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InDesign CS5: Print Production Guidelines goes over the common issues that arise when preparing InDesign documents for printing and shows how to tweak PDF and document settings to ensure the perfect print. The course shows how to avoid mistakes by preparing documents correctly upfront, covering document construction, layout, ink management settings, and output options. Prepress processes in Acrobat are also covered, including accurate soft proofing and packaging in the PDF/X formats. Exercise files accompany the course.
We'll take a look at common font problems and how to avoid them using the tools in InDesign. Let's look at what fonts were used in this document. I'm going to go under my Type menu and pick Find Font, and I notice all the fonts in my document are listed here. Now if I don't see the More Info below, I can click on the little Less Info/More Info toggles button. When I click on a font up above, I can see some information about it, including where it's currently being located on this computer. It's in a document-installed font folder, and that of course was created at time of packaging-- packaging is something I cover in a later movie.
When I look at another font here, I know it's Helvetica. Now, Helvetica happens to be a Mac OS system font in this case, so I can verify that by looking at the path. It's in the System/Library/Fonts folder. Now although Helvetica is a great font to use, it could cause potential font conflicts because of the location. One way to avoid that is by packaging it and putting in your document-installed font folder. Another thing you're going to run into occasionally is fonts that have restrictions. None of these fonts in here have any of those, but you might run into one where it says Restrictions, Unable to embed in PDF or EPS.
One way around that, if the licensing restrictions allow you to, is to create outlines. Let's look at how you do that. I'm going to go ahead and pick this type frame up here and go under Type and say Create Outlines. This is theoretically no longer a font and will not cause any output issues. In fact, if I go under my Type menu > Find Font, I can see it's no longer listed. Let's look at another area that might be a font problem. If I scroll down to the inside of my brochure, I notice at the very bottom, although it's not a problem with the particular font it's a problem with the location.
This type is located too close to trim. One way to fix that is by moving it up. We have to have our type either be an eighth inch beyond trim and bleed, or at least an eighth inch inside of trim, so it doesn't get trimmed off. Another thing we want to look at is the color. A lot of times when you see solid black type it also contains other inks. This is usually a mistake. Let me just click on the type here and go to my Output > Separations Preview panel. And when I look at that, I can turn off my black and verify that my type is still there.
Normally we would expect black type to disappear when the black plate is turned off. If I hover over that, I can see that it contains cyan, magenta, yellow, and black, and I'm looking at my Separations Preview. Well, let's go ahead and fix that. I'm going to select all the type, and I'm going to go over to my Swatches panel. And somebody inadvertently clicked on the Rich Black swatch and they should have just clicked on the Black. The type is now 100% black and when I turn my black plate on, it reappears. The only time you'd want to use Rich Black type is when you have a really large headline.
I think 72 points or larger would make sense. So we can see, common font problems could be avoided by understanding what they are and how to fix them.
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