"Fixing" the Problem of Four-Color Blacks
An avid reader of this Quick Tips newsletter
recently described to me an ongoing problem with his printing
clients' use of page-layout files. The files involve black
type built from four-color process rather than 100 percent
black ink. Difficulties revolve around maintaining close
register of fine type created with four separate inks, resulting
in blurred text. Most files are advertiser-supplied ads
received in PDF format. O'Neil & Associates, a developer
of product support documentation, describes PDF as a "process
from Adobe Systems, Inc., that converts a fully formatted
document created on a Windows, Macintosh, MS-DOS, or UNIX
platform from PostScript into a PDF file that can be viewed
on several different platforms. PDF enables users to send
documents that contain distinctive typefaces, color, graphics,
and photographs electronically to recipients, regardless
of the application used to create the originals."
Although PDF files have many advantages,
the major problem is that they cannot be easily manipulated
by the printer. When asked to make corrections to the files
so they will be usable by the printer, clients more often
than not complain. Rather than call the ad agencies or advertisers
and ask for a new ad or a correction, many clients would
rather "shop around" for a printer that will accept
four-color black type. This is unfortunate because it often
involves excessive paper waste and extra press time when
a printer does actually attempt to print four-color black
type.
PDF files can be produced directly
using Quark or InDesign software. An alternative method
is to distill a PostScript file to a PDF file using Adobe
Acrobat. The difficulty with handing off native Quark or
InDesign files without distilling them into PDF format is
that the computers used by the designer and the printer
must be configured in exactly the same way to avoid such
problems as altered line-endings. In addition, a native
file can easily be inadvertently altered. The benefit of
a PDF in printing is that you can transmit to the offset
printer a small, complete file that is essentially uneditable.
This creates a double-edged sword, however. If the application
file from which the PDF is distilled (Quark, InDesign, etc.)
is accurate, complete and usable, the PDF will be print-ready.
If the application file has flaws, however, such as using
the wrong color space for the job, the PDF will not be usable
or editable, or will be only marginally editable by the
printer.
To solve this problem, I suggested
that the reader acquire a program called PitStop Pro by
Extensis. The program is a bit expensive (about $500), but
it is essential for changing CMYK black or RGB black to
100 percent black within a PDF file. I related the personal
experience of a printer I often work with who uses PitStop
all the time. The printer noted that it doesn't take more
than one or two jobs to make up for the cost of the program.
This printer actually uses PitStop Pro in one way or another
almost daily. Many of his clients furnish their ads in either
RGB black or CMYK black, both of which are problematic,
since neither is 100 percent black. There's a feature in
PitStop that allows you to make such a change in any PDF
file usually without difficulty. In fact, it has a global
change feature by which you can select a piece of black
type on one page of the file and with one additional click
select all text within the entire publication and convert
it to 100 percent black type. This feature alone makes PitStop
invaluable. I encouraged the reader to research this product,
adding that most of the other printers with whom I work
have also been using PitStop Pro for years.
It should be noted that other programs
exist for manipulating PDF color, such as PDF/X Checkup
by Apago and ImageWorks by ARTS PDF. I would encourage readers
to check out these other options as well. I am just more
familiar with Enfocus PitStop and with the experiences of
a number of printers that use this program.
It should be noted that Markzware's
Flightcheck is an excellent preflight application. However,
at this time it does not actually repair this problem within
a PDF file; rather it just informs you of the error's existence
within your file.
InDesign vs. Quark: A Printer's Perspective
An unscientific survey among a few
printers with whom I regularly work has provided the following
food for thought. Although many designers are becoming increasingly
comfortable with InDesign (perhaps because of the ease of
coordinating InDesign work with activities in Photoshop,
Illustrator, and Acrobat), Quark still surpasses InDesign
in market share.
Of course, this is not to say that
either program is better than the other. In addition, many
designers are working successfully with FrameMaker and PageMaker
as well.
What does this
mean to you? This means that more printers are probably
still more comfortable and familiar with Quark than InDesign
for now. To remain competitive, most printers will soon
become well-versed in this new page composition software,
but since only a small percentage of clients currently supply
native InDesign files relative to native Quark files, it
would be wise to discuss this matter with your printers
before you buy InDesign.
That said, there is always a work-around.
Specifically, whether you produce art files in Quark or
InDesign, you can always hand off these files to your printer
in PDF format and completely side-step this issue.
[Steven Waxman is a printing consultant. He teaches corporations how to save money buying printing, brokers printing services, and teaches prepress techniques. Steven has been in the printing industry for thirty-three years working as a writer, editor, print buyer, photographer, graphic designer, art director, and production manager.]