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•
Send By Range
Downloads fonts and resources before printing the first page that uses them, and then discards
them when they are no longer needed. This option uses less printer memory. However, if a PostScript processor
reorders the pages later in the workflow, it might not reorder the font downloading correctly, resulting in missing
fonts. This option may not work with some printers.
•
Send For Each Page
Downloads all fonts and resources for a given page before the page prints, and then discards
the fonts when the page has finished printing. This option uses the least printer memory.
Download Asian Fonts
Prints documents with Asian fonts that aren’t installed on the printer or embedded in the
PDF. The Asian fonts must be present on the system.
Emit CIDFontType2 As CIDFontType2 (PS Version 2015 And Greater)
Preserves hinting information in the original
font when printing. If unselected, CIDFontType2 fonts are converted to CIDFontType0 fonts, which are compatible
with a wider range of printers. This option is available for PostScript 3 and PostScript Level 2 (PostScript version
2015 and later) output devices.
Print As Image
Prints pages as bitmap images. Select this option if normal printing doesn’t produce the desired
results, and specify a resolution. This option is available only for PostScript printers.
Downloading Asian fonts to a printer
Select the Download Asian Fonts option in the Advanced Print Setup dialog box if you want to print a PDF with
Asian fonts that are not installed on the printer or embedded in the document. (Embedded fonts are downloaded
whether or not this option is selected.) You can use this option with a PostScript Level 2 or higher printer. To make
Asian fonts available for downloading to a printer, be sure you have downloaded the fonts to your computer using
the Custom or Complete installation option during installation of Acrobat.
If Download Asian Fonts is not selected, the PDF prints correctly only if the referenced fonts are installed on the
printer. If the printer has similar fonts, the printer substitutes those. If there are no suitable fonts on the printer,
Courier is used for the text.
If Download Asian Fonts does not produce the results you want, print the PDF as a bitmap image. Printing a
document as an image may take longer than using a substituted printer font.
Note:
Some fonts cannot be downloaded to a printer, either because the font is a bitmap or because font embedding is
restricted in that document. In these cases, a substitute font is used for printing, and the printed output may not match
the screen display.
Output options
Use the Output panel of the Advanced Print Setup dialog box to set output options.
Color
Presents composite and separations options. Other options become available in the Output panel depending
on your selection in this menu.
Color Profile
Determines the profile used for handling colors during printing.
•
Printer/PostScript Color Management
Sends the document’s color data along with the document profile directly
to the PostScript printer and lets the printer convert the document to the printer color space. The exact results of the
color conversion can vary among printers. To use PostScript color management, you must have a printer that uses
PostScript Level 2 or later; it’s not necessary to install an ICC profile for the printer on your system.
•
Same as Source (No Color Management)
Discards all color management information and sends device color to
the printer, whether or not the document contains color management information.
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Apply Output Preview Settings
Simulates the print space defined by the device identified in the Simulation Profile
menu of the Output Preview dialog box (choose Advanced > Print Production > Output Preview). This option allows
you to simulate the appearance of one device on another.
Simulate Overprinting
Simulates the effects of overprinting spot inks in composite output and converts spot colors
to process colors for printing; the document itself is unchanged. This option is useful for printing devices that don’t
support overprinting and is available only if you choose Composite from the Color menu. If you intend to use a file
for separations on a RIP (raster image processor) or for final output, don’t select this option.
Important:
When printing to a printer that supports overprinting, make sure that this option is unselected, so the
printer’s native overprinting capabilities are used.
Transparency Flattener Preset
Flattens transparent objects according to the preset you choose.
Use Maximum Available JPEG2000 Image Resolution
Controls how resolution progression information, if present,
is used when generating PostScript. When selected, the maximum resolution data contained in the image is used.
When unselected, the resolution data is consistent with the resolution settings on the Transparency Flattening panel.
Ink Manager
Modifies the way inks are treated while the current PDF is open.
See also
“Ink Manager overview” on page 461
About halftone screen frequency
In commercial printing, continuous tone is simulated by dots (called halftone dots) printed in rows (called lines or
line screens). Lines are printed at different angles to make the rows less noticeable. The Screening menu in the Output
section of the Print dialog box displays the recommended sets of line screens in lines per inch (lpi), and resolution
in dots per inch (dpi), based on the currently selected PPD. As you select inks in the ink list, the values in the
Frequency and Angle boxes change, showing you the halftone screen frequency and angle for that ink.
A high line-screen ruling (for example, 150 lpi) spaces the dots closely together to create a finely rendered image on
the press; a low line-screen ruling (60 lpi to 85 lpi) spaces the dots farther apart to create a coarser image. The size of
the dots is also determined by the line screen. A high line-screen ruling uses small dots; a low line-screen ruling uses
large dots. The most important factor in choosing a line-screen ruling is the type of printing press your job will use.
Ask your service provider how fine a line screen its press can hold, and make your choices accordingly.
B
D
A
C
Line screens
A.
65 lpi: Coarse screen for printing newsletters and grocery coupons B.
85 lpi: Average screen for printing newspapers C.
133 lpi: High-quality
screen for printing four-color magazines D.
177 lpi: Very fine screen for printing annual reports and images in art books
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The PPD files for high-resolution imagesetters offer a wide range of possible screen frequencies, paired with various
imagesetter resolutions. The PPD files for low-resolution printers typically have only a few choices for line screens,
usually coarser screens of between 53 lpi and 85 lpi. The coarser screens, however, give optimum results on
low-resolution printers. Using a finer screen of 100 lpi, for example, actually decreases the quality of your image
when you use a low-resolution printer for final output.
Specify halftone screen frequency
❖
In the Output panel of the Advanced Print Setup dialog box, do one of the following:
• To select one of the preset screen frequencies and printer resolution combinations, choose an option from the
Screening menu.
• To specify a custom halftone screen frequency, in the ink list, select the plate to be customized, and then enter the
lpi value in the Frequency box and a screen angle value in the Angle box.
Note:
Before creating your own halftone screens, check with your print service provider for the preferred frequencies and
angles. Also, be aware that some output devices override the default frequencies and angles.
About emulsion and image exposure
Depending on the type of printing press used and how information is transferred from the film to the printing plates,
you may need to give your service provider film negatives or positives, with emulsion side up or down. Emulsion
refers to the photosensitive layer on a piece of film or paper. Typically, print service providers require negative film
in the United States and positive film in Europe and Japan. Check with your service provider to determine which
emulsion direction they prefer.
To tell whether you are looking at the emulsion side or the nonemulsion side (also referred to as the base), examine
the final film under a good light. One side appears shinier than the other. The dull side is the emulsion side; the shiny
side is the base.
A
B
C
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A
D
E
C
B
Printer marks
A.
Trim marks B.
Registration marks C.
Page information D.
Color bars E.
Bleed marks
1 Select Marks And Bleeds on the left side of the Advanced Print Setup dialog box.
2 Choosetheprinter marksyouwant.Themarksappearinthepreviewontheleftsideof theAdvancedPrintSetup
dialog box.
See also
“Embed printer marks in a PDF” on page 463
Marks And Bleeds options
All Marks
Creates all printer marks at once.
Line Weight
Determines the weight of the lines for trim, bleed, and registration marks.
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Style
Determines the appearance of the marks. You can choose default InDesign marks, or marks from other appli
cations as listed.
Trim Marks
Places a mark at each corner of the trim area to indicate the PDF trim box boundaries.
Bleed Marks
Places a mark at each corner of the bleed box to indicate the PDF bleed box boundaries. A bleed box
defines the amount of extra area to image outside the defined page size.
Registration Marks
Places marks outside the crop area for aligning the different separations in a color document.
Color Bars
Adds a small square of color for each grayscale or process color. Spot colors converted to process colors
are represented using process colors. Your service provider uses these marks to adjust ink density on the printing
press.
Page Information
Placespage information outside the crop area of the page.Page information includes the filename,
page number, current date and time, and color separation name.
Printing color
Preview how colors overprint
Overprint Preview mode provides an on-screen simulation that approximates how blending and overprinting will
appear in color-separated output. Overprinting effects can also be simulated when you output to a composite
printing device. Both of these methods are useful for proofing documents that will be color separated.
Compare appearance of artwork on-screen (left) with printed artwork (right).
❖
With the PDF open, choose Advanced > Print Production > Overprint Preview.
The overprint display turns on or off. If overprint previewing is on, a check mark appears next to the Overprint
Preview command.
Managing color
When you print a color-managed RGB or CMYK document, you can specify additional color management options
to keep color consistent in the output. For example, suppose the document contains a profile tailored for prepress
output, but you want to proof the colors on a desktop printer. In the Output panel of the Advanced Print settings
dialog box, you can temporarily convert the document’s colors to the color space of the desktop printer—the printer
profile is used instead of the current document profile when printing. In addition, you can send color data as RGB
values to printers using various RGB profiles.
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See also
“Understanding color management” on page 402
“Keeping colors consistent” on page 404
“Color-managing documents when printing” on page 412
“Working with color profiles” on page 414
About composite printing
When you print a color PDF, all of the colors used in the file print on one plate. This process is called composite
printing. The options available in the Output panel of the Advanced Print Setup dialog box depend on the selected
printer.
Artwork that will be commercially reproduced and that contains more than a single color must be printed on
separate master plates, one for each color. This process is called color separation. If you’re creating color separations,
you can print a color or grayscale composite proof to check your work.
Note:
To create color separations, you need Acrobat 8 Professional or Acrobat 3D Version 8.
Consider the following issues when printing composites:
• Any overprinting options that you select print correctly only on a printer that supports overprinting. Since most
desktop printers don’t support overprinting, you can simulate the effects of overprinting by selecting Simulate
Overprinting in the Output panel of the Advanced Print Setup dialog box. Be aware that selecting Simulate
Overprinting converts spot colors to process colors for printing. If you intend to use a file for final output, do not
select this option.
• When you print to a black-and-white printer, a grayscale composite version of the pages is produced (unless you
select Print Color As Black in the main Print dialog box; this option prints all nonwhite color as black). If the
document contains color, visually correct grays are used to simulate that color. For example, the gray that
simulates a 20% tint of yellow is lighter than a 20% tint of black, since yellow is visually lighter than black.
Note:
Remember that, like monitors, color printers vary greatly in color reproduction quality; thus, proofs from your
service provider are the best way to verify how the finished piece will look.
See also
“About separations” on page 441
Print a color composite
1 Choose File > Print, and choose a printer.
2 Specify page handling options.
3 Choose Document And Stamps from the Comments And Forms menu to print all visible content.
4 Click Advanced, and select Output on the left side of the dialog box.
5 Choose a composite option from the Color menu.
6 Specify other color and output settings, and click OK.
7 If the document contains objects with transparency settings, select an option from the Transparency Flattening
Preset menu.
8 (PostScript printing only) In the PostScript Options panel, specify options.
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See also
“About flattening” on page 465
About separations
To produce high-quality separations, it helps to be familiar with the basics of printing, including line screens,
resolution, process colors, and spot colors.
If you are using a print service provider to produce separations, you’ll want to work closely with its experts before
beginning each job and during the process.
To reproduce color and continuous-tone images, printers usually separate artwork into four plates—one plate for
each of the cyan (C), yellow (Y), magenta (M), and black (K) portions of the image. When inked with the appropriate
color and printed in register with one another, these colors combine to reproduce the original artwork. The process
of dividing the image into two or more colors is called color separating, and the films from which the plates are
created are called the separations.
Composite (left) and separations (right)
Print color separations
Acrobat supports host-based separations and in-RIP separations. The main difference between them is where the
separations are created—at the host computer (the system using Acrobat and the printer driver) or at the output
device’s RIP.
For host-based separations, Acrobat creates PostScript information for each of the separations required for the
document and sends that information to the output device. For in-RIP separations, the work of separating a file is
performed by the RIP. This method often takes less time than creating host-based separations, but it requires a
PostScript 3 output device with in-RIP separation capability. To produce in-RIP separations, you need a PPD file that
supports in-RIP separations, and any PostScript 3 output device or a PostScript Level 2 device whose RIP supports
in-RIP separations.
See also
“Previewing output” on page 454
“About preflight inspections” on page 473
Prepare to print separations
❖
Before you print separations, do the following:
• Calibrate your monitor. See “Calibrate and profile your monitor” on page 416.
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• Specify whether the document contains trapping information, if known. See “Declare the presence of trapping
information” on page 442.
• Preview separations and transparency flattening results. See “Preview color separations” on page 456 and
“Preview which areas of artwork will be flattened” on page 467.
• Run preflight inspections using desired criteria. See “Preflight profiles” on page 483.
Note:
If you use a print service provider to produce separations, you’ll want to work closely with its experts before
beginning each job and throughout the process.
Print separations
1 Choose File > Print, and choose a printer.
2 Choose an option from the Comments And Forms menu.
3 Choose print range and page handling options.
4 Click Advanced.
5 If you created a custom printer settings file with the appropriate separation settings, choose it from the Settings
menu at the top of the Advanced Print Setup dialog box.
6 Select Output on the left, and choose an option from the Color menu:
• Choose Separations if the PPD doesn’t support in-RIP separations.
• Choose In-RIP Separations if the PPD supports in-RIP separations. Trapping options appear. From the menu,
choose Adobe In-RIP or Off. If you choose Adobe In-RIP, click Trap Presets and select a preset. Click OK.
7 Specify settings for halftone screen frequency and the angle at which the selected ink’s halftone screen is rotated.
8 If the document contains objects with transparency settings, select an option from the Transparency Flattening
Preset menu.
9 Under Ink Manager, deselect any color you don’t want to separate.
The four process colors (cyan, magenta, yellow, and black) always appear at the top of the color plate list, followed
by spot colors in alphabetical order.
10 Click the Ink Manager button to modify ink settings for color separations.
11 Click Marks And Bleeds on the left, and select All Marks.
12 Click PostScript Options on the left, and select settings as needed. Click OK to close the dialog box, and then
click OK again to print the separations.
Declare the presence of trapping information
If you are sending your PDF files to a print service provider, you can use the Document Properties dialog box to
specify whether a PDF contains trapping information. This detail can help prevent the service provider from adding
potentially conflicting trapping commands to the file. Trapping information can either be imported with other
PostScript information from the authoring application, or it can be created in Acrobat using trapping presets
supported by Adobe In-RIP Trapping.
1 Open the PDF file, and choose File > Properties.
2 Click the Advanced tab.
3 Choose an option from the Trapped menu, and click OK.
Yes
The file contains trapping information.
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No
The file doesn’t contain trapping information.
Unknown
You don’t know whether the file contains trapping information.
See also
“Adobe In-RIP trapping” on page 447
Saving separations as PostScript
Depending on the prepress software available, a service provider may be able to perform such prepress activities as
trapping, imposition, separating, and OPI replacement at the output device’s RIP. Therefore, your service provider
may prefer to receive a composite PostScript file of the document optimized for in-RIP separations rather than a
preseparated PostScript file.
Saving the file as PostScript preserves the separation settings, the PPD information, and any color conversions you
have specified in the Advanced Print Setup dialog box.
For best results when generating PostScript for reuse in a print production workflow, use the Save As command
rather than the Print To File option available in the Print dialog box.
See also
“PostScript options” on page 434
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Chapter 16: Print production tools
Whether you’re a designer working on a creative piece or a print service provider preparing an Adobe PDF for final
output, you’ll find the print production tools essential to getting your job done.
Quickstart
The following topics provide overview steps for some common print production tasks.
Convert colors to a different space
For high-end output, you can convert document colors to a different color space—for example, from RGB to CMYK.
1 Choose Advanced > Print Production > Convert Colors.
2 For each of the document colors listed, select a conversion option from the Action menu.
3 Specify the destination space profile, blending profile, and other conversion options.
Use the TouchUp Object tool (Tools > Advanced Editing) to convert the color space of individual objects.
See also
“Convert colors to a different color space” on page 459
Separate spot colors as process
Converting a spot color is useful if the PDF contains more spot colors than are practical to print.
1 Choose Advanced > Print Production > Ink Manager.
2 Do one of the following:
• To convert individual colors, click the ink-type icon to the left of the spot color.
• To convert all spot colors, click Convert All Spots To Process.
Converting all spot colors removes ink aliases and may affect overprinting and trapping settings.
See also
“Separate spot colors as process” on page 462
Add printer marks
Add printer marks to a PDF to aid in prepress file preparation. You can add trim, bleed, and registration marks, as
well as color bars and page information.
1 Choose Advanced > Print Production > Add Printer Marks.
2 Specify the desired marks.
3 Specify the pages to mark.
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