We've proofed it, we've looked at it, we're ready to do a couple of things. I'm gonna print it first. I'm gonna assume I'm gonna print it, probably to, let's say, a decent color LaserJet. Not a LaserJet. Yes, a LaserJet, not an InkJet. A LaserJet, a decent one that will give me some good color. It's not gonna be accurate color, but I'm gonna look at it, and I'm gonna know that what is brown looks brown, the greens look green, whatever. Check it to go. And then, I'm probably going to send it off to a printer. I'm sorry, a print shop, as opposed to a printing machine. I'm gonna send it off in two different ways: We're gonna package it up, so they can use the InDesign file. I very rarely use this anymore. There are a couple printers who insist on having the native InDesign file, instead of a pdf. I'll show you how to do that, in case you get that call. And also, we're gonna export it to pdf for final print. Let's print it from here. I'm just gonna do Command or CTRL + P to bring up the pr...
int dialog box. A couple things that we need to choose first; we need to know what printer it's going to. If we're the ones sitting in the print shop, I have to remember that not everybody is sending it off to a printer. Some people are actually working at the print shop. That's where I used to work. And I would get everybody's files, and I have to figure out where everything fits, and where it doesn't work. Then, I have to make sure that when I output it, I'm outputting it correctly and consistently. That's what that Print Preset is for. Once I set everything up, I don't want to remember how I printed this job, and all the things that I put in here. Because it could change what the print looks like. And they're gonna say, "what did you change?" "I don't know." I put in the Print Preset so I have that there every time. I'm gonna choose the right printer. Choose from the list of printers that you have installed. Choose how many copies, you can do page ranges. We talked about the different page numbering. Remember, if we have section numbering turned on, we'd have to either remember to put that section, or we have to use the pluses in front to give you the absolute numbering. That might be an issue you might come across. Or, I can print, this is new in one of the most recent updates, Current Page. The current page that I'm actually sitting on, I called it Custom Vertical 1. I'm sorry, page 1, sitting here. The current page, you have that option. In fact, you can do that from the Pages panel. If you're sitting on a page, you can right-click or CTRL+click on that, and say print that spread. It would print just that page 4, from there if you want to. It's already filled in, so if you do need to use that really long title that's there, I can go ahead and just be on a page, or select several pages, and right-click on that, and say Print Spread, and those are already there for me, filled in. That's kind of nice as well. Let's go back to the Print dialog. I can choose whether to print in Pages or Spreads. Before, we put two pages side by side, so I could run artwork across; well, I can also choose to print it in such a manner that I can see it. That's not gonna be for the final piece, most likely. That's reader's spreads. I can see what two pages are going to sit side by side in a finished product, but when they print them, they might need to print them in a different order, paginate them differently, so when they fold up, they sit in the right place. We're just gonna print this for a proof; remember, we've got a client coming to look at it, or we want to look at it, and I can print it in a spread. I can also choose to print just the master pages. Once I've got my masters set up, I've got these grids of images. I'm gonna want to make sure that I actually like the way those look, especially when they sit side-by-side. I might want to try that, so I might go ahead and print my master pages in Spreads, so I can see what they look like side-by-side. I can choose master or regular pages; I can't do both. I can print my layers. We talked about layers. I can say Visible & Printable Layers, or all the Visible Layers. That means, even if I said, "don't print the layer", but I say, "let's do visible layers", it will actually print on for me. This is what's on by default. That means, only if they're turned on, and only if they say, this layer can be printed. That's a nice safety net. Or you can just say, print everything. I can choose to print those non-printing objects, like notes, that I couldn't actually see. And I figured out why I couldn't see those. I could tell it, "they're set to non-printing." But then I could tell it, "go ahead and print those, right here." If I'm doing a proof, I might want my notes to print on top, so it reminds me to tell the client about something. I'm not gonna go over every option that's in here; I just wanted to show what some of those things are. I can choose the setup, obviously choose the size, and whether or not we want to shrink it down to fit on the page. If we're doing a proof, we might want to. Otherwise, we're gonna leave it at 100%. Marks and Bleeds, I never choose All Printer's Marks. Nobody wants all those marks. Crop Marks, maybe. That's usually about it. Maybe the page information. It will tell you when it was created, and what the file is called, things like that. Again, remember, we're doing a proof. We want to make sure that if we set up a bleed, that we remember to actually print the bleed. By default, this is, actually, it looks like it's maybe on now, by default. It's always been off, by default, which is dumb; If you set up a file with a bleed, you probably want to print the bleed. You need to remember to tell it, "If I set up an 1/8" bleed, remember to print that." The nice thing is, if you set up, let's say, a 1/4" bleed, which is a lot, and your printer goes, "I only need 1/8"," and that's all that's gonna fit on a page, you can tell it, instead of using the 1/4", come in here, and give it a different bleed size. Output, not going to worry about that so much, because it will use whatever is default for that printer. If I'm using an InkJet, I'm gonna do composite. If I am working in a print shop, and I need to actually do separations, I can do that here. It will send out a different page, for each spread, for each color. It's gonna change that depending on what printer I chose. Graphics, if I'm just printing it for a proof, I'm probably just gonna use Optimized Subsampling. Actually, I'm gonna use that even if I'm outputting for press. It's knows what resolution your printer can handle. Let's say that printer can only handle 105 line screen, or whatever. So 210 is all it needs. Even though we saved them, and they're enough. They're 300, some are four- and five-hundred. Let's pretend they were all at least enough for printing. It's going to dumb it down to whatever the maximum is that printer can do. But it's going to do it in such a way that it sends everything it needs to as small as possible. If I say, "All", if I did have that 65,000 PPI image, it's going to send it as a 65,000 PPI image, which the printer can't even display. But it's going to sit there and crank through all that information. So, just leave that checked, usually. Fonts, if you're sending to a PostScript printer, you need to tell it what to send to the printer. Right now, it's telling you "Complete". Let's say we're using OpenType, and it has all 65,000 glyphs, it's going to send that entire font file to your printer. Probably don't want to do that, at all. If we say, "Subset", it's only going to send the characters that we used. It just depends on if you want to send the whole thing and wait for it to crank through, or do you want it to go through the file, and figure out which characters it used. That's actually quicker. Leave "Download PPD Fonts" selected, as well. Color Management, not going to worry about that. It's just a proof. The Transparency Flattener is set to Medium Resolution; All those transparent effects, when we flatten it, it asks how good does that effect need to be? Low Resolution is going to give you the big, chunky, black boxes, I think. Or gray squares. It's not going to look good, whatever. Medium Resolution is fine, because we're going to this InkJet. Our drop shadows aren't going to look as fine, our transparency blends aren't going to look as fine, but it doesn't matter, because the printer can't handle anything better. If I send it High Resolution, it will send all the information it needs, but again, the printer's gonna go, "This is the best I can do for you." Generally, we just leave that at Medium Resolution. When we're done with all of that, we're gonna save that preset, because I don't want to do that again, right? We'll call this, "Laser Printer Proof." I have one that's like, you know, I put "Low Res Proof", or "Medium Proof", or whatever. Just so I have that, so that next time I go to do a proof, especially for this client, if I've done something really specific, I might name it with the client's name and job, so I make sure I know I pull the right one down. But if I know it's Laser Printer Proof, this is what I always want to do. I'm gonna save that as a preset, and hit Print from there. Next time, all I have to do is pull that down, and it's ready to go.