Adobe Creative Suite 4 Printing Guide
On an oﬀset press, black ink is not 100% opaque. For a more accurate simulation of black opac-
ity, enable and properly conﬁgure color management and choose to display blacks accurately
(choose Preferences > Appearance of Black, and choose Display All Blacks Accurately for on
screen display), or, if you have disabled color management (not recommended), you can choose
the Desaturate Black command from the Separations Preview panel menu. Desaturate Black
reduces the visual opacity of the black plate only (this does not aﬀect output). Desaturate Black
is redundant (and will provide an anemic display of black objects) when color management is on
and accurate blacks are displayed.
Keep the following tips in mind as you use the Separations Preview panel:
• CMYK plates are always listed, even if, for example, the job uses only two spot col-
ors. However, CMYK plates are not output if no colors need to be printed on them.
• 周e Separations Preview panel lists all inks deﬁned in a document, whether or not
they are actually used in the document. Consequently, it is recommended that you
delete unused spot-color swatches before viewing separations.
• You can view the eﬀect of converting spot colors to process and the eﬀect of aliasing
a spot ink (see the previous “Using the Ink Manager” in this section). Both of these
options are available in the Ink Manager on the Separations Preview panel menu.
• You can’t preview the overprinting eﬀects of built-in trapping or Adobe In-RIP
Trapping. Separations Preview displays only the eﬀects of overprints applied manu-
ally through the Attributes panel.
You can use the Ink Limit feature in the Separations Preview panel to see if any areas of the
document exceed a speciﬁed limit—for example, 320% for sheetfed printing. 周e total ink limit
depends on the press being used to run the job, the type of stock, and other factors. If only a few
small areas are highlighted in this preview, it should be no cause for alarm. But if large areas
exceed the desired total ink limit, you may have to edit graphics and other content to ensure that
their total ink value falls within the limit to prevent printing problems.
In the Separations Preview panel, choose Ink Limit from the View pop-up menu, and enter an
ink limit value. Areas in gray are within the total ink limit. Areas shown in red are over your ink
limit; more intense reds indicate greater degrees of ink-limit excess. 周e percentages along the
right side of the panel indicate the ink amounts at the location of the pointer.
To view the ink percentage at any point on the layout:
1. Position the mouse where you want to evaluate the ink percentages.
2. Refer to the percentages along the right side of the Separations Preview panel. Ink values for
each plate are displayed, along with the total for CMYK plates.
Note: When viewing separations, the total CMYK ink value is displayed, but not the total com-
bined ink value for overlapping process and spot colors. Position the cursor over areas of overlap-
ping process and spot colors, and add the CMYK total value to the values displayed for spot colors.
To highlight areas exceeding a total ink coverage limit, choose Ink Limit from the Separations
Preview panel pull-down menu. Set the Ink Limit value for your press condition; areas exceeding
the limit are highlighted in red.
Overprint Preview is a View mode (View > Overprint Preview) that simulates how objects set
to overprint will appear in color-separated output (or composite output when the Simulate
Overprint option is enabled). When Overprint Preview is on, you can see underlying objects
through overprinted objects as they would appear on press. Because Overprint Preview models
ink behavior, overprinted objects that use lighter or screened inks reveal more underlying inks
during overprint preview because they actually are less opaque when printed.
Overprint Preview also gives a more realistic view of spot colors involved with certain blending
modes. In the normal, composite view, interactions between spot color objects may be mis-
leading, so make it a habit to check ﬁles by turning on Overprint Preview. Because turning on
Overprint Preview also turns on High Quality Display, you may experience a slight slowing of
performance in InDesign as a result. Consequently, you may wish to turn on Overprint Preview
to check content, and then turn it oﬀ once you have ﬁnished.
Adobe Creative Suite 4 Printing Guide
Using Overprint Preview
The text and oval both have a ﬁll of solid PMS 399, and the text is
set to Multiply The composite view (left) is misleading: after all,
you can't have 200% of a single ink Turn on Overprint Preview,
however (right) and you'll see how this eﬀect will actually print
To display the Flattener Preview panel choose Window > Output > Flattener Preview. To evalu-
ate the eﬀects of ﬂattening, select an option from the Highlight pop-up menu in the Flattener
• Rasterized Complex Regions: Highlights areas that are rasterized based on the
settings in the transparency ﬂattener preset. When the Raster/Vector Balance slider
is set to 100, no areas are highlighted because rasterization only occurs within the
outlines of each text or line-art object that’s aﬀected.
• Transparent Objects: Highlights objects that use transparency. It doesn’t indicate
any of the possible results of ﬂattening.
• All Aﬀected Objects: Highlights both objects that use transparency and objects
that must be ﬂattened because they interact with the objects that use transparency.
周is setting does not indicate ﬂattening results, but it’s useful because it indicates all
objects that could potentially be ﬂattened.
• Aﬀected Graphics: Highlights images that will be ﬂattened, but not eﬀects or non-
image objects (such as vector drawings). 周is setting is especially useful for OPI
workﬂows, because the highlighted images are the ones that must be swapped with
high-resolution versions at output time in order to ﬂatten properly. If an image isn’t
highlighted, you don’t need to be concerned about ﬂattening it in an OPI workﬂow.
You can use this setting together with the Info panel to verify the resolution of any
• Outlined Strokes: Highlights which strokes will be slightly thicker when ﬂattened.
Sometimes strokes are converted into ﬁlled areas of the same width to recreate a
transparent eﬀect when ﬂattened. 周ese areas may appear thicker because some RIPs
process strokes diﬀerently than ﬁlled shapes, but the eﬀect is usually not visible on
device resolutions above 1200 dpi. If you are printing on a device below 1200 dpi
and this feature highlights many objects on a page, you can make all strokes appear
consistent by applying a preset where Convert All Strokes To Outlines is turned on.
• Outlined Text: Highlights which type characters will be converted to outlines under
the currently applied transparency ﬂattener preset. Characters become slightly
thicker when converted to outlines, but the eﬀect may not be visible on device
resolutions above 1200 dpi. If you are printing on a device below 1200 dpi and this
feature highlights many characters on a page, you can make all text appear consis-
tent by applying a preset where Convert All Text To Outlines is turned on.
• Raster-ﬁll Text and Strokes: Highlights text or strokes that may be aﬀected by RIPs
that record continuous-tone (CT) objects at a diﬀerent resolution than linework
(LW) objects. Aﬀected objects are likely to use transparency eﬀects that create
images, such as drop shadows or feathered edges. You don’t need to use this option if
you don’t have this type of RIP, or if you have this type of RIP and its version has no
issues producing output of text or strokes with drop shadows and feathers.
• All Rasterized Regions: Highlights all areas that will be rasterized because of the
current ﬂattener preset—not just complex regions. 周is option involves rasteriza-
tion of ﬁlls, not outlines, and the rasterized ﬁlls are clipped to the original smooth
outlines. Again, this view is useful if you output to a RIP that processes CT and
LW objects diﬀerently because it indicates which parts will appear on the CT page
as a result of ﬂattening. It also highlights objects that will be rasterized when the
Raster/Vector Balance uses a value less than 100. If many areas are highlighted, you
Adobe Creative Suite 4 Printing Guide
may want to consider using transparency ﬂattener settings with the Raster/Vector
Balance set to 100, or increase the Line Art and Text Resolution if you set Raster/
Vector Balance to less than 100. Note that it is extremely rare for text or vector
content to be rasterized in InDesign CS4, unless you have chosen a very low value for
the Raster/Vector Balance control.
Note: If you want to minimize the chance that text will be outlined, stack the text above all other
objects; for example, move it in front of other objects using Object > Arrange > Bring to Front. If
this can be done without changing the look of the design, it will prevent the text characters from
being ﬂattened by getting them out from under the transparency objects.
Select a ﬂattener preset from the Preset pop-up menu. If Auto Refresh Highlight is oﬀ, click
Refresh to see the eﬀect of the preset you selected. To control preview refresh, do one of the
• Click the Refresh button a晴er changing the Highlight or Preset settings.
• Select Auto Refresh Highlight to let InDesign refresh the display a晴er you change
Highlight or Preset settings.
The text on the left is aﬀected
by the drop shadow because it
is below the drop shadow The
text on the right isn’t aﬀected by
transparency because it is now
above the drop shadow in stacking
Photoshop blending mode issue
Within Photoshop, a shadow set to Multiply blend mode will darken what’s underneath it. But
when you place a Photoshop ﬁle into InDesign, the shadow knocks out what’s underneath,
lightening the area rather than darkening it. To see the eﬀect, place a Photoshop image contain-
ing a shadow into InDesign, and then use Separations Preview (Window > Output > Separations
Preview). Turn oﬀ the black separation, and you’ll see that the shadow knocks out anything
behind it. While this wouldn’t matter if the shadow fell on an empty area of the page, the knock-
out eﬀect will be obvious when it falls over other page content.
Photoshop Blending Modes in InDesign
A Photoshop shadow looks satisfactory in composite view, but
turning oﬀ the black plate in the Separations Preview panel
reveals a problem: rather than darkening everything, the
shadow knocks out everything underneath
While InDesign honors opacity attributes of native, layered Photoshop ﬁles, it does not handle
all Photoshop blending modes. InDesign handles its own shadows correctly, darkening content
underneath. Blending modes from Illustrator (including Illustrator-created shadows and other
eﬀects) image correctly as well.
If the image is silhouetted and just requires a drop shadow (a concentric shadow, oﬀset from the
image), eliminate the drop shadow in Photoshop, and replicate it in InDesign. If, however, the
designer has created a cast shadow (for example, a shadow that would be cast by a vase on the
table under it), you must take special measures to ensure that the shadow will image correctly.
If the shadow has been created on a separate layer from the object, the Photoshop ﬁle can be
correctly imaged from InDesign, a晴er a minor change (described in the following steps). If the
shadow is on the same layer as the object, it must be copied onto another layer, and deleted from
the object’s layer. 周e object and its shadow must be on separate layers in Photoshop to be able to
use this workaround:
Documents you may be interested
Documents you may be interested