Adobe InDesign CS3 Bible

The Print dialog box has many panes ‚ eight, to be precise ‚ as well as several options common to all the panes. Change any options and choose Print, and InDesign sends your document to the printer. Figure 31-1 shows the dialog box.

Figure 31-1: The default view for the Print dialog box.

General options

The general options available in the dialog box, no matter what pane is selected, are as follows :

• The Print Preset pop-up menu lets you save a group of printer settings, which makes it easy to switch between, say, a proofing printer and a final output device.

• The Printer pop-up menu let you select the printer to use.

• The PPD pop-up menu lets you select PostScript Printer Descriptions, files that contain configuration and feature information specific to a brand and model of printer. These are installed into your operating system using software that comes from your printer manufacturer. If it finds no compatible PPDs, InDesign will use generic options if there is no compatible PPD. If it finds just one compatible PPD, it will use that automatically; otherwise , it will let you select a PPD.

• The Save Preset button saves any settings you changed in the Print dialog box, letting you choose a name for those saved settings for reuse. If you change the dialog box's settings but don't save these changes as a print preset, InDesign will change the name of the current settings in the Print Preset pop-up menu to [Custom] to remind you the settings are changed and unsaved.

  Tip ‚

  You can also create print presets by choosing File ‚ Print Presets ‚ Define, or edit an existing preset by choosing File ‚ Print Presets ‚ [preset name]. When you click New or Edit in the resulting dialog box, you'll get a dialog box identical to the Print dialog box, except that the Print button becomes the OK button.

• The Setup button in Windows and the Page Setup and Printer buttons on the Mac give you access to printer-specific controls. Figure 31-2 shows the three resulting dialog boxes. You would use these dialog boxes to specify options such as printing to file, paper sources, and printer resolution.

  Figure 31-2: Mac OS X's Page Setup and Printer dialog boxes (top) and Windows' Setup dialog box.

  Platform Difference ‚

  Windows and Mac OS X provide access to printer controls in different ways. In Windows, the Setup button gives you access to these, while on the Mac, you use both the Page Setup and Printer buttons to access these controls.

• The Cancel button closes the Print dialog box without printing. Use this if you've clicked Save Preset but don't want to print, as well as when you have any reason not to print.

• The Print button prints the document based on the current settings.

• The page preview panel at lower-left shows the current settings graphically. In Figure 31-1, the page is indicated by the blue rectangle, while the direction of the large P indicates the printing orientation; in this case, rotated 90 degrees. The panel shows that the paper itself is smaller than the page (the paper is shown in white, the overflow in gray). This preview will change as you adjust settings in the dialog box.

  New Feature ‚

  The Save Preset button used to be called Save Style in previous versions of InDesign, but it's the same feature.

The General pane

The General pane (refer to Figure 31-1) contains the basic settings for your print job:

• The Copies text field is where you tell InDesign how many copies of the document you want to print. You can also check the Collate option to have InDesign print the pages in sequence. This is useful when printing multiple copies, so you get, for example, pages 1 through 16 printed in sequence, then printed again in sequence if you're making two copies. Otherwise, InDesign would print two copies of page 1, two copies of page 2, and so on, forcing you to manually collate them. If you check Reverse Order, InDesign will print from the last page to the first page, which is meant for printers that stack pages face up rather than the usual face down.

• The Pages radio buttons let you choose to print all pages or a range, in which case you enter a range in the Range field. When specifying a range of pages, you can enter nonconsecutive ranges, such as 1-4, 7, 10-13, 15, 18, 20 .

  Tip ‚

  If you want to print from a specific page to the end of the document, just enter the hyphen after the initial page number, such as 4- . InDesign will figure out what the last page is. Similarly, to start from the first page and end on a specified page, just start with the hyphen as in -11 .

  New Feature ‚

  InDesign CS now lets you enter absolute page numbers in the Range field. For example, entering +6-+12 would print the document's sixth through twelfth pages, no matter what their page numbers are.

• The Sequence pop-up menu lets you choose from All Pages, Odd Pages Only, and Even Pages Only.

• The Spreads option, if checked, prints facing pages on the same sheet of paper ‚ this is handy when showing clients comps , but make sure you have a printer that can handle that large paper size or that you scale the output down to fit (via the Setup pane, covered in the next section).

  Tip ‚

  You may not want to use the Spreads option when outputting to an imagesetter if you have bleeds because there will be no bleed between the spreads. If you use traditional perfect-binding (square spines) or saddle -stitching (stapled spines) printing methods , in which facing pages are not printed contiguously, do not use this option.

• The Print Master Pages option will print your master pages, which is handy for having reference copies available to page designers.

• There are three check boxes in the Options section that are self-explanatory: Print Non-Printing Objects, Print Blank Pages, and Print Visible Guides and Baseline Grids. Print Blank Pages is usually used for collation, such as when you have blank pages dividing sections of a manual. The other two are used typically by page designers to display hidden designer notes or wrap objects, as well as to ensure that objects really do align to the standard grids.

The Setup pane

The Setup pane, shown in Figure 31-3, is where you tell InDesign how to work with the paper (or other media, such as film negatives ) that you're printing to. The options are straightforward.

Figure 31-3: The Setup pane.

Paper size and orientation

In the Paper Size section, choose the paper size using the Paper Size pop-up menu. You can also check the page orientation using any of the four buttons, which rotate the image as follows from left to right: 0 degrees (standard portrait), ‚ 90 degrees, 180 degrees, and 90 degrees (standard landscape).

Choosing some printer models will in turn let you choose a Custom option in the Page Size pop-up menu, in which case you enter the dimensions in the Width and Height fields, as well as position the output via the Offset and Gap fields. These latter two options are usually used when printing to a roll, such as in an imagesetter using photo paper (called RC paper, a resin-coated paper that keeps details extremely sharp), so you can make sure there is space between the left edge of the roll and the page boundary (the Offset ), as well as between pages (the Gap ). Most printers can't print right to the edge, thus the Offset setting; you also want a Gap between pages for crop and registration marks, as well as to have room to physically cut the pages.

The Transverse check box, if checked, will rotate the output 90 degrees. This is done mainly for imagesetters , whose paper and film negatives are usually about 12 inches wide. At that width, it's cheaper for the service bureau to rotate the pages 90 degrees in most cases (since most publications are usually no taller than 11 inches), packing more pages onto the RC paper or film.

Scaling, positioning, and tiling options

The Setup pane also lets you set scaling, positioning, and tiling settings.

The Scale settings are straightforward. You can choose separate Width and Height scalings to reduce or enlarge the page image. If Constrain Proportions is checked, then a change in the Width field is applied to the Height field, and vice versa. To make a page fit the paper size, choose the Scale to Fit radio button. InDesign will then display the actual percentage it will use. Note that Scale to Fit takes into account bleeds and crop marks, so even if the document page size is the same as the output device's paper size, Scale to Fit will reduce it to make room for those elements.

The Page Position pop-up menu lets you choose how the page image is positioned on the paper you're printing to. The default is Centered, which centers the page image vertically and horizontally. You can also choose Center Horizontally, which aligns the top of the page image to the top of the paper and centers the page horizontally; Center Vertically, which aligns the left side of the page to the left side of the paper and centers the page vertically; and Upper Left, which places the page image's upper-left corner at the paper's upper-left corner.

A very nice option is InDesign's Thumbnails check box and its adjoining pop-up menu. Here, you can have InDesign print thumbnails ‚ miniature versions of pages, several to a sheet ‚ for use in presenting comps, seeing whole articles at a glance, and so on. If you check the Thumbnails option, you then select how many thumbnails you want per page from the adjoining pop-up menu. Your choices are 1x2, 2x2, 3x3, 4x4, 5x5, 6x6, and 7x7. InDesign will size the pages based on what it takes to make them fit at the number of thumbnails chosen per page, the page size, and the paper size.

Use the Tile options to print oversized documents. InDesign will break the document into separate pages ‚ called tiles ‚ that you later can assemble together. To enable tiling, check the Tile option. Then choose the appropriate option from the adjoining pop-up menu:

• Manual lets you specify the tiles yourself. To specify a tile, you change the origin point on the document ruler; that becomes the upper-left corner of the current tile. To print multiple tiles this way, you need to adjust the origin point, print, adjust the origin point to the next location, print, and so on, until you're done.

  Cross-Reference ‚

  Chapter 2 covers the origin point in more detail

• Auto lets InDesign figure out where to divide the pages into tiles. You can change its default amount of overlap between tiles of 1.5 inches using the Overlap field. The overlap lets you easily align tiles by having enough overlap for you to see where each should be placed relative to the others.

• Auto Justified is similar to Auto except that it makes each tile the same size, adjusting the overlap if needed to do that. (The Auto option, by contrast, simply starts at the origin point and then does as much of the page as will fit in the tile, which means the last tile may be a different width than the others. You can see the difference between the two by watching how the page preview window at left changes as you select each option.

The Marks and Bleeds pane

The Marks and Bleeds pane, shown in Figure 31-4, lets you specify which printer marks are output with your pages, as well as areas to reserve for items that bleed off the page. The printer's marks are set in the Marks section, while the bleeds are set in the Bleed and Slug section.

Figure 31-4: The Marks and Bleeds pane.

Printer's marks

In most cases, you'd select All Printer's Marks and have all print on each sheet or negative. But you can select which ones you want to print. Here's what each option means:

• Crop Marks are lines at the corners of the page that tell a commercial printer where the page boundaries are, and thus where the paper will be trimmed to.

• Bleed Marks add a very thin box around your page that shows the bleed area ‚ where you expect items to print into, even though they're past the page boundary. (A bleed is an object that you want to be cut at the page boundary; you need to have the object overshoot that boundary in case, during printing, the page is not trimmed exactly where it should be. Normally, 0p9, or 0.125 inches, is sufficient area for a bleed. You set the bleed area in the Marks and Bleeds pane, covered later in this chapter.)

• Registration Marks are crosshair symbols that are used to ensure that the color negatives are properly aligned on top of each other when combined to create a color proof and when lined up on a printing press to make sure the final pages will not have the colors misregistered.

• Color Bars print the CMYK colors and tints so a commercial printer can quickly check during printing whether ink is under- or oversaturated ‚ the shades could be too light or dark. The CMYK colors also help a commercial printer know which color a particular negative is for (after all, negatives are produced using transparent film with black images).

• Page Information lists the filename and page number.

  Note ‚

  If a printer has options for printer's marks, they will display in the Type pop-up menu, but most will simply have one option: Default. You can also adjust the thickness of the printer's marks, using the Weight pop-up menu to 0.125, 0.25, and 0.5 points; the default is 0.25 points (a hairline rule). You can also control the offset of crop marks from the page corners by adjusting the Offset value; the default of 0.833 inches (6 points) usually suffices. For all of these, check with your service bureau.

  Tip ‚

  Using any printer's marks will automatically increase the page size in PDF files exported from InDesign to add room for the printer's marks. This is handy, since when you output EPS or other PostScript files, the page size selected determines the page boundary, and printer's marks often get eliminated because they fall outside that boundary. One solution is to use a larger page size than your final output will be, so there's naturally enough room for printer's marks. The preview window at right in the dialog box will show you if printer's marks will fall outside the page's boundaries.

Bleeds and slugs

The Bleed and Slug area of the Setup pane controls how materials print past the page boundary.

A bleed is used when you want a picture, color, or text to go right to the edge of the paper. Because there is slight variation on positioning when you print, since the paper moves mechanically through rollers and might move slightly during transit, publishers have any to-the-edge materials actually print beyond the edge, so there are never any gaps. It's essentially a safety margin. A normal bleed margin would be 0p9 (0.75 inch), though you can make it larger if you want.

A slug is an area beyond the bleed area in which you want printer's marks to appear. The reader will never see this, but the staff at the commercial printer will, to help them make sure they have the right pages, colors, and so on. Like the bleed, the slug area is trimmed off when the pages are bound into a magazine, newspaper, or whatever. (The word slug is an old newspaper term for this identifying information, based on the lead slug once used for this purpose on old printing presses.) The purpose is to ensure there is enough room for all the printer's marks to appear between the bleed area and the edges of the page. Otherwise, InDesign will do the best it can.

It's best to define your bleed and slug areas in your document itself when you create the document in the New Document dialog box (File ‚ New, or z +N or Ctrl+N), as covered in Chapter 4. You can also use the Document Setup dialog box (File ‚ Document Setup, or Option+ z +P or Ctrl+Alt+P). The two dialog boxes have the same options; if they don't show the Bleed and Slug section, click the More Options button to see them.

But if you didn't define your bleeds previously, you can do so in the Print dialog box's Marks and Bleed pane. You can also override those document settings here. To use the document settings, check the Use Document Bleed Settings option. Otherwise, enter in a bleed area using the Top, Bottom, Left, and Right fields. If you want them to be the same, click the broken-chain icon to the right of the Top field; it will become a solid chain, indicating that all four fields will have the same value if any is modified. Any bleed area will be indicated in red in the preview pane at the bottom-left.

If you want to set the slug area, check the Include Slug Area option. InDesign will then reserve any slug area defined in the New Document or Document Setup dialog box. You cannot set up the slug area in the Print dialog box.

The Output pane

The next pane is the Output pane, which controls the processing of colors and inks on imagesetters, platesetters, and commercial printing equipment. You'll definitely want to check these settings with your service bureau. For proof printing, such as to a laser printer or ink-jet printer, the only option that you'll need to worry about is the Color pop-up menu. Figure 31-5 shows the pane.

Figure 31-5: The Output pane.

Here's what the options do:

• In the Color pop-up menu, choose how you want the document to print. Your options are Composite Leave Unchanged, Composite Gray, Composite RGB, Composite CMYK, Separations, and In-RIP Separations. ( RIP stands for "raster image processor," the device in a printer or imagesetter that converts lines, curves, colors, and pictures into the tiny dots that make up printed output.)

  The Composite options are meant for proofing devices such as ink- jets and laser printers. Most such printers are black-and-white or CMYK, so you'll usually pick Composite Gray or Composite CMYK. Pick Composite RGB for documents output to PDF format for display on-screen. Composite Leave Unchanged is meant for proofing printers that support specialty ink swatches such as Pantone; very few do. (If your document uses colors like Pantone colors, you typically would pick Composite CMYK, and your printer will approximate the Pantone colors. You would use Composite Leave Unchanged only if your proofing printer had actual Pantone inks.) If you check the Text as Black option, text will appear in pure black, rather than be converted to gray or be printed in a color (even if you applied a color to the text). This can make text more readable in a proof copy.

  New Feature ‚

  InDesign CS now offers the Composite Leave Unchanged option for all color printers, rather than just for PDF output. Also, InDesign CS now correctly prints Photoshop DCS 1.2 files with transparency when you use the In-RIP Separations option.

  Select Separations if you're printing to an imagesetter to create film negatives or to a platesetter to create color plates. If your output device supports in-RIP separations ‚ where the device creates the separate color plates, rather than having InDesign do it ‚ choose In-RIP Separations. (Note that only a few printers' PPDs support this option.)

• In the Trapping pop-up menu, select how color trapping is handled. (This will be grayed out if Separations or In-RIP Separations are not selected in the Color pop-up menu.) The choices are Off, Application Built-In (meaning, as set in InDesign), and Adobe In-RIP (available only for printers that have Adobe's in-RIP separations technology).

  Note ‚

  Adobe would like the publishing world to standardize on its PostScript Level 3 printing language and its default trapping and color technologies, which is what the Adobe In-RIP option uses. Adobe may get its wish one day, but the reality is that most companies use a variety of technologies, so you'll likely use the standard Separations option that uses whatever settings you created in InDesign, or you'll select the Off option and let your service bureau manage trapping directly. Check with your service bureau.

• Use the Flip pop-up menu and the associated Negative check box to determine how the file prints to film negatives or plates. Commercial printers have different requirements based on the technology they use. They tend to use language such as "right reading, emulsion side up," which can be hard to translate to InDesign's Flip settings. Type on the page is right reading when the photosensitive layer is facing you and you can read the text. Horizontally flipping the page would make it wrong reading (type is readable when the photosensitive layer is facing away from you). Check with your service bureau as to whether and how you should flip the output. Pages printed on film are often printed using the Horizontal & Vertical option in the Flip pop-up menu.

• The Negative check box, if checked, creates a photographic negative of the page, which some commercial printers may request. This option is available only if Composite Gray, Separations, or In-RIP Separations is selected in the Color pop-up menu.

• The Screening pop-up menu works differently depending on whether you have chosen Composite Gray or one of the separations options in the Color pop-up menu:

  • If you select Composite Gray in the Color pop-up menu, your Screen pop-up menu choices are Default and Custom. If you choose Custom, you can select the preferred line screen frequency and angle at the bottom of the pane using the Frequency and Angle fields.

  • If you select Separations or In-RIP Separations in the Color pop-up menu, you get a series of options that will vary based on the selected printer and PPD. But all will show an lpi setting and a dpi setting. (See the sidebar "What 'lpi' and 'dpi' mean" for more on these.) And the Frequency and Angle fields at the bottom of the pane will display very precise angles optimized for the selected output device based on the chosen lpi/dpi settings. Although you can change the Frequency and Angle fields, you shouldn't.

  Note ‚

  The Inks section of the pane lets you see the frequency and angle settings for selected colors; you change a specific color plate's settings by first selecting the color and then altering the Frequency and Angle fields. You can also disable output of specific color plates by clicking the printer icons to the left of the colors ‚ a red line will be drawn through the icon for disabled plates ‚ as well as control color plate output by clicking the Ink Manager button. Color output is covered in more detail later in this chapter.

• Finally, the Simulate Overprint check box at the bottom of the Output pane lets InDesign overprint colors for printers that normally don't support this. (You would set an object to overprint another by checking one of the Overprint options in the Attributes pane.) This option is available only if the Color pop-up menu is set to Composite Gray, Composite CMYK, or Composite RGB.

Lines per inch (lpi) and dots per inch (dpi) are not related because the spots in a line screen are variable-sized, while dots in a laser printer or imagesetter are often fixed- sized . (Because newer printers using techniques like Hewlett-Packard's Resolution Enhancement Technology or Apple Computer's FinePrint and PhotoGrade use variable-sized dots, the distinction may disappear one day.)

Lines per inch specifies, in essence, the grid through which an image is filtered, not the size of the spots that make it up. Dots per inch specifies the number of ink dots per inch produced by the laser printer; these dots are typically the same size. A 100-lpi image with variable sized dots will, therefore, appear finer than a 100-dpi image. The figure shows an example, with a fixed-dot arrow at left and a variable-size -dot arrow at right.

Depending upon the size of the line-screen spot, several of a printer's fixed-sized dots may be required to simulate one line-screen spot. For this reason, a printer's or imagesetter's lpi is far less than its dpi. For example, a 300-dpi laser printer can achieve about 60-lpi resolution; a 1,270-dpi imagesetter can achieve about 120-lpi resolution; a 2,540-dpi imagesetter about 200-lpi resolution. Resolutions of less than 100 lpi are considered coarse, and resolutions of more than 120 lpi are considered fine.

But there's more to choosing an lpi setting than knowing your output device's top resolution. An often overlooked issue is the type of paper the material is printed on. Smoother paper (such as glossy-coated or super-calendared) can handle finer halftone spots because the paper's coating (also called its finish) minimizes ink bleeding. Standard office paper, such as that used in photocopiers and laser printers, is rougher and has some bleed that is usually noticeable only if you write on it with markers. Newsprint is very rough and has a heavy bleed. Typically, newspaper images are printed at 85 to 90 lpi; newsletter images on standard office paper print at 100 to 110 lpi; magazine images are printed at 120 to 150 lpi; calendars and coffee-table art books are printed at 150 to 200 lpi.

Other factors affecting lpi include the type of printing press and the type of ink used. Your printer representative should advise you on preferred settings.

If you output your document from your computer directly to film negatives (rather than to photographic paper that is then shot to create negatives), inform your printer representative. Outputting to negatives allows a higher lpi than outputting to paper because negatives created photographically cannot accurately reproduce the fine resolution that negatives that output directly on an imagesetter have. (If, for example, you output to 120 lpi on paper and then create a photographic negative, even the slightest change in the camera's focus will make the fine dots blurry. Outputting straight to negatives avoids this problem.) Printer representatives often assume that you're outputting to paper and base their advised lpi settings on this assumption.

The Graphics pane

The Graphics pane, shown in Figure 31-6, controls how graphics are printed, as well as how fonts are downloaded. The options here are meant for professional printing, such as to imagesetters, in situations where you're working with a service bureau or in-house printing department.

Figure 31-6: The Graphics pane.

Your first option is the Send Data pop-up menu, in the Images section. It has three additional options: All, Optimized Subsampling, and Proxy (a low-resolution , 72-dpi version), and None. Typically, use All. The other two options are meant to increase speed of proof prints, with Proxy being the fastest . The None option is handy for quick proofs meant to focus on the layout and the text.

The Download options in the Font section require that you understand how your output device is configured to handle fonts. Be sure to ask your service bureau what options it prefers:

• Normally, when printing to a local printer, keep the Font Downloading option set to Subset, which sends font data to the printer as fonts are used. This means that if you use just one character of a font on a page, only that character is sent for that page, and if more characters are used on later pages, they are sent at that time. This is an efficient way to send font data to printers that don't have lots of memory or hard drives to store complete font information for many typefaces .

• If you're printing to a device that has a lot of font memory ‚ or if your document has many pages and uses a font in bits and pieces throughout ‚ use the Complete option. This sends the entire font to the printer's memory, where it resides for the entire print job. In cases such as those described, this is more efficient than the standard Subset method.

• Use the None option if you're certain all the fonts you use reside in the printer's memory or in a hard disk attached to the printer. Many service bureaus will load all the fonts for a job into the printer memory, then print the job. They'll then clear out the printer memory for the next job and load just the fonts that job needs. This is efficient when a service bureau has lots of clients who use all sorts of fonts. Alternatively, some service bureaus attach a hard drive loaded with fonts to their imagesetters, saving the font-loading time for them and for InDesign.

• If checked, the Download PPD Fonts will download any fonts specified as resident in the printer's PPD file. PPD files include lists of fonts that should reside in printer memory and thus don't need to be downloaded with each print job. Checking this option overrides this, downloading those fonts from your computer even if they should reside in the printer's memory. You'll rarely need to check this ‚ it's more of a safety when creating output files for printing by someone else.

Finally, you can specify what PostScript language is used and how PostScript data is transmitted. Although you set these up in the Mac OS and Windows printer settings (refer to Figure 31-2), InDesign gives you the opportunity to override any defaults here, which can be handy when creating output files for printing elsewhere. From the PostScript pop-up menu, you can choose Level 2 or Level 3; use whichever the output device supports. (Most still use Level 2.) The Data Format pop-up menu is grayed out unless you chose PostScript File in the Printer pop-up menu; your choices are ASCII and Binary. If you choose ASCII, the PostScript file is more likely to be editable in programs like Adobe Illustrator, but the file will be larger. Ask your service bureau which it prefers.

The Color Management pane

The Color Management pane, shown in Figure 31-7, is where you manage color output (apply color calibration). The options are straightforward:

• Choose the Source Space ‚ either Document, which uses the document's color space, or Proof, which selects a color space automatically based on the selected printer.

• Select a Profile for the print space, meaning the space of the device the document will ultimately be printed to. InDesign compares the source and print space to makes its color adjustments. If you choose PostScript Color Management for the Print Space Profile ‚ this is used only on newer PostScript Level 3 devices that have built-in color calibration ‚ you choose the profile using the CRD pop-up menu. A CRD (color reference dictionary) is essentially the same as a color profile; it's just in the format that the PostScript color-calibration tool uses. Choose default to use the CRD in the output device, or override it by choosing another CRD.

• If you had selected Proof as the Source Space, you can also choose the rendering intent using the Intent pop-up menu. Its options are Perceptual, Saturation, Relative Colorimetic, and Absolute Colorimetric.

  Cross-Reference ‚

  Chapter 29 covers color calibration in detail.

Figure 31-7: The Color Management pane.

The Advanced pane

The options in the Advanced pane, shown in Figure 31-8, control graphics file substitutions in an Open Prepress Interface (OPI) workflow and also set transparency flattening, which controls how transparent and semitransparent objects are handled during output.

Figure 31-8: The Advanced pane.

If graphics files exist in high-resolution versions at your service bureau ‚ typically, this occurs when the bureau scans in photographs at very high resolutions and sends you a lower-resolution version for layout placement ‚ check the OPI Image Replacement option. This will ensure that InDesign uses the high-resolution scans instead of the low-resolution layout versions.

A related graphics-file-handling option are the three check boxes in the Omit for OPI section: You can have InDesign not send EPS, PDF, and bitmap images (such as TIFF files) by checking the appropriate options. You would do so either to speed printing of proof copies, or when the service bureau will have such files in higher-resolution or color-corrected versions and will substitute their graphics for yours. InDesign will keep any OPI links, so the graphics at the service bureau will relink to your document during output.

There are just two Transparency Flattener options:

• The Preset pop-up menu lets you select a transparency preset, or saved set of options. At the least, InDesign will provide the three default options: [Low Resolution], [Medium Resolution], and [High Resolution].

• The Ignore Spread Overrides check box, if checked, ignores any transparency settings you manually applied to document spreads, instead using the selected preset in all cases.

  Cross-Reference ‚

  Transparency settings and setup are covered later in this chapter.

The Summary pane

The final Print dialog box pane is the Summary pane, shown in Figure 31-9. It simply lists your settings all in one place for easy review. The only option ‚ Save Summary ‚ saves the settings to a file so you can include it with your files when delivering them to a service bureau, or for distribution to other staff members so they know the preferred settings.

Figure 31-9: The Summary pane.