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Join author Claudia McCue on a journey that introduces the printing process and reveals the keys to designing a document that prints as well as it looks onscreen. This course takes you on the floors of two commercial print houses (BurdgeCooper and Lithographix), to better understand the life cycle of a print job and observe printing presses in action. Along the way, discover how to better communicate with your printer, choose the correct paper, inks, colors, and fonts for your project, and how to correctly lay out your documents in Adobe Illustrator and InDesign. This course is designed to help you and your printer produce a professionally finished print job, whether it's a business card, brochure, or multipage magazine.
lynda.com thanks the BurdgeCooper and Lithographix printing companies for access to their facilities and permission to film on site. Learn more at www.burdgecooper.com and www.lithographix.com.
When I first opened this PDF, I see some things that might be a problem. These two bears ought to match, but the bear on the left has darker arms and legs than the bear on the right. So let's see what's going on. First, I am going to open up my Print Production tools and then I am going to choose Output Preview. And that ought to be a great step for you. Any time you open up a PDF from somebody else if you suspect there might be problems, it's always good to check. Now here is some confirmation. I have two dark blue Pantone colors and I have two reds. So let's see what's used where.
When I turn off the checkmark by 7700, that's why the bear on the left doesn't match the bear on the right. Those parts of the bear really should be using 7690. And then where are my two reds? I'll turn off the 7626. Ah, that's used in the bristles on the brush of the left and the 485, which is the correct color, that's used by the bristles in the brush held by the bear on the right. So I need to combine the 7690 and the 7700 into the correct ink, which is 7690.
And I need to combine my two spot reds into 485. But while I am in the neighborhood, you should check for something else. Now my printer has told me that they want a PDF that has CMYK image content not RGB. So let's see if we have any RGB. Sure enough our photographer is RGB. So that's something I'll need to fix. To fix the spot colors I'm going to use Ink Manager, so here's a little link to Ink Manager right here and when I click that I get up a little dialog that's going to let me map the wrong spot colors to the right spot colors.
Now my display looks a little out of whack here, so we are going to just go by the numbers. My 7700 that's the incorrect blue; 7690 is the correct blue. So I select 7700 and I tell Acrobat I want you to map that to alias it to the correct PMS color, which is the 7690. And you can see this little indicator. It says I am going to do that. And then the wrong red is the 7626. Again, I am going to tell it to alias the wrong color to the right color, which is 485, and we see the little indicator.
Now when I click OK, first let's take a look back here in my Output Preview, you can see the extra colors are still there, but when I click OK in Ink Manager they go away. And Acrobat is going to combine those. However, Acrobat doesn't combine them until I use a second process, which is called Convert Colors. But that's also going to let me convert my RGB guy to a CMYK guy. So it remembers what I asked it to do in Ink Manager, but now I have to sort of make it real. So when I choose Convert Colors (if you look at the bottom and this is easy to overlook), it says, hey, according to Ink Manager you also want me to do this remapping; that's great.
So I've said here that Any Object, Any Colorspace, whatever it is convert to the output profile, and in this case, it's going to run on a web press. This is the default here and so all I really have to do is click OK. So it's a big confusing dialog box, but the short story is that if you've made any choices in Ink Manager, Convert Colors is going to exercise those choices and then anything else that falls outside this color space, which is CMYK, it's going to convert to CMYK. So let's see what happens.
When I click OK, it says this can't be undone, do you want to proceed? I click Yes and you can see a little color change over here. Let's double check. I go back to Output Preview,. It's gotten rid of my extra blue and it's gotten rid of my extra red. This is great and let's see if it's fixed my RGB photographer. I ask it to show me any RGB. That's gone. If I'm paranoid, and printing will make you paranoid, I want to double check and make sure that he is CMYK, and he is. So now when I save this file all my color problems have been fixed. This is great.
So remember Output Preview lets you find the problems; Ink Manager lets you map one spot color to another, or if you need to it can turn a spot color to process. And then none of that really comes true until you use Convert Colors that exercises what you've asked for in Ink Manager and it's going to convert any RGB content to your target CMYK profile.
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