Manage color

For detailed information and instructions, click the links below.

When you print a color-managed document, you can specify additional color management options to keep color consistent in the printer output. For example, suppose that your document currently contains a profile tailored for prepress output, but you want to proof the document colors on a desktop printer. In the Print dialog box, you can convert the document’s colors to the color space of the desktop printer; the printer profile will be used instead of the current document profile. If you select the Proof color space and target an RGB printer, InDesign converts color data to RGB values using the selected color profiles.

When printing to a PostScript printer, you also have the option of using PostScript color management. In this instance, InDesign sends the document’s color data in a calibrated version of its original color space, along with the document profile, directly to the PostScript printer and lets the printer convert the document to the printer color space. The printer’s color space is stored at the device as a color rendering dictionary (CRD); this makes device-independent output possible. CRDs are PostScript equivalents of color profiles. The exact results of the color conversion can vary among printers. To use PostScript color management, you must have a printer that uses PostScript Level 2 or higher; it is not necessary to install an ICC profile for the printer on your system.

Color output options for composites

In the Output area of the Print dialog box, you can determine how composite color in the document is sent to the printer. When color management is enabled (the default), the Color setting defaults result in calibrated color output. Spot color information is preserved during color conversion; only the process color equivalents convert to the designated color space. If you’re not sure which color choice to use, consult your prepress service provider.

Composite modes only affect rasterized images and objects created using InDesign; placed graphics (such as EPS and Adobe PDF files) are not affected unless they overlap transparent objects.

For more information on composite printing, see the Adobe Print Resource Center at www.adobe.com/go/print_resource.

When you print as composite, automatic trapping is disabled; however, you can select the Simulate Overprint option to proof overprinting for text, strokes, or fills.

The Output area in the Print dialog box includes the following Color options. Additional options may also be available, depending on your printer.

Sends a full-color version of specified pages to the printer, preserving all color values in the original document. When this option is selected, Simulate Overprint is disabled.

Sends grayscale versions of specified pages to the printer when, for example, you are printing to a monochrome printer without making separations.

Sends a full-color version of specified pages to the printer when, for example, you are printing to an RGB color printer without making separations.

Sends a full-color version of specified pages to the printer when, for example, you are printing to a CMYK color printer without making separations. (This option is available only for PostScript printers.)

Creates PostScript information for each of the separations required for the document, and sends that information to the output device. (This option is available only for PostScript printers.)

Sends separation information to the output device’s RIP. (This option is available only for PostScript printers.)

Select this option to print all text created in InDesign in black, unless it has the color None or Paper or a color value that equals white. This option is useful when you’re creating content for both print and PDF distribution. For example, if hyperlinks were blue in the PDF version, they would print black on a grayscale printer, rather than in halftone patterns that would be difficult to read.

Print a hard proof

A hard proof (sometimes called a proof print or match print) is a printed simulation of what your final output on a printing press will look like. A hard proof is produced on an output device that’s less expensive than a printing press. In recent years some inkjet printers have the resolution necessary to produce inexpensive prints that can be used as hard proofs.

Improve gradients and color blends in print

PostScript Level 2 and PostScript 3 output devices can print up to 256 shades of gray, and most PostScript desktop laser printers are capable of printing approximately 32 to 64 shades, depending on the device resolution, specified screen frequency, and halftoning method. Banding occurs when each available shade covers an area large enough for you to see individual shades. Also, if you specify a gradient using two percentage values that differ by less than 50%, you’re specifying a narrow range of shades that’s more likely to result in banding. If you have difficulty printing smooth gradients without banding, try these techniques:

• Use a gradient that changes at least 50% between two or more process color components.

• Specify lighter colors, or shorten the length of dark gradients. Banding is most likely to occur between very dark colors and white.

• Increase the percentage of change in the gradient.

• Decrease the screen frequency for the document (PostScript output devices only).

• If banding occurs in an imported graphic, such as an Adobe Illustrator® file, you might need to adjust the original graphic.

• Print to a PostScript® 3 output device, which is capable of producing smoother gradients.

• Use shorter gradients. The optimum length depends on the colors in the gradient, but try to keep gradients shorter than 7.5 inches.

About halftone dots and printer dots

Most printers simulate gray by using halftone dots printed on a grid; the grid cells are called halftone cells, and the grid rows are called lines or line screens. Each halftone dot is made up of printer dots. As the halftone cell fills up with printer dots, the halftone dot gets larger, resulting in a darker shade of gray.

Printer resolution determines the number of dots available to create the halftone dot. A printer with smaller dots can produce a wider variety of halftone dot sizes, allowing more shades of gray. Screen frequency also plays a role: As screen frequency increases, the halftone cell gets smaller, and so can hold fewer printer dots, resulting in fewer possible shades of gray. As a result, there is a trade-off between the number of possible gray levels and image coarseness.