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You can design forms in InDesign and export them directly to PDF. Learn the basics of InDesign CS6 with Getting Started and New Features tutorials by the original location of the linked file, matching the behavior of InDesign CS2 and . Adobe InDesign CS linked stories makes it easier to manage multiple versions of the For video tutorials on creating multiple page sizes in a document, see terekurnoli.gq and InDesign CS, and InDesign CS2. Watch videos and practice tutorials based on real-world scenarios to Chapter 1 : Quick Start Tour of Adobe InDesign CS2 .. Chapter Adobe PDF Export.
Just remember to only use the two spot colors in your palette. You can use tints of them if you wish by filling an area or element of text with, say, the Pantone red, and then opening your Color palette and moving the tint slider up or down as required. My effort is shown below.
No masterpiece, but this exercise isn't about great design - it's about creating InDesign files and preparing them for press - and all the principles shown here apply to most projects you'll work on. Set up the documents correctly at the start and you'll save yourself time and money later. On my card I've used white text - this adds variety and doesn't constitute an additional color - the white areas will be the color of whatever paper stock is used.
They are simply clear areas which have been untouched by ink. I've also brought in a grayscale photo which has had the two colors applied to it using both the Selection tool and Direct Selection tool. We end up with a two color card which seems to have more colors because of the the variety of content and gradients.
When working with InDesign files, when you hit the 'W' when no text is selected the view will toggle between 'Normal' mode and 'Preview' mode. Preview mode will hide all guides and crop in to the edges of the document so you can get a great idea of how the final result will look. The two spot colors will appear at the bottom.
Turn these two off, leave the CMYK colors on and see if any of your artwork remains visible. If it does, you've used some process colors by mistake and must change them to spot colors. If you leave just one of the spot color plates visible by clicking the little eye to the left of the swatch the artwork will turn black.
This is because all color plates are actually the same monochromatic color - it's only when the ink is applied to the rollers that the decision is made to use the spot color of your choice.
This prepress check should be made in InDesign files as well as Acrobat files before sending artwork to the printer. Never forget about this human intervention at the printing stage - if you're working in a digital world day after day it's easy to forget that the printing environment is much more 'hands-on' than that of a design studio.
The people who work on the production floor of a printing house are the ones that work with the machines which ultimately determine how the final result looks. Give them as much help as possible to do a good job - give them unblemished artwork and unambiguous instructions, and things should go fine! So now we're happy, the card's been signed off by the client - let's make the InDesign files press-ready!
Nowadays, unless otherwise specified, everything goes to press as a PDF file. Before, the printer could correct trapping or even the odd emergency typo if requred. This in our studio is rarely the case now.
The press-ready PDF is the ultimate 'what you see is what you get' document. It is unalterable by the printer, so make sure it's correct with some more prepress checks. I won't go into the whys and wherefores of PDFX1a - it's just important that you know to use this format instead of the others - it's more universally acceptable to more publications and printers, and in my experience causes fewer problems although nothing is completely free of issues The PDF file size produced is marvellously small in comparison to a Package option and of excellent quality.
For small jobs like this you can use it to create proofs for the client as well instead of a 'smallest file size' option. InDesign files have an advantage over Quark 6 files in that they can export directly to the correct format rather than going through a lengthy Print Style setup and Acrobat Distiller conversion.
The only settings that concern you are the bleed and registration settings. We won't be outputting spreads - we only tend to do that when creating a four page document anything bigger should be output as single pages. If this were a double sided business card there would be two single pages to output - each side on a different page in the same PDF document.
Over on the left, click 'Marks and Bleed'. Check the 'Crop Marks' box you can check all the Printers Marks if you like - but it's not essential - if in doubt, do so.
Because we set up the document with 5mm bleed, the value fields will gray out showing 5mm in each one.
If we set the document up with no bleed but required it, we'd enter 5mm in each field manually. If no bleed were required for example of the document were a bordered display advert which didn't bleed off the page , we'd leave the bleed values empty. You should cut through the bleed area, leaving you with a card 85mm x 55mm with color going right to the edge.
Open the Separation Preview window and make sure the two spot swatches are present. Turn off the swatches as you did earlier in InDesign and ensure that no process colors have crept in. Take a step back - look at the text and layout - is it all exactly as had been signed off? No changes? Email it to the printer! Let the printer know what spot colors you have used, what stock you want it printed on and in what quantity.
It's funny how these simple details get forgotten so close to the finish post! There are two ways to do this - the expensive and better quality way would be to print the full color areas first and then overprint the spot colors.
It's easy enough to set the colors up in InDesign files, but good luck finding too many clients who want to go to this expense! The second and more usual route is to convert everything to four color process and let the printer know that they should match the areas of red and yellow as closely as possible to their original Pantone reference numbers. You can either start from scratch by importing the CMYK version of the logo created in the Illustrator exercise into new InDesign files, or you can leave everything in place, adjust the swatches and place the full color image in place of the grayscale version.
Let's do the latter! If you want to keep a copy of the spot color version, save the two InDesign files separately.
Once you have save the InDesign files with appropriate names, opent the process version, double click one of the spot color swatches and change the Color Type popup menu option from Spot to Process. Click OK. That's it!
Change the size and style if you want of the font to an appropriate one for you publication. Hold down Option PC: Alt and click-and-drag the text box that has the automatic page number in it over to the right page to create another instance of the Auto Page Number. I placed the text box on the right side page on the lower right hand corner. Step 8 Page numbers are not the only objects to put onto the master pages. For this tutorial, add just a simple title at the top of each page by clicking-and-dragging out a text box along the top.
Step 9 Open the Paragraph palette and click the center justify icon to center the text after highlighting it. Up in the Control palette, change the tracking to to spread out the spacing of the text to spread out the title. The Tracking setting icon is an uppercase AV with directional arrows underneath it.
Step 11 After clicking on the placed file with a Selection tool, click on the down arrow next to Live Trace up on the Control palette to pull down the options. Click on Tracing Options. Change the settings to the ones shown here; pretty much a basic black and white trace. Click Trace to apply the trace. Step 12 Press Expand up on the Control palette. Step 13 Next, Deselect the image. Then, using the Direct Selection tool, click on the white areas of the placed image.