overprint Preview or the Separations
Preview palette to monitor the results more accurately, or achieve the effect using other
blending modes or techniques.
• If preseparated les (multichannel or DCS) interact with objects that use transparency,
convert them to Photoshop les before creating output from the InDesign document. Some
Photoshop DCS 1.0 and 2.0 les may not need to be converted if they produce the desired
results. Note that Adobe InDesign CS can import Adobe Photoshop les containing spot

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channels, and multitone les (such as les in Duotone mode), but not Photoshop les saved
in Multichannel mode.
• Preight the document making sure that all fonts and high-resolution links are available.
Without these items, transparency can’t be calculated to imagesetter resolutions. You can
verify each image’s resolution using the Links and Images panel in the Preight dialog box
or in the preight report. If an OPI workow is being used, check the list of conditions under
“Flattening OPI workows” on page 55.
• Make sure that all high-resolution links and fonts in imported EPS les are embedded in
those les. For example, if an InDesign document includes an Illustrator le that contains
a TIFF image, that TIFF image should be embedded in the Illustrator le. (Of course, the
Illustrator le should normally be linked to the InDesign document.)
• For placed PDF and EPS les, make sure all necessary fonts are embedded or available. You
can use the Preight command to verify this.
• Expect to closely examine InDesign pages containing transparency. While color proofs are
a proven way to do this, you can also use the new Flattener Preview palette to anticipate the
effects of transparency attener settings. The Pages palette displays a checkerboard pattern
to identify pages that contain objects with transparency applied.
Preparing book files
For complete information on book les, see “Working with a book le“ on page 30.
Customers should be responsible for making sure book les are completely up to date before
submitting them, by doing the following:
• Notify the service provider that a book le controls the publication.
• Synchronize the book. Once the book is synchronized by the customer, it should not be
reordered or synchronized by the prepress service provider.
• Verify pagination.
• If a table of contents and index have been generated, make sure they’re current.
• Preight the book.
• Package the book—an especially good idea given the possible number of les and fonts
involved.

14
Using presets and settings files to fur ther streamline customer handoffs
Your shop can minimize potential output issues by taking full advantage of the settings les
you can congure in InDesign. Consider providing customers with presets that you can use
to increase output reliability and job throughput, such as the following:
• Document presets, new to Adobe InDesign CS. These presets save the settings in the
Document Setup dialog box.
• Print presets. These presets save the settings in the Print dialog box.
• Trap presets. These presets save trapping settings.
• Transparency attener presets. These presets save settings for attening transparency, when
creating output for formats or devices that cannot process transparency data.
In addition, consider setting up the following types of settings les, which are also discussed
in this document:
• PDF export presets. If you accept PDF les from customers, create a PDF export preset
customized for your workow and provide it to them. If the Press or PDF/X-1a preset built
into InDesign does not create optimal output for your workow, you can create your own
customized version to provide to your customers.
• Color settings les. If your shop uses color management, you may want to advise customers
on color management settings that will ensure a smooth handoff to your shop. The Color
Settings dialog box in Adobe InDesign CS is consistent with Adobe Photoshop, Adobe
Illustrator, and other Adobe applications. You can create your own standard color settings
le you can apply to all of your computers and send to customers. For example, a color
settings le can specify whether or not the customer’s machine embeds proles or converts
colors, and what destination prole is used for proong. Just set the options in the Color
Settings dialog box and click Save.
If your shop doesn’t use color management, you may want customers to disable it. Have
them choose Edit > Color Settings and deselect Enable Color Management.
Pref lighting
Encourage customers to preight their documents before handing them off, to identify any
problems that need to be resolved at the customer’s location. See “Preighting the document”
on page 36.

15
Packaging files for handoff
Packaging an InDesign document is similar to using the Save for Service Provider command
in Adobe PageMaker® or the Collect for Output feature in QuarkXPress™. With the Package
command, your customers or customer service representatives can collect the les needed to
output an InDesign document, as well as provide contact information and instructions that
help streamline the communication process between designers and prepress and printing
professionals. The Package feature collects linked graphics and fonts, including fonts used in
linked EPS and PDF les. All of these les plus preight and package reports are then saved
into a single folder for easy delivery. You can use this feature two ways: by choosing File >
Package, or by clicking Package in the Preight dialog box. If the document contains prob-
lems that generate Preight warnings, we recommend resolving any issues before packaging
the document—otherwise, the resulting package may be incomplete. Be sure your customers
understand that incomplete packages can cause production delays.
Pri n t i ng I ns t r uc t io n s d i al og b ox
The Printing Instructions dialog box is the rst step in packaging the job. Using this
panel, customers can enter contact information and any special printing instructions—the
information then appears in an automatically-generated report, which also includes a list of
all used fonts, links, inks required to print the document, and current print settings. This
report is stored in the same folder as the other packaged les, and can be a valuable trouble-
shooting resource for your staff.

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Cre a te P a ck ag e Fol de r or P a c k ag e Pu b l i ca t i o n p a ne l
In this panel, you specify a name and location for the package folder, as well as whether to
copy Fonts and Linked Graphics used in the document (a subfolder is created for each option
you select). The InDesign document and the Printing Instructions report are automatically
copied to the folder you specify here.
Update Graphic Links in Package: This option helps to ensure that all graphic and image
links are up to date. When you package a document, the linked les are collected and copied
to one folder named Links. By updating the graphic links at the time the document is pack-
aged, your customers can help ensure that the links in their documents don’t cause output
problems.
Use Document Hyphenation Exceptions only: This option embeds the customer’s user
dictionary in the InDesign document, and helps to ensure that other user dictionaries (such
as those on computers used to output the le) are ignored. This can help prevent unwanted
last-minute line break changes, which can in turn cause production delays.

17
Include Fonts and Links From Hidden Layers: This option includes all fonts and linked
les on hidden layers in an InDesign document. This option is turned off by default, mean-
ing that Adobe InDesign CS only includes content on layers that are visible at the time the
document is packaged.
View Report: This option automatically displays the Printing Instructions report after the
package is created. The report is always saved to the package folder whether or not this
option is selected.
Instructions: This button opens the Printing Instructions panel.