Adobe® InDesign® Creative Cloud® Intermediate: Beyond the Basics

 

Lesson Info

Output Review

We can also do an output preview if we are going to print and I don't really worry about this as much anymore because most of my printing is not being done on a four color press, but you can look at that under your view section. Actually, let me jump to the front page. I think maybe that will show us a little bit better. If I come in here right now what's on is just sort of when I put items on top of each other it's just the items separately, but when I go to print it on a printing press there are chances when I print that gray on top of that beige, if the gray actually sits on top of the beige and doesn't do what's called a knockout and not actually print the beige back behind, if it's gonna print the beige here and put the gray on top, well those two colors are gonna blend together a bit and they might not look like we want 'em to. So I'm actually gonna zoom in a bit on that and see if we can see any changes when we go to our Overprint Preview. It didn't a whole lot. It looks like so...

mething down here changed. Let's actually look at that. Go back to no Overprint Preview. Nope, it just sort of made it clearer so we could see it. So we can't actually see anything. Let's do something with a little bit of transparency. I'm just gonna put a frame in here. I'm gonna give it a color and now let's try the Overprint Preview. It's not even mixing together at all. It's giving me a little bit of transparency and it might look fine in one respect on screen, but if I go to Overprint Preview and turn that off, it's not even looking any different. But what will happen sometimes, it'll tell you that these items are not going to look so good when you print them on top of each other. The other thing you can do is if you know that you're printing on say colored paper, you can go over to the swatches panel and you have this thing called Paper, which is white basically, except that you can change the color of paper, but it's in brackets, which means it's not going to separate out or print out, but it kind of lets you know the color of your paper. If you know you're printing on, let's print it on some dark blue paper, we'll say OK. If I turn on the Overprint Preview you should be able to see that change. Oh that's what it's gonna look like when you print it on dark blue paper. We don't wanna do that. So this is never gonna print, but it kinda gives you an idea of what will happen. So the Overprint Preview will actually show you how it's gonna interact in the real world when you print it with ink that way. With toner, probably not gonna happen. Again, way back at the beginning, how is this being printed and oh are you printing my job for me mister printer? Great, let's talk about what the machine can and can't do, what we're looking for. So we wanna make sure that we don't get all the way to the end when we're ready to export this and we think, oh it looks great because we don't have Overprint Preview, it looks great and we just printed it. Well we chose blue paper to print people on. Never print people on colored paper, it looks terrible. So again, just keep an eye on that. I'm gonna turn this paper back to white here. Alright, so that's just something to keep in mind, that we can look at that Overprint Preview and kind of see how it's going to get effected. If we're gonna export this to PDF only, we're not gonna have that problem 'cause we're not talking actual overprint. It's gonna take this image and basically reproduce it as a PDF or a JPEG or whatever we're exporting as, so not a big deal. If we're actually going to print. So let's say we decided it looks pretty good. We're not putting it on blue paper. We've looked at the Overprint Preview and that looks pretty good. We can also look at separations if we're going to four color printing and again if we're going digital printing, probably not a big deal, but if we're going to a printing press, it might be a big deal. Under the Window menu, under Output we've got several different items. One of 'em is the Flattener Preview and this is kinda good. If we know that we're gonna have some issues with things interacting. Let's actually take this item. I'm gonna create a Drop Shadow on the item. I'm just gonna create that and actually I wanna make it a little bit bigger just so that we have a little bit... I don't wanna do that. Make the size a little bit smaller and I want to just make this stick out a little bit further and we'll say OK. There we go. And what I wanted to do is have this big old shadow so we can see that. And then I also wanna take some text and I'll just put photos in here or something. Do that. And grab this item. And I wanna make this into actually another color. Look at that great reflow we've got there. There we go. And I wanna change this text to something else. And I want to bring this item to the front so I'm gonna say Arrange, Bring to Front. I just want it in front. So what I wanna be able to see. I wanna see that I have drop shadow sitting on top of this lettering, which looks fine, but what we can do with the Flattener Preview, remember I said it needs to flatten it, whether that's when I'm printing it. If I'm printing it to a laser printer or an inkjet, it needs to flatten it because again it can't print with transparency. It needs to say how do each of these letters look and it needs to break it down into, they're called atomic regions. These little regions and says, okay when I print this P, that pretty much is the same, so I'm gonna make it kind of this gray color to kind of give the appearance of that. And then this part's gray and then this little section of the O is gray, but the rest is yellow, so it's actually gonna break that letter into two pieces and that's not good because it might make it a little fussier here and solid here and you're gonna notice that. If it doesn't do it well, you're gonna notice that it chopped that O into two pieces. And then the rest of it might actually be actual type. So this might be type, this might be vector image, this might be a raster image, so I can chop that into a million different pieces when it outputs it. Now if I send this as an InDesign file to my cheap $39 inkjet printer, I'm expecting that inkjet printer to know what to do with this transparency file and make all these decisions and chop it into pieces and not catch fire. So that's not gonna happen. So I usually make a PDF from it because then when I make the PDF and I flatten the PDF, the PDF engine handled all that craziness. And then when I send it to my inkjet printer, it's already flattened and it goes oh great a flattened PDF file, I can handle that and push it through. Sometimes you send it to a printer and their software is really old and it doesn't know what to do with this. This is why I didn't jump on InDesign when it first came out because it looked great on screen, it just couldn't print anywhere because none of the software could handle it. It says oh I love all your transparency, here's your black box, because if it can't handle it, it's just gonna throw a black box at you. So what we wanna do is we wanna see where we might have issues and more and more it's becoming not so much of an issue, especially because most people expect a PDF output and so I have usually handled the flattening ahead of time. PDF doesn't automatically flatten. We're gonna talk about that, about how you flatten it and what the different options are. But in this case, I just wanna know if I have any weird regions that might be a problem. So I'm opening up the flattener preview and I'm just gonna choose to look at any effected objects or any text that's outlined. So what happens is, it's gonna outline it here and become just an object, but this might remain text. And again, if it happens to the whole thing, the whole word or all the text, it's probably fine because it's gonna be a minute difference, but if you had half a letter, even one letter outlined and one not, it might just look just bold enough to look wrong, but if it does it to everything, that's great. But in this case, I only have it across half of that. So let's say outlined text and let's just see if we have any outlined text. The stuff that's red will end up outlined. I was close, it actually happened in the T and not the O, but I can see that this is going to be sent to outlines. And you can do that. You can take text and create outlines and sometimes you'll have printers ask you to give you only outlined text. Well that means you take all your text and it's no longer text anymore. If you convert it to outlines, it's a shape now and it's great if you wanna do that and fill it with a picture, you can do that, great. In this case, you could outline all the text here and it takes away all those issues. But if you wanna change the word photos later, you don't have it as text anymore. So I'm also gonna show you another trick to outline it only in the PDF, but leave it as text in the InDesign file. In this case, it's just telling me this could be a problem. But again, it's not asking me how am I outputting that, it just says are you outputting it high resolution? But that doesn't tell me what the process is. So that may or may not be a problem. So that's just something I turn on to look at and say okay that could be a problem. I have some options. I could make outlined text. I could also move this text higher up in the stacking order. Well that's dumb, because the whole point was to have the shadow going across the text, that's what I liked about it. So I wanna leave that. I might outline it. I might outline it in the PDF. I could delete it. I could just cross my fingers and hope that everything's fine. So we can do whatever works for us. So again, I can tell it when I'm gonna have any effected objects. Now, of course, that did everything because transparency is touching this object, it says it's effected. I tend to like to look just where I might have outlined text because it shows me exactly where I'm gonna have some issues or where I could have issues. So again, it's just something to keep in mind. If on the pages, I had turned on transparency, I can also see I have transparency on that page. So again, it's just sort of one of things. Keep it on, turn it on near the end, make sure we don't have anything weird. And again, if you talk to the printer and he says we don't have any trouble with transparency or I know I'm exporting it to PDF and I'm gonna change that anyway, I'm not even gonna probably turn this on. I might just so that when I make my PDF, I make sure all of this was fine when I got to the PDF. So just for my own use. So again, turn that on. I usually do that at the end of the cycle because that's something I can fix. It's not me calling for a new photo or they have to go reshoot it because they don't have a high enough one or find a whole new photo to replace in there. So that's something that I check. I also check separations if I'm printing this out to a four color press. So separations, a lot of people aren't anymore so I'm not gonna cover it really much, but I can see all the different colors. I can see where black is being used. I can see where yellow is being used and where the magenta and the cyan are being used. So I can kinda see how much of each ink is being used on there. And also if you've used like Pantone colors, you can make sure that you have just the Pantone and the black on there and you don't have something set up for four color printing. If you're not printing it four color and it's set up for four color, then that can be an issue as well. So only if you're doing offset printing on a printing press would I even worry about that.


Adobe® InDesign® Creative Cloud® enables you to create rich documents and layouts that combine graphic elements, images, and text. Advance your design skills with Adobe® InDesign® Creative Cloud® Intermediate: Beyond the Basics with Erica Gamet.

In this class, Erica will help you tackle complex design projects and share best practice techniques in Adobe® InDesign® Creative Cloud®

You’ll learn how to:
  • Manage multi-page documents and use master pages
  • Automate your workflow and save time
  • Select character and paragraph styles
You’ll learn about advanced exporting options and she’ll offer tips on taking advantage of the extensive selection of assets in the Creative Cloud® Libraries.

If you’ve mastered the basics are are ready to advance your design skills, don’t miss Adobe® InDesign® Creative Cloud® Intermediate: Beyond the Basics with Erica Gamet.

Level: Intermediate/Advanced. Recommended prerequisite: Adobe® InDesign® Creative Cloud® for Beginners


Software Used: Adobe InDesign CC 2015.1

 
 
 
 

Reviews

  • As an absolute beginner to InDesign, I purchased both of Erica's classes and man was she helpful. I highly recommend this course to anyone unfamiliar with the software to give them some great footing. Thank you Erica and thank you Creative Live!
  • I am using Erica's videos to supplement my "Classroom in a book series" on Indesign. The beauty of this is that I can go through the sections of the book and when I get to something, like Master Pages, that I can't quite follow I jump to the video. I gain the understanding I need by listening and watching Erica and then go back to the book and finish the project with a lot more under my belt. The book gives me real examples to complete but does not give me that "personal" touch. Thanks Erica for being my personal coach. This has worked perfectly.
  • This was really helpful, although *very* fast paced! But gave me a lot of great ideas to take my InDesign use to another level. Thanks!