lesson 4 cs6

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Using Adobe InDesign

Tutor: Helen Pummell

Lesson 4

What you will learn this weekColour modes for print and web 2CMYK - colour for print 2

Viewing the separate print/ink plates on screen 3

RGB - colour for screen 4

Colour management 4

Viewing the colour mode of an image 6

Changing the colour mode of an image 6

Creating and applying solid colour 9Creating colours in the Swatches panel 9

Applying colours to objects 10

Loading Colour Files from other InDesign Documents 11

Working with Gradients 13Creating a gradient 13

Gradient Swatch Tool 14

Using Paper colour 15

Rich Black vs. Plain Black 15

Pantone Plus Series (PPS) 16Pantone Colour Gamut 17

Viewing Pantone colours in the Separations Preview 18

Creating Pantone swatches (spot colours) 18

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Colour modes for print and webCMYK - colour for print

Standard colour printing, known as 4 colour process or CMYK creates

colour from offset dots of four coloured inks.

CYAN MAGENTA YELLOW KEY (BLACK)

These are known as subtractive colors because they produce a rich

black when overlaid.

Look at the spines of magazines and newspapers to see the evidence of

these four plates in the printing process - often shown in small squares or

circles of colour. You can sometimes see the separate layers of ink when

a mistake occurs and the plates are not correctly aligned.

A magnifying glass can be used to see the rosettes of colour creating the

optical illusion of a full colour image.

Images courtesy of :http://www.uwgb.edu/heuerc/2d/colorsystm.html

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Viewing the separate print/ink plates on screen

Please open the le titled CMYK example in this weeks folder.

Window > Output > Separations Preview

InDesign has a simple feature which allows you to view the separate

plates before printing.

In the View drop down menu select Separations to access the separate

print plates.

Use the eye icons in the Separations Preview palette to toggle the

visibility of each plate on and off.

Because in terms of ink on paper, each plate is binary, when only one

plate is viewed the visual is black white indicating ink or no ink.

To view single plates in colour, uncheck the option:

Separations Preview context menu > Show Single Plates In Black

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Printing colour to the edge of a page

Bleed is created if you intend any colour to run to the edge of the page

when printing. This allows for small movements in the paper during the

printing process by extending the colour beyond the edge of the page.

Bleed can be set up for a document during the new document dialogue,

or later:

File > Document Setup > Bleed

Bleed width will normally be included in the print specications from aprinter when you get a quote or discuss the job.

For example 3mm bleed for an A4 page is usually ideal, but speak to the

printer for specications for unusual sizes.

RGB - colour for screen

A screen shows colours made from the three colours of light.

They are known as additive colours because they produce white light

when combined.

This is the reverse of the four colour print process where white is

achieved with no ink, by allowing the paper to show through.

Although you cannot predict another users screen settings, colour for

screen and websites are less problematic than for print. You prepare themon screen and they will be viewed on screen. There is less to go wrong.

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Colour management

It is important to understand that because a screen displays colour

through RGB it cannot perfectly replicate all CMYK colours. Also CMYK

print cannot match the luminosity of colour achievable on screen. It is also

worth mentioning that neither CMYK or RGB can replicate the full range of

colours perceived by the human eye.

Each device has its own abilities and pitfalls in producing colour. Getting

a consistent colour between devices is called colour management.

All images placed in an InDesign le should have a colour mode that

matches the documents purpose for screen or print. CMYK images for

print and RGB images for anything viewed on screen.

Image courtesy of: synergenstudios.com

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Because at best, the two colour modes can only offer an approximation

of each other, it is vital to calibrate both your monitor and any printer thatyou use to proof documents. Read through the manuals and follow the

adjustment process for your equipment.

Adobe Creative Suite products manage colour between applications and

between colour modes very well.

If you are outsourcing print work, talk to the supplier about anything

you are uncertain of concerning the colour in your document, ask for a

properly proled hard copy for a nal proof before printing. A screen proofwill not give accurate colour for a print job.

I would only recommend altering the default colour management settings

if you have specic instructions from a printer, or are condent in your

knowledge of colour management.

Viewing the colour mode of an image

Window > Links

Select any image and expand the image info arrow on the bottom left of

the Links panel.

Changing the colour mode of an image

The colour mode of all images placed in InDesign needs to match the

intent for web or print. A high resolution PDF can convert colour space,

but if you want full control over how your image looks you can convert it inAdobe Photoshop or other photo editing software.

Opening images in Adobe Photoshop

In a new document you can change the colour mode of all images before

placing them

Open Adobe Photoshop

All Programs > A to B > Adobe Master Collection CS6 >

Adobe Photoshop

File > Open

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Opening images in Adobe Photoshop through InDesign

In an existing document, previously placed images can be changed as

above or from the link within InDesign

1. Go to the Links panel in InDesign

2. Select an image by clicking on its name in the list

3. Select the Edit Original button from the bottom right of the panel.

Edit original

NB: Not all computers will be set up to open les in Photoshop by default.

A detailed explanation of how to rectify this can be found here:

http://indesignsecrets.com/make-edit-original-use-the-right-program.php

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Exercise

Open the le Orange owers RGB.jpg in Photoshop

File > Open > orange fowers RGB.jpg

To view the mode

When the image is open in Photoshop

View > Proof Set up

Choose the set up applicable to the image and/or machine:

Working CMYK

Macintosh RGB

Windows RGB

Monitor RGB

This does not permanently change the colour mode of the le. It simply

allows you to view any differences between modes.

To change the mode

When the image is open in Photoshop

Image > mode > CMYK color / RGB color

Once saved, this permanently changes the colour mode of the le.

Save the image as: Orange owers CMYK.jpg

Open the image: Garden RGB.jpg and change the colour mode to CMYK.

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Exercise part 1

You will create an A6 yer for a night club. The le has already been

started to allow you to focus on colour and typesetting.

The Intention of this yer is for print

1. Place the two images in InDesign.

Flyer front.tiff

Flyer back.tiff

2. The document has 3mm of bleed set up. Decide where and if the image

should bleed.

3. Using the Links panel, lookup the colour mode of both images and

change in Photoshop if necessary.

You may use the BMovie yer.pdf as a guide if you wish.

Exercise part 2

Using the text on the pasteboard right, typeset the front and back of the

yer. Select an appropriate font and concentrate on creating clear text that

will be both readable and eye catching.

You will colour the text in the next part of the exercise.

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Creating and applying solid colourDepending on the intent of your document (Print or Web/Digital

Publishing), InDesign will offer different sets of pre-made swatches

Window > Colour > Swatches

Yet you can create colours of your own in a number of ways

Creating colours in the Swatches panel

1. Make certain that no objects are selected in the document.

2. Click on the Swatches Palette to view it. This is where InDesign stores

all the colours that are pre-loaded or saved to a document.

3. Choose New Colour Swatch from the list arrow.

4. Chose how to name your new swatch using the name with colour

value box, ticked or unticked

5. Select CMYK values of the new colour.

6. Click OK.

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Exercise part 3

Create the following colours in the BMovie yer.indd le:

Orange: c 0 m50 y75 k0

Purple: c44 m100 y0 k0

If you save a colour and then need to edit it simply double click the name

of the colour in the Swatches Palette to re-open the dialogue box.

Applying colours to objects

There are three simple steps to applying colour in InDesign:

(A) Select the text or object

(B) Select either Stroke or Fill from the bottom of the Toolbox

(C) Select the colour you wish to apply from the Swatches Palette

Select one of the vector text objects:

1. Use the Selection Tool to select the vector text (A)

2. In the Toolbox choose the Fill or Stroke colour (B)

3. From the Swatches Palette select a colour (C)

Loading Colour Files from other InDesign Documents

All swatch les save only with the document they are created in. To load

in the swatches from other InDesign les:

Swatches Panel > Context Menu > Load Swatches

Navigate to the le you want the grab the swatches from and click OPEN.

The swatches from the specied le will add to the list of swatches in your

current document.

File > Save

These new swatches are now part of the current document.

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Working with GradientsGraduated colour blends between two or more colours are called

Gradients. You can create eitherLinearorRadial gradients in InDesign.

Linear gradient Radial gradient

Creating a gradient

1. Make certain that no objects are selected

2. Choose New Gradient Swatch from the Swatches Panel Menu

3. All gradients are made up of at least twoColour Stops in the

Gradient Ramp. The diamond above the gradient ramp indicates the

point at which a gradient changes from one colour to another.

Colour stop

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4. Click on the Colour Stop and select the desired colour using The Stop

Colour drop down menu:

a) CMYK / RGB > value sliders

or

b) Swatches > choose desired colour swatch

5. Save the new gradient Swatch.

Gradient Swatch Tool

The direction that a gradient runs in can be modied once it is used to ll

an object by using the Gradient Swatch Tool.

1. Select a vector object on the yer.

2. Select the Gradient Tool from the Tool Box.

3. Drag the mouse over the object as shown below.

Tip: Create a more subtle gradient by starting to drag away from the

edge of the shape. Create a stronger gradient, stay closeto the edges of the shape as you click and drag.

Exercise part 5

Create a new gradient from colours you feel compliment the design.

Fill the web address on the back of the yer with the new gradient ll.

Use the ABC method to help you remember once the gradients have

been created.

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Using Paper colourThe paper swatch is a non printing colour designed to represent the paper

stock of a print job. White is usually created by allowing the paper to

remain bare unless a special ink is requested. It is important to remember

that if your publication does not print on white paper stock (The Financial

Times for instance) you will need to change the paper colour in the

swatches palette to reect this on screen.

Rich Black vs. Plain BlackOn a computer monitor, there is only one way to represent black - when

there is no light coming from the monitor pixel.

R0, G0, B0: no Red, Green, or Blue phosphors are glowing.

In print there are many different ways to represent black. The simplest

is plain black, or 100% black ink (0C, 0M, 0Y, 100K). However, you

can also create a rich black by printing other inks with black. There are

many different possible ink combinations - the most common containspercentages of all 4 inks: 63C, 52M, 51Y 100K.

This particular variant owes its popularity to Adobe Photoshop - when an

RGB le is converted to CMYK, areas that are absolute RGB black (R0,

G0, B0) will wind up with this combination, unless certain default settings

have been changed. Other possible avors of rich black are Cool Black

(60C, 0M, 0Y, 100K) and Warm Black (0C, 60M, 30C, 100K).

The problem with all these blacks is that they all look the same on thecomputer screen - all of them are represented as R0, G0, B0 - but they

will not look the same on paper.

At beginners level this is not something to worry about. However if you

nd your print outs have unexplained differences in black, check all CMYK

values and make them consistent.

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Pantone Plus Series (PPS)Previously know as The Pantone Matching System (PMS)

Pantone colours are often required for accurate colour reproduction of

logos and branding elements to ensure rich, predictable consistent colour.

Pantone ... is the denitive international reference for selecting,

specifying, matching and controlling ink colors.

http://www.pantone.co.uk

Pantone Formula Guide

1,677 specially coloured inks from a mixture of 14 base colours giving a

much wider range colour possibilities than can be mixed with the standard

4 colours of ink (Cyan, Magenta, Yellow & Key/Black). The colours can be

specied coated or uncoated paper stock.

Pantone CMYK Guide

2,868 colours with specic CMYK breakdown values.

Pantone Color Bridge Guide

Compares Pantone colours to their closest possible CMYK and RGB

matches for consistent colours across all devices.

Other Pantone Colour Reference Guides

These include colour guides for metalics, pastels and neons.

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Pantone Colour Gamut

This Gamut graphic shows the range of colours achievable through The

Pantone Plus System compared to CMYK and RGB. No system yet

achieves the full range of colours perceivable by the human eye.

Pantone colour guides are so accurate, they provide specialist colour

charts for hospitals to help determine whether donated organs are healthy

enough to transplant.

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Viewing Pantone colours in the Separations Preview

Open Annual Review 20067.indd

Window > Output > Separations Preview

To see the pantone printing plate used in this le.

In addition to the four process plates (CMYK) there is a Pantone 282Cplate, totaling ve inks creating the nal print job.

Creating Pantone swatches (spot colours)

Open The Swatches panel for the Annual Review 20067.indd

You will see a list of all the swatches

created for this document.

Notice that there are several

colours with Pantone in their

name. However we know from The

Separations Preview that only one

Pantone printing plate exists.

The second square in from the right

indicates that Pantone 282c is a

spot colour.

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1. Make sure no items are selected

2. Open Swatches Panel

3. New Colour Swatch (panel menu)

4. Choose Spot Color from the Color Type menu.

5. Select from the Pantone swatch library by scrolling or type the number

of the Pantone colour in the Pantone eld above the swatches.

6. Click OK

The colour is added to your swatches as a spot colour.

Each spot colour you create, makes a new print plate in addition to the

four process (CMYK) print plates.

Use The Separations Preview to see how many print plates you have in

your document.