Real World Adobe InDesign CS4- P22 docx

For example, if you import an RGB image and print color separa-tions, InDesign will still convert the RGB to CMYK which is one of the prime uses of color management.. Perhaps the most im

of time and money) That said, we must also add that we can get very close—and we can also make the relationship between the display and the printed piece more consistent and predictable.

The “device” (a printer, scanner, monitor, or printing press) is the key Every device renders colors in a slightly different way To adjust color in one environment so that it matches the color as seen

in another environment, color management systems refer to a file containing information on the color characteristics of a device (how it displays or prints color) This file is called a “device profile.” Device profiles for scanners and printers are usually created by the manufacturers who make the hardware, though quite a few come with InDesign You’ve got to make monitor profiles yourself, because every monitor is different (just as several television sets from the same manufacturer can show the same image differently) The pro-cess of creating a device profile is called “characterizing” a device

Once a device profile has been created for a device, you’ve got

to maintain (or “calibrate”) the device so that it doesn’t vary from the profile Imagesetter operators and commercial printers calibrate their equipment regularly (or should) to match industry standards.InDesign’s color management system uses device profiles com-patible with the International Color Consortium (ICC) specification

If you’re on the Macintosh, you can also use device profiles provided

by Apple with the system-level ColorSync color management system (these profiles are also ICC compatible)

For more on choosing device profiles, see “InDesign’s Color agement Controls,” later in this chapter

Man-For More Information

Color management is an enormous subject and we can only focus

on one aspect of the big picture here: How color management works

in InDesign If any terminology in this section is confusing to you (like gamut, ICC profile, color engines, and rendering intents), we encourage you to go look at two other sources for a truly in-depth

look at getting consistent color Real World Photoshop (which David wrote with Bruce Fraser and Conrad Chavez) and Real World Color

Management, by Bruce Fraser, Chris Murphy, and Fred Bunting.

Do You Need Color Management?

Everyone wants consistent color from original to screen to proof print

to printing press, but it’s worth asking yourself whether you really need it Managing color is not as simple as turning on a checkbox, and though it’s not as hard as flying an airplane, it can still cause a fair amount of rifling through medicine cabinets trying to ease the pain in your head You may not need to worry a lot about managing color in InDesign if you can rely on color swatch books when pick-

ing solid colors, and if you can rely on color prepress professionals to deal with your color Photoshop images.

There are other instances when it’s not even worth trying to get InDesign to manage your color For example, InDesign can’t manage grayscale images or spot colors Similarly, InDesign isn’t really set

up to color-manage vector art when saved as an EPS file (it can do it, but we don’t recommend it) Vector art saved as PDF or native Adobe Illustrator (.ai) files should work reasonably well

Nevertheless, we must admit that it is particularly satisfying when you work through all the issues and achieve (as close as pos-sible) parity among your screen, inkjet printer, and final press output Being able to rely on your screen (“soft proofing”) and desktop color printer is a great boost in efficiency, too Plus, as the world becomes increasingly reliant on direct to plate technologies, bypassing film entirely, color management systems become increasingly important

to ensure quality output And if you want to import RGB images and let InDesign do the color separation for you at print time, you’ll get better results if color management is turned on

Controlling Your Color-Viewing Environment

If it’s important to you that what you see on your screen looks as much like the printed version of your publication as possible, there are a few rules you need to follow

▶ Characterize and calibrate your monitor with a tool like the Datacolor Spyder or X-Rite’s EyeOne If color is of critical importance to you and your publications, find a system that works with your monitor, or buy a monitor with built-in color management capabilities

▶ Control the lighting around your monitor and keep it consistent when you’re working The fluorescent lighting used in most of our office buildings is the worst possible lighting for viewing colors Turn it off, if you can, and rely on incandescent or “full spectrum” lighting Avoid glare and bright light if possible

Why is lighting important? Basically, the temperature of the light affects what a color “objectively” looks like

Printed Proofs and Swatches

Remember that, unlike the paper you’ll be printing on, your screen

is backlit, so it displays colors very differently from what they’ll look like when printed Therefore, any time you’re working with ink, try

to refer to printed samples, rather than looking at the colors on your screen

If you’re using uncoated paper, look at samples of the ink (spot color) or ink mix (process color) printed on uncoated stock If you’re using coated paper, look at examples printed on coated paper Even better, try to find an example of the ink printed on the paper stock you’re using—though these examples are much harder to find

Pantone makes a line of swatch books showing their libraries of spot and process colors (including process color equivalents of the spot colors); they’re printed on both coated and uncoated stocks, and, although they’re kind of expensive, they’re not as expensive as pull-ing a job off of a press because you didn’t like the press check They’re downright cheap if you consider what they must cost to print

If you’re specifying CMYK colors, use a swatch book printed with process colors that tells you what the CMYK breakdowns are Our favorite is the one made by Trumatch You can also find process color books made by Pantone

Definitely don’t assume that your color inkjet or laser printers will automatically produce an accurate simulation of what the colors

in your publication are going to look like when they’re printed by your commercial printer To do that, you’ll have to do some work—we’ll cover that in more detail later in this chapter

InDesign’s Color Management Controls

You can control how color appears in InDesign in a number of places For example, under the Edit menu, you’ll find Color Settings, Assign Profiles, and Convert to Profile In the View menu, there’s the Proof Colors feature And the Appearance of Black pane of the Preferences dialog box also lets you manage one color (black)

Application Color Settings

The choices you make in the Color Settings dialog box form the basis for how InDesign displays and prints color (see Figure 10-14) These controls all match the similarly named features in Adobe Photo shop, though the meanings are sometimes subtly different Note that these controls adjust future documents you create, but not already-created files—not even the currently-open document

Settings In a valiant effort to make color management easier, Adobe

has created color management “presets” that you can pick in any of the Creative Suite applications You can pick the same setting in all the applications to get consistent color as you move files from one program to another (You can automate this by launching Adobe Bridge and then choosing Edit > Creative Suite Color Settings.)

If InDesign’s Color Settings dialog box is set up differently than other Suite applications, you’ll see a message alerting you to the fact that the Suite isn’t synchronized This isn’t necessarily a bad thing—for example, we typically like seeing missing profile alerts in Photoshop but not in InDesign (We cover alerts like this in “Color Management Policies,” in a few pages.)

InDesign’s color management is turned on by default The tings pop-up menu typically shows five presets

Set-▶ Emulate Adobe InDesign 2.0 CMS Off “Off” is misleading—

there is no such thing as truly turning color management off

This setting tells InDesign to hide what it’s doing from you For example, if you import an RGB image and print color separa-tions, InDesign will still convert the RGB to CMYK (which is one of the prime uses of color management) The result may look only adequate because InDesign is assuming your RGB image is based on the Adobe RGB profile and the CMYK ink behavior is based on the Photoshop 5 Default CMYK settings We’d rather gnaw off our leg than use this setting

▶ Monitor Color This is good for um well, it might have some

marginal use in Photoshop (if you’re creating output for video perhaps), but we can’t think of any reason to use it here

▶ General Purpose The default setting is General Purpose, which

turns off most of the color management alert dialog boxes that make people nervous, uses sRGB as the default RGB space, and

Figure 10-14 Color Settings Dialog Box

uses U.S Web Coated SWOP for the default CMYK space (or Fogra or Japan Color in Europe or Asia) This is probably the best setting for most InDesign users.

▶ Prepress It’s tempting to choose North American Prepress 2

(or Europe Prepress 2 or Japan Prepress 2, depending on where you’re reading this) if you’re aiming for a printing press This uses the same CMYK default, but standardizes on the Adobe RGB model for RGB colors While we do like this for Photoshop image editing (because it encompasses a spectrum of colors better suited for print than sRGB), it’s both unnecessary and often misleading or incorrect in InDesign

▶ Web/Internet If virtually all your pages are destined for the

Web, you might choose the Web/Internet preset It uses the sRGB workspace for RGB colors (it even forces non-sRGB images to convert to sRGB), but that’s appropriate for Web files

Again, these are only defaults—not necessarily what you’ll use for your documents If you have a custom CMYK profile for a project, you can use that for your document instead (see “Changing Docu-ment Spaces,” later in this chapter)

Note that you can also save your Color Settings dialog box setup

by clicking Save If you save it in the location that InDesign offers, you’ll find it in the Settings pop-up menu in the future Plus, you can use that setting in all your other Creative Suite applications, too

Working Spaces Perhaps the most important features of the Color

Settings dialog box are the two Working Spaces pop-up menus, which control InDesign’s default color profiles for RGB and CMYK colors Remember that an RGB value doesn’t mean anything because red, green, and blue phosphors are different on different devices Cyan, magenta, yellow, and black inks can also be radically different depending on ink manufacturer, paper stock, press conditions, and

so on So RGB and CMYK colors are all just a bunch of numbers Profiles assign color meaning to the numbers: such-and-such CMYK

value on this particular device.

The profiles you choose from the CMYK and RGB pop-up menus are the profiles InDesign will use for any swatches you create in InDesign, and for any imported graphics that did not include a color management profile (and that you have not applied a profile to using the Image Color Settings dialog box) Also, as we’ll point out in the discussion below about color policies, the default CMYK profile is also used for imported CMYK images—even those that have their

own profile—when you choose the Preserve Numbers option (which you probably will).

We generally recommend using sRGB for the RGB working space rather than something like Adobe RGB The reason: the RGB work-ing space is applied to RGB images that have no embedded profile, and if an image has no profile, it was probably pulled off a Web site

or shot with a cheap camera—in both those cases, sRGB is the safest assumption

The choice of a CMYK working space depends entirely on your print workflow In a perfect world, you’d have a color profile for your particular printing press or output device, with your particular paper stock, and so on But in reality, you can typically get away with pick-ing a generic target profile The best target profile is probably Coated GRACoL when printing on a sheetfed press, or Web Coated Stock

2006 Grade 3 Paper (or Grade 5 Paper) when printing on a Web press (“Web” here refers to a Web press, as opposed to a sheetfed press, and has nothing to do with the World Wide Web.)

Other “middle of the road” targets include Europe ISO Fogra27

(which David erroneously pronounces fois gras) and the

well-used-but-pretty-mediocre U.S Web Coated SWOP v2

If you’re looking for a particular profile that you know you’ve installed in the operating system correctly, but doesn’t appear here, try turning on the Advanced checkbox (see “Advanced Color Set-tings,” later in this section)

Color Management Policies InDesign assigns the default working

spaces to each new document you create while color management is

on But what should InDesign do when color management is turned

on and you open a document that was created when color ment was turned off (so no profile was associated with the docu-ment)? What if you open a document made by someone else who used a different working space? You can tell InDesign what to do in these cases with the Color Management Policies section of the Color Settings dialog box

manage-Perhaps more importantly, the Policies section also manages what happens to images that you import, which has huge implica-tions over how they appear in print

▶ RGB We suggest leaving the RGB pop-up menu set to its default

value (Preserve Embedded Profiles) most of the time This means InDesign will keep track of embedded profiles in RGB images and InDesign documents that contain RGB colors—very useful if you receive RGB images or files from other people

We can’t think of any reason to set RGB to Off (which would simply ignore all profiles and stop InDesign from embedding

an RGB profile in the document, causing untold horrors when it comes to getting any sort of color consistency) However, choos-ing Convert to Working Space could be useful on occassion, if you knew you had to open 50 InDesign documents that had simply been created with the wrong RGB profile But watch out: Any RGB colors you created in the InDesign document will look the same, but the actual RGB numbers will likely change upon conversion

▶ CMYK The choice for the CMYK policy is not so cut and

dry Most people will want to use Preserve Numbers (Ignore Embedded Profile), but if you’re serious about color manage-ment you may want to choose Preserve Embedded Profile The first choice (Preserve Numbers) tells InDesign to use the current CMYK document profile as the profile for all your CMYK colors and imported CMYK images For example, let’s say you make

a 100-percent cyan in a CMYK TIFF that uses some wacky custom CMYK profile, then you import that into your InDesign document that uses the default SWOP profile InDesign ignores the wacky profile entirely and just assumes that the image uses SWOP You can override this (see “Applying Device Profiles to Images,” later in this chapter), but you wouldn’t want to have to

do that very often

Even though Preserve Numbers (Ignore Embedded file) sort of defeats the greater purpose of color management,

Pro-it tends to be the choice we recommend—especially when all your incoming CMYK images are created with the same profile (which is often the case)

On the other hand, if you receive CMYK images that have embedded CMYK profiles from a number of sources, you’re pretty sure that the sources each used different CMYK profiles, and you need to make sure they all look good when you print

or export PDF, you’ll want to use Preserve Embedded Profile

This tells InDesign to keep their appearance consistent with the originals (how they looked in Photoshop, for example), even if

it means changing the CMYK numbers to accomplish that For example, that 100-percent cyan swatch might change to 95-per-cent cyan plus 5-percent magenta

Again, we urge people not to set the CMYK policy to Off, as

it will likely only cause you heartache down the road (If you’re

frustrated with your previous experiences with color ment, choose Preserve Numbers rather than Off.)

manage-Unless you’re obsessive about color management, we recommend turning off the two Profile Mismatch checkboxes, and leaving on the Missing Profiles checkbox in the Color Management Policies section The mismatch warnings you get tend to be confusing, misleading, and annoying But having a document with no profiles at all could cause even more trouble, so it’s good to be alerted in that situation

Advanced Color Settings

While the color management options we’ve described are enough for many workflows, you can get even more tweaky by turning on the Advanced Mode checkbox (see Figure 10-15) First, when Advanced Mode is turned on you can select any color profile installed in your operating system for your working spaces (as opposed to only the recommended Adobe profiles) Next, you can select an alternate color management engine, adjust the default rendering intent, and choose whether or not to use black point compensation

Figure 10-15 Advanced Color Settings

Engine Color management engines (the actual software at the

heart of the system that converts one color into another) are made

by a variety of manufacturers Ultimately, it’s very unlikely that you would ever see a difference between any of these Unless you have a

really good reason to switch, you should just use the Adobe (ACE)

CMS (which is also what Photoshop uses by default)

Intent What happens when the color management system

encoun-ters a color that is outside of the gamut of the selected printing device? The color management system must change the color to one

that’s inside the printer’s gamut How it does that is the topic of the Intent pop-up menu Intent is shorthand for rendering intent.

When you choose either Relative Colorimetric (which is the default) or Absolute Colorimetric, the out-of-gamut colors are moved to the nearest edge of the color gamut—also called gamut

clipping—which means that differences between out-of-gamut

colors can disappear (very red and very, very red both become the

same in-gamut CMYK red) When this happens, you’ll see an effect similar to posterization in the more saturated areas of images The Perceptual rendering intent squeezes all the document’s colors so that out-of-gamut colors are brought into the color gamut in a way that maintains a distinction between the colors The Saturation ren-dering intent, on the other hand, moves all colors toward the edge of the color gamut, resulting in more saturated color

In general, Relative Colorimetric is best for solid colors and thetic images (like images made in Illustrator or FreeHand), and Per-ceptual is best for scanned images Unfortunately, InDesign uses this rendering intent both for colors built in InDesign and for imported images (unless you specifically override it, which we discuss in

syn-“Applying Device Profiles to Images,” below) However, for most documents and images—especially those already in CMYK mode—Relative Colorimetric probably makes the most sense On the other hand, if you use a lot of RGB images with saturated out-of-gamut colors, and you’re trying to match these colors with swatches built

in InDesign, you might want to use Perceptual instead If you want more intense color in business graphics (such as charts and graphs), you might try choosing Saturation

Use Black Point Compensation The Use Black Point Compensation

option, when turned on, maps the black of the source profile to the black of the target profile We usually think of black as being “just black,” but of course black on different devices appears differently (for instance, solid black on newsprint is much more gray than solid black on glossy sheetfed stock) We generally recommend leaving this turned on, ensuring that the entire dynamic range of the output device is used

Changing Document Spaces

By default the document working space is whatever Color Settings was set to when you first created the document If you later change Color Settings, the application’s default working space will be differ-ent than your document’s space; that’s no big deal because InDesign always uses the document space if there is one

What if you want to change the document working space? For example, you thought you were going to print on coated stock but later found you had to cut your budget and switch to uncoated stock? You can add or change a document’s working space profiles using the Assign Profiles and the Convert to Profile features in the Edit menu

Assign Profiles lets you tag your document with another set of RGB and/or CMYK profiles, or even remove the document profile entirely (see Figure 10-16) Changing the document profiles with Assign Profiles is like saying, “The colors in this document now mean something else, because cyan now looks like this, magenta looks like this, and so on.” Accordingly, the colors on screen may change, but the actual color definitions don’t.

Figure 10-16 Assign Profiles

Figure 10-17 Convert to Profile

Convert to Profile is the opposite: It actually converts the colors

in your document to a new profile, changing the color definitions

to maintain the look of the colors (see Figure 10-17) That means

a 100-percent magenta will end up as something like 96-percent magenta, 6-percent yellow (or something else, depending on what profile you’re converting to) We encourage you to be very careful when using Convert to Profile; it can really mess up your documents,

or it can be a lifesaver if you really know what it’s doing

Note that Convert to Profile is the only good way to find out what your document space currently is (you’ll find it listed at the top of the dialog box)

Applying Device Profiles to Images

When you save an image from Adobe Photoshop, by default the program embeds a color profile that describes the image’s color

space (see Real World Photoshop for more on Photoshop’s

behav-ior) InDesign recognizes that profile when you place the graphic

on your page, though if the CMYK policy was set to Preserve bers (Ignore Linked Profiles) when you created this document, any embedded profile is ignored at this point

Num-However you can force InDesign to honor the embedded profile if you turn on the Show Import Options checkbox in the Place dialog box, and then click on the Color tab of the Image Import Options dialog box (see Figure 10-18) Of course, this works only with color-manageable images (that is, pretty much any reasonable format other than EPS) You can choose what profile to apply, and what rendering intent to use when InDesign needs to convert the colors to a differ-ent profile space If the Profile pop-up menu reads Use Document Profile, it means the InDesign document, not the image To use the embedded profile instead, choose it from the pop-up menu (it should

be listed at the top of the list) Note that this is like using Assign Profile in Photoshop; it doesn’t change the data; it just changes the meaning of the data

Whatever you choose upon placing the image, you can also tell InDesign which profile to use by selecting the image and choosing Image Color Settings from the Object menu

Figure 10-18 Applying a Profile

at Import

Soft-Proofing Controls

You probably want to get some sense of what your pages are going

to look like before you commit to a $50,000 print run Increasingly, proofing is being done not on traditional color proofing systems, but rather on desktop inkjet printers and on screen Proofing color

on screen is called soft-proofing, and the quality of soft-proofing in InDesign is limited only by the accuracy of the profiles involved

The Proof Colors command on the View menu lets you turn proofing on and off But it’s in the Proof Setup submenu that you can control what the proof is showing you Note that the settings you make in Proof Setup are specific to the window that’s in the fore-

soft-ground, not the document itself This means you can create several views of the same page (by choosing New Window from the Window menu) and apply different soft-proofing settings to each view, letting you see how the page will work in different output scenarios.

The three items in the Proof Setup submenu are Document CMYK, Working CMYK, and Custom We typically just use Custom, which displays the Proof Setup dialog box (see Figure 10-19), which gives us more control over the soft-proof (though not as much as Photoshop offers) First, choose the profile of the device you’re trying

to emulate Then, choose whether to preserve CMYK numbers, and whether to simulate Paper White and Ink Black

Preserve CMYK Numbers The Preserve CMYK Numbers checkbox

lets you tell InDesign what you want done with the CMYK colors you defined in the document and CMYK images that either have no embedded profile or have an embedded profile but are using the doc-ument CMYK profile because you have set the CMYK policy to Pre-serve Numbers (Ignore Linked Profiles) Which you choose should depend on which you’re going to pick in the Print or Export PDF dialog box (see “Color Management in Output,” below)

Simulate Black/White The two checkboxes in this section control

the rendering of the document’s colors from the proofing space to the monitor When Paper White and Ink Black are turned off, InDesign does a relative colorimetric rendering, mapping the white of the proof device’s paper to monitor white and the black of the device’s

Figure 10-19 Soft-Proofing

Select Custom to open the Proof Setup dialog box and specify your own output profile.

black ink to monitor black This isn’t particularly useful; after all, for

a soft-proof you’re trying to see what the real paper’s white and ink’s blacks will look like

Instead, we almost always turn on the Paper White checkbox (which automatically also turns on the Ink Black checkbox) This way, the monitor simulates the paper’s white (which is often duller than monitor white), and you can see the compressed dynamic range

of print If you’re simulating a low-dynamic-range process—like newsprint, or inkjet on uncoated paper—turning on Ink Black (or Paper White) gives you a much better idea of the actual color range you’ll get in print

Unfortunately, the effect of simulating a compressed dynamic range is so dramatic that it feels like it ruins the document’s colors It’s a good idea to put the document in Preview mode (press W while not editing text), hide your panels (press Tab), then select Proof Colors from the View menu, but before actually letting go

of the mouse button, close your eyes for a few seconds When you open your eyes, your brain can readjust its own internal white point, giving you a better sense of what the image really will look like when

it comes off the printer

It’s worth noting again that you’ll never get an exact match between screen and final printed output However, like any proofing system, the key is not in getting a perfect match, but rather in getting

pretty dang close, and then learning the relationship between screen

and printed piece The more you do this (and the more accurate your profiles are), the more accurate you’ll get at predicting final color

Color Management

in Output

None of this color management stuff is relevant if you can’t get your final design to print well Fortunately, you can perform color conver-sions from your document space to a selected profile when you print your document or export it to PDF or EPS

Print dialog box The key to managing color at print time is to

spec-ify a source space and a target space in the Color Management tab of the Print dialog box (see Figure 10-20) That way, the color manage-ment engine knows where the color is coming from (what the color is supposed to look like) and where the color is going (how that device images color, so it can convert the colors properly)

▶ The Source You have two choices for a source space in the Print

section of this panel: Document (the document working space)

or Proof (the profile you last chose in the Custom Proof Setup dialog box) The Proof option lets you print your file to a com-

posite printer, like a desktop inkjet, and make it simulate the CMYK output you’ve been soft-proofing—that is, it gives you a hard copy of your soft-proofed document.

When you choose Proof, you can also choose whether to simulate the paper color of the final target by turning on or off the Simulate Paper Color checkbox in the Color Management section of the dialog box

▶ Who Handles the Color You next need to determine who is

going to do the color management: InDesign or your PostScript printer You can choose one or the other from the Color Han-dling pop-up menu We virtually always choose Let InDesign Determine Color, as we trust Adobe’s color management system more than most

On the other hand, if you don’t have a good profile for your printer, or you trust your printer’s PostScript RIP to provide the color management, you can choose PostScript Printer Deter-mines Color Of course, this only works on PostScript devices, and it only works when you’ve selected one of the Composite options or InRIP Separations from the Color pop-up menu in the Output tab of the Print dialog box

▶ The Target The target profiles you can choose from the Printer

Profile pop-up menu (the space of the print device) depend on whether you have chosen an RGB or a CMYK space from the Color pop-up menu in the Output tab of the Print dialog box If

Figure 10-20 Color Management in

the Print Dialog Box

you’re printing to an inkjet printer, you should probably choose Composite RGB and then pick the RGB profile for that device (or,

if you don’t have a profile, often the sRGB works well)

▶ Preserve CMYK Numbers When you print, InDesign compares

your target print space to the document space and the profiles applied to or embedded in graphics; if they’re all the same, then

it doesn’t do any color conversion Whenever the profiles differ, InDesign has to decide whether to run the colors through the color management engine to maintain visual consistency of the colors For example, if your document CMYK setting is U.S

Web Coated (SWOP) but you choose a Newsprint output profile, InDesign will obviously have to convert your RGB colors to the Newsprint CMYK space But it may also convert your CMYK colors from their original space to Newsprint, too

Converting from one CMYK space to another CMYK space

is called cross-rendering, and it can be a blessing or a curse It can really get you out of a last-minute jam if you don’t have time

to go back and reseparate RGB images into your new CMYK space However, there’s no way to tell InDesign to cross-render your images but not other things, so all your 100-percent black text also gets cross-rendered—resulting in four-color CMYK text—rarely what you’d expect or want

Fortunately, you can turn on the Preserve CMYK Numbers checkbox in the Print dialog box When this is on, InDesign won’t cross-render any of your document’s CMYK colors or CMYK images that either have no embedded profile or have an embedded profile but were imported with the Preserve Numbers (Ignore Linked Profiles) color policy enabled in the Color Set-tings dialog box This is our best friend in the color management wars We suggest you turn it on unless you really know what you’re doing (If the source and target profiles are the same, it’s grayed out because colors aren’t in danger of cross-rendering.)Don’t forget that you can have the Preserve Numbers (Ignore Linked Profiles) policy turned on and still force InDesign to cross-render a specific image by giving it a profile with the Image Color Settings dialog box that we talked about earlier

Also, don’t forget that you can change your document profile before printing with Assign Profile or Convert Profile

Export as PDF You can tell InDesign whether to color-manage your

exported PDF files in the Output tab of the Export PDF dialog box (see Figure 10-21) You have several options here