Real World Adobe InDesign CS4- P18 doc

To export an InDesign page or series of pages as an EPS graphic or series of graphics, as EPS is, by definition, a single-page-at-a-time format, choose EPS from the pop-up menu in the Ex

To export an InDesign page (or series of pages) as an EPS graphic (or series of graphics, as EPS is, by definition, a single-page-at-a-time format), choose EPS from the pop-up menu in the Export dialog box

or the Save as Type field (Windows), pick a location for the file, and then click the Save button InDesign displays the Export EPS dialog box This dialog box has two tabs: General and Advanced Here’s a quick description of the options in each tab

General The controls in the General tab define the way that InDesign

exports objects to the EPS file (see Figure 7-22)

▶ Pages Which pages do you want to export? Bear in mind, as

you work with the controls in this tab, that each page in the page range you specify will be exported as a separate EPS file

To export pages one, two, three, seven, and twelve, for example, enter “1-3,7,12” into the Ranges field See “Page Ranges” in Chapter 11, “Printing,” for more information When you turn

on the Spreads checkbox, InDesign exports the pages in ers spreads, just as they appear in your document window For instance, pages 2 and 3 are combined into one wide EPS file

read-▶ PostScript Choose the PostScript version of the printer you

expect to use to print the EPS If you’re sure you’re printing on

a PostScript 3 printer, choose Level 3 Choose Level 2 if your printer could be PostScript Level 2 or PostScript 3 InDesign no longer supports PostScript Level 1 printers; a Level 2 EPS file may or may not print on one of these old beasts

▶ Color Do you want to convert RGB images in your publication

to CMYK as you create the EPS? If so, choose CMYK from the Color pop-up menu The method InDesign uses for this conver-sion depends on the settings in the Color Settings dialog box (see Chapter 10, “Color,” for more on color management) While it’s rare that you’d need to choose Gray or RGB, these options will convert all colors to their grayscale or RGB equivalents

If you’re using some other software to handle the EPS’s color separation, you can choose Leave Unchanged When you do

this, InDesign leaves RGB and CMYK images alone during the export process.

▶ Preview EPS files usually have low-resolution, built-in previews,

which applications use to display the EPS on screen; Macintosh EPS files typically have PICT previews, Windows EPS files must use TIFF previews If you’re re-importing the EPS file back into

an InDesign document, you can leave the Preview pop-up menu set to None, because InDesign actually creates a preview on the fly when you import the file Similarly, if you’re going to open the EPS file in Photoshop (rasterizing it into a bitmapped image), Illustrator (converting it into paths), or process the EPS file with some software that doesn’t require a preview image, you can leave Preview set to None If the EPS will be used in any other program (like QuarkXPress), select PICT or TIFF (the latter is more flexible because most Macintosh programs can read both PICT and TIFF)

▶ Embed Fonts To make sure that the EPS contains all of the

fonts you’ve used, choose Complete from the Embed Fonts pop-up menu Why not do this every time? Because your EPS files can become huge, bloated, and swollen with included fonts

To reduce the size of the EPS, choose Subset to include only the characters needed to print the text in the EPS Choose None when you don’t want or need to include any fonts in the EPS

Some fonts cannot be embedded—the font manufacturer has included information in the font that prevents embedding When InDesign reads this information, it will not include the fonts in the EPS, regardless of the choice you make from the

Figure 7-22 EPS Export Options,

General Tab

Embed Fonts pop-up menu If you find you’re missing a font in

an EPS, return to the InDesign publication and convert all of the characters that use the missing font to outlines and then export the EPS again

▶ Data Format Choose ASCII if you expect to print the EPS on a

system connected to a printer via a serial cable, or if you plan to edit the EPS using a text editor or word processor—otherwise, choose Binary to create a compressed version of the file Binary files are smaller and therefore transmit to the printer faster, but they sometimes choke really old networks

▶ Bleed If you do not enter values in the four Bleed fields (Top,

Bottom, Inside, and Outside—or Left and Right, in a pages document), InDesign sets the edge of the EPS bounding box to the edge of the page you’re exporting Enter a value in the Bleed fields to expand the area of the page See Chapter 11,

non-facing-“Printing,” for more on bleeding off the edge of the page

Advanced Just because it’s called the Advanced tab of the Export

EPS dialog box doesn’t necessarily mean that these options are any more advanced or tricky These features let you control how images and transparency are handled in EPS files (see Figure 7-23)

▶ Send Data In most cases, you want the full resolution of your

bitmapped images to be included in your EPS files (so they can later be printed properly) On occasion, however, you may want only a low-resolution version of your images in the EPS file For example, let’s say you were going to rasterize the EPS in Photoshop in order to save it as a GIF or JPEG and place it on the Web; there’s no need for the full-resolution images, so you could choose Proxy from the Send Data pop-up menu If you’re planning to print the EPS through an OPI system, and plan to replace the images, or if you’re creating the EPS for onscreen viewing only, choose Proxy

▶ OPI Image Replacement Turn this option on to have InDesign

perform OPI image replacement as you export the EPS If you’re exporting a page containing EPS graphics with OPI image links, you’ll probably need to turn this option on (unless your EPS will later be processed by an OPI server)

▶ Omit For OPI To keep InDesign from including a certain type

of imported graphic file in the EPS, turn on the ing option in the Omit section (to omit placed TIFF images, for

correspond-example, turn on the Bitmapped Images option) We discuss OPI in more detail in Chapter 11, “Printing.”

▶ Transparency Flattener In order for transparency effects to

print on most devices, InDesign must “flatten” them We discuss flattening and transparency flattening styles in great detail in Chapter 11, “Printing.” Suffice it to say that you can choose a flattener style here, as well as tell InDesign to ignore any flattener style spread overrides that you (or someone else) may have made

in the document (by turning on Ignore Spread Overrides)

▶ Ink Manager The Ink Manager manages how colors trap with

each other and how spot colors interact (for instance, you can use the Ink Manager to alias one spot color to another) We

cover the Ink Manager in Chapter 10, “Color.”

Exporting PDF

InDesign can export Adobe Acrobat Portable Document Format files (what normal people call “PDF”), which can be used for remote printing, electronic distribution, or as a graphic you can place in InDesign or other programs InDesign’s PDF files can even include

“rich” media, such as buttons, movies, and sounds InDesign doesn’t need to use the Acrobat Distiller (or the Distiller Assistant) to create PDF files

Figure 7-23 EPS Export Options,

Advanced Tab

Note, however, that Distiller often makes more compact PDF files than exporting directly from InDesign, which may be important if your PDF files are destined for the Web If you want to use Distiller

to make PDF files instead of creating them directly using the Export feature, you must use the Print dialog box to write PostScript to disk first (we discuss how to do that in Chapter 11, “Printing”)

While PDF is great for putting publications on the Web, or for creating other sorts of online publications, most of us ink-on-paper types care more about making PDF files suitable for print InDesign can export PDFs for just about any purpose, onscreen or on-press It all depends on how you set up the export options

When you export a PDF (by selecting Export from the File menu and choosing Adobe PDF from the Type pop-up menu), InDesign displays the Export PDF dialog box This dialog box contains seven panes for setting PDF export options: General, Compression, Marks and Bleeds, Output, Advanced, Security, and Summary Remem-ber that in all paned dialog boxes like this one, you can jump to the second pane by pressing Command-2/Ctrl-2, the third pane with Command-3/Ctrl-3, and so on

Above all these panes sits the Adobe PDF Preset pop-up menu, which lets you select an export preset (each of which is a collection

of various export options) You may be familiar with these styles, as they’re basically identical to those found in Illustrator and Distiller

We discuss creating your own in “Defining a PDF Export Preset,” later in this chapter

The General pane of the Export PDF dialog box (see Figure 7-24) is a hodge-podge of options, controlling everything from what pages get exported to whether InDesign should launch Acrobat after saving the file

Standard (PDF/X) InDesign fully supports several important

inter-national ISO standards, including PDF/X-1a and PDF/X-3 You can select either of these from the Standard pop-up menu or the Preset menu However, if you’re going to use PDF/X, we strongly recom-mend you choose from the Preset menu instead of the Standard menu—otherwise, it’s easy to make a PDF/X file that, while techni-cally valid, will make the recipient of the file unhappy

The PDF/X-1a preset is for a straight CMYK-only (or CMYK plus spot color) workflow, and is relatively popular in the United States PDF/X-3 is used in color managed workflows, especially in Europe, because they can include RGB and Lab color data, too

General

PDF/X-4 is similar to PDF/X-3, but with an important twist: While PDF/X-3 is based on the Acrobat 4 format, PDF/X-4 is based

on Acrobat 5 As we point out below, Acrobat 5 (PDF 1.4) supports transparency, so it doesn’t require flattening That’s why PDF/X-4 is the preferred format when printing to a printer with a PDF RIP (as opposed to a simple PostScript RIP), such as one with the Adobe PDF Print Engine

Both of these standards aren’t some weird, proprietary flavor of PDF; they’re just regular PDF files that specify the sorts of things that can be included For example, you can’t put a button or movie or even an RGB image in a PDF/X-1a file, and all fonts must be embed-ded Note that you can make a PDF/X compliant PDF file without choosing from the Standard or Preset pop-up menus; these just make it easier

Compatibility Who is your audience for this PDF file? Acrobat 8 has

been out for a couple of years now, so we usually assume that most professionals have it but many of the general public may only have Acrobat 5 (or at least the free Acrobat 5 Reader) On the other hand,

if there’s any chance your recipient only has Acrobat 4, you’ll need

to choose Acrobat 4 from the Compatibility pop-up menu nately, the PDF version numbering can be confusing: Version 1.3 is Acrobat 4, 1.4 is Acrobat 5, 1.5 is Acrobat 6, version 1.6 is Acrobat 7, and (finally)version 1.8 is Acrobat 8

Unfortu-Figure 7-24 Export PDF Options,

General Pane

There’s another reason you want to pay attention here: If you have used any transparency effects in your document, the Compatibility pop-up menu controls who does the flattening Choosing Acrobat 4 means you want InDesign to flatten the file (see “Transparency Flat-tener” later in this section, and “Printing Transparency” in Chapter

11, “Printing”) Acrobat 5, 6, and 7 can read the unflattened ency effects If we’re sending files to our printer or an imaging bureau that we trust knows about flattening, then we’d much rather send them Acrobat 6 or 7 PDF files

transpar-Similarly, if you want your PDF to have interactive elements (like buttons and movies), there’s a good chance you’ll want to save this as

an Acrobat 6 or 7 file (See Chapter 13, “Interactive PDF,” for all the reasons why.)

Page Ranges Which pages do you want to export? Just as in the

Gen-eral pane of the Print dialog box, you can export all document pages (click the All option) or specify individual page ranges (135-182) or noncontiguous pages (3, 7, 22) in the Range field Note that unless you have Absolute Numbering selected in the General pane of the Preferences dialog box, you’ll need to type page ranges with their actual names For instance, if you want to export the first four pages and you’re using roman numerals, you’ll have to type “i-iv” If you’ve specified a page number prefix, like “A”, you’ll have to include that in the Range field, too

Reader’s Spreads When you turn on the Spreads option, InDesign

exports each spread in the page range you’ve specified (see above) as

a single page of the exported PDF This is called “reader’s spreads” because the spread appears as it would to a reader flipping through a book or magazine This does not create “printer spreads,” which you need to print a saddle-stitched booklet You need a separate plug-

in to do that Personally, when we want to view a PDF in reader’s spreads, we don’t turn on this feature; we just turn on the Facing option in Acrobat’s View menu—the effect is basically the same

Embed Page Thumbnails Creates a preview image, or “thumbnail”

of each page or spread (if you’re exporting reader’s spreads) you export You can display thumbnails when you view the PDF using Acrobat or Acrobat Reader They don’t do much for us, and they increase the size of the file

Optimize for Fast Web View The key word here is “Web.” The

only time you’d want to turn this on is when you’re creating a

document that will only be viewed on the Web When this option is off, InDesign includes repeated objects (such as objects from master pages) as individual objects on each page of the PDF When you choose Optimize PDF, InDesign exports a single instance of each repeated item for the entire PDF When the item appears on a page

in the PDF, InDesign includes a reference to the “master” item This reduces the file size of the PDF without changing the appearance of the exported pages When this option is on, InDesign also overrides the settings in the Compression pane with its own Web-appropriate settings, and restructures the file so that it can be downloaded one page at a time from a Web server rather than having to download the whole megillah

Create Tagged PDF Most people expect their PDF files to always

appear just as they do in InDesign—each line of text ending in the same position on the page But what if someone who is blind wants

to read your document with a Braille reader? What if someone wants

to see your PDF on their iPhone or other mobile device? In that case,

it would be very helpful if the PDF included some “intelligence” or

“accessibility” in the form of tags that—behind the scenes—declare this to be a paragraph that can reflow as necessary, that thing in the upper corner of the page to be a page number that doesn’t have to appear on a mobile device, and so on

If you predict that your PDF file might show up in a tional reader, turn on the Create Tagged PDF checkbox Obviously, there is hardly ever a need for tags in documents that are simply being printed, but they don’t affect file size or export time much, so

non-tradi-we often just leave this option turned on

Note that inside the PDF these tags are actually written in XML, and any tags you’ve applied with the Tags panel (see Chapter 14,

“XML”) will appear in the PDF, too This offers some interesting side effects For example, if you create a tag named “Artifact” in the Tags panel and then apply it to a text frame, Acrobat considers the object irrelevant and not part of the text flow when reading the PDF out loud or displaying it on some mobile devices That’s perfect for text frames such as running heads and page numbers

To be honest, in most cases, if you really want your documents

to be accessible (especially to be “Section 508” compliant), you will likely need to do a lot more clean-up work on them in Acrobat Pro-fessional after exporting with tags

View PDF after Exporting When you turn this option on, InDesign

opens the file in Acrobat after exporting the PDF

Create Acrobat Layers Acrobat 6 introduced the idea of hiding and

showing layers within a PDF file If you turn on the Create Acrobat Layers checkbox, all your InDesign document’s layers (even hidden layers) are converted into Acrobat layers and can be controlled from within Acrobat In a stroke of brilliance, even the page marks (like crop and registration marks) are put on their own layer Obviously, this only works when exporting in the Acrobat 6 (PDF 1.5) format

or later

Export Layers Normally, an object will only appear in your PDF

if it’s on a layer that is both visible and printable—that is, the Show Layer and Print Layer checkboxes are both enabled in the Layer Options dialog box However, you can override this by choosing either All Layers or Visible Layers from the Export Layers pop-up menu The former prints everything, even objects on hidden or non-printing layers That’s nice when you forget to turn on hidden layers before starting the PDF export process The latter option prints all visible layers (whether they’re “printable” or not)

Include Bookmarks If you’ve used the table of contents feature

(which we discuss in Chapter 8, “Long Documents”), you can tell InDesign to automatically build bookmarks for your PDF file based on the table of contents Just turn on the Include Bookmarks checkbox Or, if you used the Bookmarks panel to add custom book-marks to your document (see Chapter 13, “Interactive PDF”) you have to turn this checkbox on to actually see them in the PDF file Again, this is a feature suitable for PDFs destined for onscreen view-ing, not prepress

Hyperlinks You can use the Hyperlinks panel to add as many

hyperlinks to your document as you want, but unless you turn on this checkbox they won’t appear in your PDF file When you turn this option on, InDesign also creates hyperlinks in your table of contents and indexes (see Chapter 8, “Long Documents,” for more

on these features) Of course, it’s not really appropriate to include hyperlinks when sending off a PDF for high-resolution printing See Chapter 13, “Interactive PDF,” for more on hyperlinks

Visible Guides and Grids If you turn on this export option, InDesign

exports all visible guides (margins, ruler guides, baseline guides, and

so on), which may be helpful for designers who are collaborating on a project The only guide type that doesn’t export is the document grid (even if it’s visible)

Non-printing Objects Ordinarily, nonprinting objects (items for

which you’ve turned on the Non-printing checkbox in the Attributes panel) won’t appear in exported PDF files You can force them to export (overriding the Attributes panel) by turning on the Export Non-printing Objects checkbox in the Export PDF dialog box Why would you do this? We bet someone can think of a good reason

Interactive Elements If your document contains buttons, movies, or

sounds, you need to turn on the Interactive Elements checkbox to include them in the PDF file Like the Hyperlinks option, there’s no reason to turn this on for documents bound for press When you

do turn it on, however, you can also tell InDesign (in the dia pop-up menu) whether to embed all sounds and movies into the PDF or leave them linked to the disk file See Chapter 13, “Interactive PDF,” for more on these sorts of things The setting in the Multime-dia pop-up menu overrides any object-level settings you have chosen for movies and sounds

Multime-The options in the Compression pane define the compression and/

or sampling changes applied to the images in your publication as it’s exported as a PDF (see Figure 7-25) Compression is almost always a good thing, but you need to choose your compression options care-fully, depending on where your PDF is headed PDFs for onscreen viewing can handle more compression, and those destined for the

Web typically need a lot of compression to keep file sizes down A

PDF file that you’re sending to a printer for high-resolution output requires very little compression, if any (unless you have to e-mail the file or it won’t otherwise fit on a disk for transport)

Bitmapped images are almost always the largest part of a ment, so PDF’s compression techniques focus on them InDesign has two methods of making your files smaller: lowering the resolution of the images and encoding the image data in clever ways

Resampling If you place a 300 ppi CMYK image into your

docu-ment and scale it down 50 percent, the effective resolution is 600 ppi (because twice as many pixels fit in the same amount of space) When you export your PDF, you can ask InDesign to resample the image

to a more reasonable resolution If your final output is to a desktop inkjet printer, you rarely need more than 300 or 400 ppi Printing on

a laser printer or imagesetter (or any device that uses halftone screens,

as explained earlier in this chapter) requires no more than 1.5 to 2.0 times the halftone screen frequency—a 150 lpi halftone rarely needs more than 225 ppi of data to print beautifully

Compression

Monochrome (or bi-level) bitmapped images do not have halftone screens applied to them by the printer and, therefore, are not sub-ject to the same rules that govern grayscale and color images In a monochrome image, you never need more resolution than the reso-lution of the printer If your final output is your 600 dpi laser printer, you certainly never need more than 600 dpi monochrome images Imagesetter output rarely requires more than 1200 dpi (though for

a sheetfed art book, we might bump this up to 1500 dpi) Printing

on uncoated stock requires less resolution because of halftone spots spreading; you can easily get away with 800 dpi for newsprint

If you’re exporting a PDF for online viewing, you can get away with 72 or 96 ppi, unless you want the viewer to be able to zoom in

on the image and not see pixelation

InDesign only downsamples when exporting PDF files That is, it throws away data to decrease image resolution (it won’t add resolu-tion) Downsampling works by turning an area of pixels into a single, larger pixel, so the method you use to get that larger pixel is cru-

cial When you downsample an image, InDesign takes the average

color or gray value of all of the pixels in the area to set the color or

gray value of the larger pixel When you subsample an image, on the

other hand, InDesign uses the color or gray value of a single pixel

in the middle of the area This means that subsampling is a much less accurate resampling method than downsampling, and shouldn’t

be used for anything other than proofing your document We rarely use Average Downsampling or Subsampling; instead, the best option

Figure 7-25 Export PDF Options,

Compression Pane

is Bicubic Downsampling, which provides the smoothest sampling algorithm.

Ultimately, however, we much prefer to just get the resolution right in Photoshop before placing the image, rather than relying on InDesign to downsample it That way, we can see the result of resam-pling on the screen, and undo the change if necessary Otherwise, we won’t see the result until we view the PDF

Compression The PDF specification supports both ZIP and JPEG

encoding for grayscale and color bitmapped images; and CCITT Group 3, CCITT Group 4, ZIP, and Run Length encodings for mono-chrome bitmapped images In Acrobat 6 or later, you can even use JPEG 2000 It’s enough to make your head spin! Which method should you use? Again, it depends on where the PDF is going and what kind of images you’ve got

Scanned images generally compress better with JPEG, and thetic images (such as screen captures that have a lot of solid colors and sharp edges) compress better with ZIP However, JPEG compres-sion, even at its highest quality setting, removes data from an image file (it’s “lossy”) Most designers find that some JPEG compression for scanned photographs is an acceptable compromise, as it results in dramatically smaller file sizes JPEG 2000 compresses even smaller and results in less degradation But, ultimately, when we don’t need

syn-to worry about file size, we prefer syn-to use ZIP for everything because ZIP compression does not discard image data (it’s “lossless”) You never know when you might need that image data!

If we are using JPEG, then we make a choice from the Image Quality pop-up menu: You get the best compression with Minimum quality, but who wants to look at the results? Unfortunately, the only good way to choose from among the Image Quality options is to save two or three to disk, look at them in Acrobat, and compare their file sizes

Exporting PDF files for print is easier: We usually just choose ZIP from the Compression pop-up menu for both color and grayscale images However, if you need to save some disk space (again, like if you’re emailing the file to your output provider), it’s usually reason-able to use Automatic (JPEG) compression with the Image Quality pop-up menu set to Maximum quality—the resulting JPEG images are usually indistinguishable from uncompressed images Or, if you know that the recipient has Acrobat 6 or later, then consider using the better-quality JPEG 2000 compression

As for monochrome image encoding, it’s rare to see much of a ference among the choices (they’re all lossless and provide reasonable

dif-compression) We usually use Run Length or ZIP encoding, but only because we don’t like the sound of CCITT Say it aloud a few times, and you’ll see what we mean.

Compress Text and Line Art The Compress Text and Line Art

option applies to text and paths you’ve drawn in InDesign—we cannot think of any reason you should turn this option off

Crop Image Data to Frames When you turn this option on,

InDesign sends only the visible parts of the images in the tion This sounds reasonable, and can result in a much smaller file for publications that contain cropped images But it also means you won’t have access to the image data if you edit the image in the PDF Most of the time, this isn’t a problem, but you might want to turn this option off if your PDF includes images that bleed (so that you or your service provider can later increase the bleed area, if necessary)

publica-In a desperate attempt at reducing the redundancy in our overly complex lives, we’re going to skip a detailed analysis of the Marks and Bleeds pane of the Export PDF dialog box and instead point out that these features are exactly the same as the features in the Print dialog box (see “Marks and Bleeds” in Chapter 11, “Printing”)

The Output pane lets you control how color in your document is handled (see Figure 7-26)

Color Conversion Choose No Color Conversion from the Color

Conversion pop-up menu if you don’t want InDesign to mess with your colors and just write them into the PDF as specified That is, RGB colors will remain RGB, and CMYK colors will stay CMYK This is what you get with PDF/X3 or PDF/X4, because in that stan-dard, colors are managed at print time from Acrobat

If you do want InDesign to manage the colors, you should choose either Convert to Destination or Convert to Destination (Preserve Numbers) In either case, all RGB colors get converted to CMYK based on the CMYK profile you choose in the Destination pop-up menu However, when you choose the “preserve numbers” option, any CMYK colors that you have specified in your InDesign docu-ment (such as colors you have applied to text or frames) are left alone—that is, they are not converted from your document CMYK profile to the destination CMYK profile For example, this stops 100-percent black text changing to four-color CMYK text, or 100-percent cyan

Marks and Bleeds

Output

changing to a mix of cyan, yellow, and magenta (which was a lem in earlier versions of InDesign).

prob-However, whether or not you choose “preserve numbers,” if your

CMYK image is tagged with a color profile and that profile was

preserved when you placed it (which is typically not the case with CMYK images), it will get cross-converted to the new CMYK space (See Chapter 10, “Color,” for more on color management.)

Note that choosing CMYK does not separate spot colors to CMYK in the PDF file; if you want to do that, you should use the Ink Manager (see below)

If you have turned off color management (that is, you chose late InDesign 2.0 in the Color Settings dialog box), then you have only three choices: do nothing, Convert to CMYK, or Convert to RGB Either way, InDesign uses its internal RGB-to-CMYK con-version method (the default CMYK space is based on SWOP inks—technically, it’s the default CMYK settings from Photoshop 5; the default RGB space is AdobeRGB)

Emu-Profile Inclusion Policy When you’re converting colors, you can tell

InDesign whether or not to embed ICC profiles into your PDF file In

a color-managed workflow, it is important to include profiles, or else other programs (or InDesign, if you’re re-importing the PDF into an-other InDesign document) cannot color-manage the file However, if you are simply creating a CMYK files (such as a PDF/X1-a workflow), there is no reason to include your profiles Also, turn this option off

Figure 7-26 Export PDF Options,

Output Pane

when exporting PDF files for the Web, since the Web isn’t color aged and ICC Profiles increase file size.

man-Simulate Overprint Acrobat 4 has no way to preview

overprint-ing instructions, so if you need to use Acrobat 4 and you need to proof overprinting, you can turn on the Simulate Overprint option Because everyone we know is using a newer version of Acrobat, we rarely have to worry about this feature Note that Simulate Overprint should not be used for final artwork, as it radically changes your document (spot colors are changed to process colors, for instance) It’s just a low-end proofing tool

Ink Manager Have a spot color that should be a process color? Or

two different spot colors that really should be one? The Ink Manager handles these kinds of troubles (for more information, see “Ink Man-ager” in Chapter 10, “Color”)

PDF/X If you have chosen one of the PDF/X options in the

Stan-dards pop-up menu at the top of the dialog box, InDesign offers you the option of specifying the final output destination profile in the mysteriously named Output Intent Profile Name Fortunately, this is almost always exactly the same as the Destination profile you chose above You can also add a short description in the Output Condition Name field if you think anyone downstream at the printer will care (seems doubtful to us) If the profile you choose is registered some-

where (such as the International Color Consortium at www.color org), you can specify a name and URL in the final two fields of this

section That information simply gets embedded in the PDF file so someone can later decode what you’ve done

There’s nothing particularly “advanced” about any of the options in this pane, and while you probably won’t spend much time messing with these settings, it is important to understand what they do and why you’d want to change them (see Figure 7-27)

Subset Fonts InDesign can always embed font information in

exported PDF files, so it doesn’t matter whether the person you give the file to has the font The exception to this is when the font manu-facturer has specified that their font should not be embedded Many Asian fonts cannot be embedded, for instance This is a political and legal hot-potato that we’re not going to touch, other than to say that

if your fonts cannot be embedded, complain to the font developer,

Advanced