Print Output


Powering Up with Adobe InDesign CS6


Lesson Info

Print Output

Now I've got the sense working and I can't get the dollar sign working. I was trying to remember this from scratch, so I had to re program that's what I did it at the break, as I did some programming, some great programming, and try and remember how I did this. So anyway, in this style is paragraph style that I have under the grips style, I have this top one, which looks kind of scary, I know, and the great thing is I'm going actually cheat on this and copy that and come in here and say, I want to do a character style that's that's their I have this one called prices actually let's see alice ease prices, and I want to sign the prices text to any digit after a period. So how does that happen and delete this? And I have this little at symbol over here when I click on that actually have a lot of stuff that's already here ready for me too work with so what I'm looking for is that way to find a period followed by digits, and so what that is this under the match menu and it's a positive look...

behind this is where I get confused, positive and negative look behind and looked ahead, so what's happening is I'm telling it I wanted to look for two digits and keep looking behind as in the stuff that we've already passed and keep looking every time we hit two digits, look behind to say, hey, is there a period back there if there is do something to those two digits? So it's a positive look behind? I'm going to add that in, you're not really going to tell you all the ins and outs of this, but I'm basically inside this little bit of code telling it to look for a period. So I do backspace, period there's a reason for that, but I'm going to tell it I wanted to look for a period followed by a digit and that's easy because that's here in this wild card set up any digit and I'm going to do any digit again. So what that is that's gripped code for look for a period where I look for two digits and look behind that and see if there was a period just before it, and if there is do something to it in this case, apply the character style called prices and in that character style called prices. All I've done is made a superscript just made it superscript I also I'm telling it to apply prices to any time and sees a dollar sign. All right, so now I have that built in there so that's the code you can write it down really quick you can if not I found everything in that little pullout menu it's a positive look behind followed by two digits and then also just this back slash dollar signing tennessee's a dollar sign so I just build that in so that's built into that style so next time when I say the price is and I put a dollar sign it automatically superscripts it put in a period even if I put in two digits there's no period before it so it doesn't go into it put in that period put in a digit doesn't do anything to it so they put that second one boom it fits that pattern if I put a third one doesn't fit that pattern so that's what it's doing with graf it's just trying to find ah pattern and then doing something to the text with that pattern so that's pretty much what grip does theirs grip and find change and there are some that are built in as well. So in the fine change I'll just show you where that lives it's under grip we have these queries here these in the middle already here so one of the ones that we would use all the time multiple space to single space so if you haven't checked that out it looks like a lot of scary code, but that's okay, there he did the coding for you. You can run this on your document. If people have given you text that has multiple space after a period, you can just zap it out with this right here. So they find and then change all and run through and find the whole thing and zap out all those double spaces after a period. So that's, something that's built right into in design. It's already there for you. No programming necessary at all. So that's, my backtrack on grip. Oh, we must be getting serious at times. Way. Go! All right, well, this is serious. We're going to jump in. We're going to start talking about output output this toe print. We're gonna help with this to a pdf for just viewing on screen and want to talk a little bit about maybe if we were out putting a pdf to read on a tablet or something like that because that's something that's coming up a lot more often is how to do that. So I want to actually open up it's, actually open up a document that has something in here, let's, get out to my desktop and we'll come in and let's actually open our entire brochure here and let's, get to the cover. I believe his page one would be a good place for it. All right, so we have this cover here, and we're going to get ready to output and there's some things we need to look at. We played with transparency, so member before we're talking about transparency, we had drop shadows and feathered edges and things like that and that's transparency. And I told you that there's some issues, sometimes with transparency, not showing up really well, especially when we go to print, it can cause some issues. I'm going to show you when we get to exporting to pdf, how to get around some of those issues. But some of the things that we want to look at is how things were going to react with things, like other images that air there, the color of the paper, things like that. So we have some tools that are built in, and the first one is the over print preview. This is something to keep in mind is like if I look at this and I'll put this to a pdf for viewing on screen, it's probably going to look exactly like this, because I am still looking at it in rgb mode with light, but when I start to put things in print and I started putting in contact with each other or toner on top of each other things they're going to react differently and that's, what this over print preview is for some are look at that notice it got darker and that's because it's going to take into account the fact that it's now sitting on paper so it's going to have a little bit of absorption rights was going to spread a little bit it's going to absorb a little bit, and also we have the color of the paper working in with that so that's giving you sort of a little bit of idea. Now this is not going to be exact by any means, because it didn't even ask what kind of paper, anything like that, but it is going to give us an idea if I had something where I had those two transparent objects we had this before, what we I put a transparent object on top of an image, but in this case, let's actually take two different shapes, and we'll give this a different color and let's actually make this feel like a nice blue well, justcause, I'm from denver, somehow it ends up paying blue and orange anyway, so I don't get come in here and I'm going to change the opacity or in this case, the transparency will play with that blending mode. And we can even work with the multiply and actually see how those blend together it's actually make that a little bit darker there and I can kind of see how that looks but if I don't have the over print preview on which I don't, it may look a little different than when I turn it on so I got a little darker it's just going to show us a little more how those air going to blend when they actually print so we're actually dealing with solids is just trying to give us a different idea of what's going to happen to that so that might be something you want to check and earlier we made the the color of the paper the background we made it a slightly different color this comes in handy as well let's say we're going to just play with us a little bit we're gonna put on light blue paper well that over print preview that really shows us what it's going to look like trying get this out of the way here so that's what it looks like great and we're working along and we think oh that looks good and then as soon as we come in here and choose over print preview just got a lot darker because now that oranges blending with the blue of the paper even more so that's something else to keep in mind is if you are printing on colored paper not only do you want to make sure this is paper here, they've changed the paper toe kind of match the color of the paper but also used the over print preview to kind of get some ideas of what that's going to look like. I generally don't work with that on because, again it's something that's transparency it has to keep generating that keep rendering it for you so it's just a little easier to not have that on so that's something to look at on there also, we want to look at things like separations we want to see how things were going to separate out if we're going to separate them or run them on a on offset press, so they're getting in too much of that that's the printing presses, you take him there and you've got c m y k is actually going on a press and each color cm white case he's going to go on its own plate and it's going to be printed separately, those of you that don't know anything about things are going I had no idea that's how it worked. I still think it's magic I saw when I was about eight years old, my grandpa was a printer and he showed me that I still didn't understand and to this day I don't understand I know how it works, I've run a printing press but I still don't know how it works that is magic to me. I mean, if you want magic that's better than anything I've taught you hear today is how does that four colors make all those colors? I don't understand, but we can actually see how those work and separate that out. So I go up under the view menu and I'm sorry the window menu and let's look at output coming here, tio separation preview and right now, it's not on there's, no separation turned on, and I could turn on separations and look at that. So when I do that, it also kicked in the over print preview for me and that's a good thing we wanted to see how that's going to look and I can turn off any of the other colors and just see the individual colors and how they're going to print. So that's what the black looks like, I can also hold down the option key and drag and moves it up to yellow. Now that doesn't look yellow to me, that means there's a big, solid amount of yellow on that plate it's a big, solid amount of magenta and there's also a lot of sayin so it's, when those four colors come together, it gives you that again that's magic? How does that work? I don't know all right, so anyway, I can look and see and make sure that I don't have too much of one color or make sure I have all the right colors, because if you are going to separate it out your thinking, I know there's red in there. Why is there no magenta showing up? And sometimes you may have thought you had it set cm like a, but maybe you had another color in there. We talked about keeping the panels this watch his panel's clean of colors you're not using let's say you decided originally, you were going to print it in two color, we don't do black and a pantone color at the last minute, the budget gets better, and we decide we're going to do it in four color that's. Great, you might have forgotten to change something over from that color and suddenly it's sitting on pantone, we go to separate it out and it's not gonna work, how we needed to work so it's, just a good check if you are going offset printing to check your separations. One of the things you might check is something called inclement. And I know that that's kind of, you know, seems kind of old fashioned now if you don't do a lot of printing, but most presses could only handle a certain amount of ink if you had one hundred percent of all four colors that's foreign percent think that's a lot of ink on paper that makes a soggy mess just so you know, and I know these air technical things that people like, I never thought of that, but if you're doing for photographs and you're printing them on a printing press, you do need to keep that in mind that if you have stuff with tons and tons of color, your pictures might be so saturated with ink and depending on the paper, they might not look as good as you want them to look, hopefully your press men will be helping you along with that three hundred is again this magic number. We talked about that with output, we're going talk about that again in just a minute with output resolution, so I don't know why three hundred became the magic number and printing, but it is, but three hundred percent is about as high as you want to go with ink, so if I say my limit for ink, if this was something the president will tell you, your print shop will tell you three percent I can see that there's some red spots in there can you see the little red spots that are there? Let's not do not so much here let's zoom out there we go so there's some red lines here and just says ok, there might be a little bit more than three hundred percent there that's a small amount of brought really not going to worry about it let's aaron klein was two hundred which is really low but just wouldn't kind of see that's a problem because we have way more than two hundred percent think they're just so you know, that could be an issue and it might not be that's the thing just because it shows up here and has it read it doesn't mean it's going to be an issue it means it it could be an issue so it's something to keep in mind when you take that to press all right, so change them put back are over from preview went back off that's good that's something we might want to look at. The other thing that we're going to want to look at is anything that has transparency in it and again it will be showing us what could be a problem not necessarily going to be a problem so I'm gonna actually open the flattener and I want to change the page of the paper backed white let's do that and I'll get rid of these items here what I want to do is I wanna have some words here let's actually put a tomato used to do tomatoes, and then, you know, I forgot how to spell it because of what's his name dan quayle. Sorry, it was like, you don't remember that is so anyway, I'm gonna put that in there it's too regular, which it is bold, and I want to put some words on top of it. So actually I'm going to change this color let's make that this orange whips we want to make the text orange so make sure you use the text container and I'm going to put those tomatoes on top the ones that have the drop shadow and, um, that came from photo shop all right, we'll put that right on top and what I want to do is I want to get it so that my drop shadow is hanging over the text so that's kind of a cool look I'm looking for and if you notice right now it's a little jumpy remember we had the view we could see it at a higher view resolution it's come down here and turn that on high quality give us a little bit idea so that's great about the drop shadow going on top of the letter, but where that might be an issue zoom out and zoom back in a little see if I could make everybody dizzy come in here I'm going to choose the flattener preview and I'm going to tell it to highlight where I might have some issues and you may have issues where you have transparent objects on top of non transparent ones unfortunately that's the cool look we're going for so one of the great ways to get around that is to put your text on top well that's no good I wanted the shadow on top that's the whole point of putting that there but I can look and see where I might have problems so let's come here and see if there's any rastra field text or actually let's just do any let's do outline text and he texted might be outlined so you can see that kind of is weird it says it's going to outline the text remember we did create outlines of the text yet I think it was yesterday remember when that wass one of the previous sections we did we outlined text and what that's saying is that where this frame overlaps because it has transparency it may end up outlining that bit of the tech ext that's not going to be really good because even though when you outlined text if you just outlined all the text it would probably look fine on screen but if you outlined some of it and not the other and it butts up against each other, you kind of know what letters they're supposed to look like. You could see some really weird things so that will look maybe thicker than the rest of the text it may or may not this is just showing you you might have a problem with this so what I could do is take this item and bring it to the front and then it goes away and it's totally fine and that's because now the transparency isn't a problem but again it's not really the look I was going for I'd really like it back behind and then we'll just have to see if there are any issues auto refresh the highlight so just keeps changing it so in a way that could be a problem when it comes to text and transparency it has a couple things that khun dio it can either printed as a font it can print it as outline which still is vector or it might take the whole thing or even on ly apart part of it and make it rast arised so actually make an image of it well that's not good either because that it's gonna be slightly fuzzy and the text that's out here is going to be just fine it's gonna be a tech it's gonna be text so again it's just telling you there may be an issue with that but it may not be as well and we'll show you how to check that in a pdf ahs well to see if there are any problem so we'll leave that actually sitting there, so we have that when we go to export this pdf so I guess that these are just some of the things to keep in mind that could be issues, and there are, like, say, other ways around them, if you put them on different layers, sometimes that helps and again, whether or not you're going to, if you're going to print, if you're going digitally, you're probably not going to have any issues with any of this and all this is a print thing, and the reason for that we call this the flattener preview sounds kind of weird, I know, but what it's doing when we print, we can't actually print in transparent, thanks and transparent toner, right? And we can actually print something that's transparent. So what happens is that somewhere along the way it has to be flattened and what I do is I flatten it when I'm creating my pdf, you can send it on flattened pdf, and this is what was happening in the beginning. When we were getting this chunky drop shadows, we would send unflattering pdf pse, and then they would go to these rip machines, and this software was usually really old on them I don't know why printers air often behind, but they are and not all the time, but they just the software couldn't keep up with it on the stuff. We would take these unflattering pdf pse, and it was trying to flatten it, and it was choking because it couldn't do understand what to do with it. So what it has to do if we go back to that I got rid of the the orange and orange and blue squares, so what we see is an orange square in a blue square, and where it overlaps, we see the combination of those two colors. Well, what it is does is it says, ok, I can't really do that transparent issue, so I'm going to break that in the three regions, the orange portion, the blue portion, and the portion in the middle it's going to create something that is also solid, but it gives the illusion of being transparent. So that's, what happens when it's flattening? So it has to take something that is transparent because we're working with light, and give the illusion of that if a solid, whether it's, an anchor toner or whatever, or the dots that it makes on the plate, or whatever. But it has to give that illusion that's called flattening, when we export to pdf, and show you how to flatten it in a pdf, so that what you see on screen is what you're going to get in the final the final product so we'll look at that as well so it has to be flattened and that's something to keep in mind anytime there's any transparency and on the pages panel one of the things that we can look at or we were back in the panel options one of the choices was whether or not to show transparency so I believe that on and I get this little checkerboard we're all used to that from photo shop right there a little transparent checkerboard and that says that this spread has transparency on it so that's something to keep in mind if you have that turned on you might only have one page of your whole document that has transparency now you know which page to keep an eye on when you get your final pdf for whatever it is you're doing so again just things to keep in mind for that so let's actually take a couple different steps the first thing we're going to do is we're going to print this as we're going to pretend we're going to go ahead and print this as a proof so we're gonna print into something that's lower resolution just for proofing we're going to talk about the different items that are in the print diallo box and then we're going to go ahead and we're going to package it up as if we're sending this whole file off to a printer so the packaging was one thing that we talked about, so for printing I'm going to do file we have come down to print, there are no printers installed so let's see if we can even open a book a good week, at least open it up and look at that. I'm not I don't really need to print anything so I would choose my printer from here. Obviously, if I had that I also have print presets that I can create once I create a printer, I can go ahead and save those those precepts that air there when I choose a printer that is not a postscript file when it's an actual printer name, this ppd is not available for choice and what that is is that's just saying that's a printer description file? And so what it says is when I stole the printer that all information came in, it knows what I can and can't shoes down here, so I'm not going over everything, but I want to go over some of the things that we would need for printing, so obviously a page range is nice, right? So I want to know which pages we can actually choose. We can choose whether or not to print and pages air spreads this question came up earlier about the size, and if we're going to liken eleven seventeen so where are final size eight have by eleven? But I can tell it prints spreads and that will print two of them side by side on eleven seventeen I would have to choose that would have to be a printer that can actually handle that. I can tell you whether or not I want printmaster pages as well, so I can't print them at the same time, but it could just print the master pages. I do that sometimes when I first set up my document, I'll set up and print out the master pages just to kind of make sure I like the way that the layout is looking here's the different layers visible in printable layer, so when we chose them earlier and turned on the eyeball and said the visible ones, I want to make sure that I have the visible ones here otherwise it's going to print all of them point of turning on the eyeball on an office to keep just the visible ones printing I can print non printable objects, so when I've told something, don't print it, aiken just override it here and I can print blank pages. This is kind of important if I have the last page said his blank, so I have an even number of pages I might want to actually print, especially if I'm doing a pdf, but right now we're just printing rightto set up, this is all going to be based on the printer that's there. I don't have any choice for anything because I don't have a printer here, but this is where I would change what size I wanted to print, and if I wanted to print a little bit smaller to fit on page, whatever, I can also do thumbnails, which is nice if I'm doing a booklet, I just want to acquit proof I might put four on a page that's kind of nice to have that, even though it may be enough by five pages about cram a mall on a page really small just to see them marks and bleeds is kind of important. If I come in here, I could choose all printers marks. I never do that because the's printer marks are not that great, and every press men will cringe it most of those what I usually use our crop marks, so if I did that bleed, especially, I'm going to make sure I have crop marks, because when I print that out, let's have a half by eleven imprinting on a bigger sheet of paper, or I'm shrinking it to fit, I want to make sure that they know that they're not supposed to trim to the edge of where I had my pictures all you know I had the bleed set up all the way to the bleed mark when we should have crop marks that come back and say, hey, I need to chop this off of this point the other thing to keep in mind with crop marks you know is that there's an offset? This is how far off the page so your crop marks if you had it said it zero your comic should be right against your page that's not good especially if you have a bleed if we had that eighth of an inch bleed, I wish that it would automatically know hey you have an eighth of an inch bleed we should make the the crop marks at least in a financial way I get this all the time from designers pdf especially where you have an eighth of an inch bleed but then their crop marks come right into it. Which street the whole purpose because of I trim it you'll still see that little bit of crop marks stuck right in the middle of your picture so you need to make sure that the offset of your crop marks are enough away from the bleed that it won't run into it. I just wish it would do that automatically you might want to put your page information they're just ill tell you what what documented was and when you printed it and stuff I rarely do that excuse me and use document bleeds settings, so we set up this document with that eighth of an inch bleed by clicking that it automatically will include that bleed. But you might not want that believe when I do a proof on a pdf, especially I don't want the bleed or even if I'm doing a printed proof. I don't want the bleed to show because people freak out when they see things hanging off the page. So that's kind of like, I don't want my client to see that I don't want them to see all the technical stuff I'm doing in the background, so I might diesel ect that and say, nope, no bleed so it will just show everything as it comes to the edge and that's fine for now, because we're just doing a proof, but I might want to I want to make sure that I have the bleed setting set up when I go to help put it so you can set up a a native a niche bleed. But if you don't have this selected it's not actually going to print anything past that page. So you wanna make sure that's on his well outputs kind of important? We're going to come here and choose whether or not we're doing separations or for doing composite and again because I don't have a printer it's all right? We don't really have that those options set up for us, but if I'm actually printing to a specific printer, it will give me choices that I can do if I can't do a composite seem like because I'm planning to put into a black and white prayer, those options won't be there, and that's fine graphics is kind of important. This is if I want to send all my data down or if I want to do it just a proxy that'll just send a seventy two d p I proxy or I can tell it to go ahead and send those gray boxes that we did earlier, I can just print it with those great boxes, and I do that sometimes when I'm just looking at the layout and I don't really want to take the anchor the tone or whatever to, you know, make those color images I might just send gray boxes to start with fonts are also really important if you're if you're sending it to your printer, each printer has fonts living in it that are already there. But what I can do is either send no fonts whatsoever, which means if the fonts don't live in the printer and you might only have twenty four, forty eight fonts in your printer, you won't have anything it'll just default to whatever the default printer font is or I can send the complete fond down trees is going to send everything down so if I used one word in one fund it's going to send the whole fun if it's that open type font of sixty five thousand blips in it it's going take a while to send it to your printer oregon subset and on ly send the characters that it used down there so that's actually pretty cool and if this is selectable, choose that download ppd, fonts what that's saying is that the ppd foncier fonts that live in the printer so they're already there and if I've used times times is kind of a generic name it might say, oh, you have times, I'm not going to send you times, but there different times, so I always say send it anyway, I don't care if the printer has it I don't want to use those funds that printers ten years old I don't even know what font sir in there, so I just want to send everything down so I usually do subset and download the ppd fonts color management we're not going to go into much color management at all especially if you're just right now we're just doing this to we're just doing it to our printer right now and I'm going to let everything let in design decide the handling things like that I am going to tell it that it's sending it to the document it's going to send it because we said at the very beginning this to be print it kind of assumes that you want to use this color standard that's here color management is probably a five day course all on its own is not taught by me I can tell you that much right now so we'll skip over most of that and the only other thing with advanced going to skip a p I you're probably not using that workflow advanced here's the transparency flattener this is where we don't take the transparency and we're going to emulate transparency in our printer well in this sample we're doing right now we're just printing it they too are decent in chip are not ancient we're going to a laser color printer like I have won this just, you know, middle of the road kind of egypt or laser printer and it can't do high resolution stuff like you can you know on the you know in the press so I'm going to tell it to use medium resolution when it's doing the flattening I could tell it high it might take it longer, but I might not notice any difference. It just depends this is just for proof, so media miss fine, so what that means is just going to take some of the transparency and it's going to look our rights not look maybe a smooth maybe airdrop shadows we're going to be a little a little rough if you're the person doing the output in a print shop if you're actually there and so those of us that are out there that are actually doing this on the other end, we're going, we're going to make sure we do the high resolution we can also create transparency flattener settings on our own so that's something to look into, one of the ones that I have set up is high resolution, but with creating outlines for the fonts and the reason for that is where we saw where some of that front was going toe might outline some of it wouldn't I can force them all to go toe outlines and so I don't have that problem at all and it only does that for that output, whether it's a pdf or printing it's not affecting my end is I've found my indesign file is still editable text, but when it goes down the prints stream it will convert him all the outlines do that create outlines for me just in that output and then then it's not a font that I'm not having font issues and I'm not having transparency issues israel at all so that's just a transparency flattener preset that I set up so look into that and help or on a search engine find how to do that but that saves me a lot from having trouble transparency I'll use that flattener setting and that fixes most my problems at the end I can say save preset so now I don't have to enter all that stuff again so we'll call this proof preset I'll just save that so next time I go to print the same thing I just choose that from the pull down menu so I have a ton of output ones and we'll look at him when we actually get to pdf so I have a lot more in pdf as well but for my pre pre set I have one that's set for you know high quality proof to my laser and then I have a medium quality proof to my inkjet so have different ones set up with different presets so I don't have to think about all of that stuff again and then I would just hit safe we'll go out and actually would print would say print but because these things it's going to a file it says save so I did print from there so we have a nice proof ready to go

Class Description

Go in-depth into Adobe InDesign CS6 with Erica Gamet! This class takes you from the basics, getting familiar with the Adobe workspace, color basics, and working with pages and layers, to advanced type, graphics and table manipulation and working with long documents! It goes all the way from creation through output, whether print or digital. This class is designed for those with a firm knowledge of page layout, such as those migrating from QuarkXPress, PageMaker, or Word, and those who want to get past the basics of InDesign. Though taught on version CS6, the core information also pertains to versions CS4 and up.

Software Used: Adobe InDesign CS6