What is black and white and gray everywhere?

I'm becoming an expert pre-press after an embarrassing error on a job that I sent to print last spring. All uppercase gray, lines and text boxes in the unable to print 12 pages newsletter. Bottom line, I sent the work to this printer from budget without conversion of RGB to CMYK, because she had been asked by the printer for the previous question.  The printer ate reprint costs about 200 information bulletins (probably because they felt they shared the responsibility for the error).  It is clear that I can't count on the directives of this printer.

The other thing you need to know is I am Freelancer, an American working in Germany and I have no direct communication with the printer - the customer is the intermediary. I use Adobe Indesign CS4 version 6.0.6, on a MacbookPro OS x 10.6.8.  The next issue of the newsletter is now coming my way.

The 12-page booklet is printed as follows:

front and back cover on coated stock in 4 colours,

inside front and back cover on coated stock in b & W,.

and interiors 8 pages in b & W in uncoated stock.

He had no problem printing of the previous edition, apart from the poor quality B & W photos and elements in grayscale in the inside pages. The only difference in the way I presented the second job was that I "converted" photos using layer effects in the appearance B & W, so I could better visualize how they would convert to grayscale (they stayed in the RGB color space).

All I can conclude is that when the printer saw the photos n & B, he assumed that I had in fact everything in the inside pages converted to grayscale and therefore does not check the presence of the RGB color space. The gray text box and line items that were in RGB transformed to match the amounts of CMY, which translates to white and left the plate! I should have known that he was a risk, but I did not.

Help me, if you understand what good practices will avoid such a mistake in the future. I have now read a lot of good resources on pre press, and I think now, I understand, but need to be reassured that I am on the right track.

The newsletter will be printed, but will also be linked to a website for viewing online as well as distributed in a version as an attachment to e-mail low-resolution. So, I try to understand what should be my workflow.

I should work in a RGB workflow until the client approves the work, then exit (a) using the PDF standard for offset printing CMYK to generate version to send to the printer. (b) then output another file using the PDF standard for the Web. and finally another using "smallest file size" for the distribution of electronic mail?

In other words, if none of the color conversions must be made in native Photoshop files in InDesign, or rather they should occur during the conversion from PDF using an appropriate standard? Or do I convert in Photoshop images to use in the inside pages to grayscale images and all images to use on the front and back cover to CMYK before creating the PDF file?  This, of course, would require not make two sets of images, one for the print version and the other for display on the Web.

Should I work with vector images and type in CMYK from the outset and keep my palette strictly in CMYK mode? Or should I work entirely in RGB and allow them to be converted to grayscale via PDF conversion?

There is the related question of the help of the two coated vs uncoated, stock that the client wants to reduce costs. The black and white inside pages in uncoated stock gave less satisfactory results in the first two ballots. Despite my efforts to improve and clarify the pictures in Photoshop, most of the printed values much darker and less strong than the photos on the coating. The two-tone gray in the banner (vector) values have been radically different when seen by side on pages 2 and 3 and on pages 10 and 11.

You can produce a PDF that has two modes of different output - coated stock for pages 1, 2, 11 and 12; and no coated stock for 3 to 10 pages?  This would solve the problem, or is there something more I should do with "Dot Gain" in my prepress that would solve this problem?

Here are a few assumptions I've done so far, after gleaning information from various sources:

  1. I have put my Adobe Bridge color definition of Europe General Purpose 2 preferences for screen and print.
  2. I guess I should use a RGB workflow up to the last moment before being submitted to the printer (to maintain flexibility and activate the exit for muliple purposes, for example, print and Web versious).
  3. I should check the printer which PDF standard is compatible with its RIP and gives him more flexibility to make adjustments for its RIP so we get the best printing results.
  4. Should I choose a profile to control upstream, such as the VIGC Live Preflight profiles (Ghent PDF Workgroup) to identify any potential problems of conformity with space color, transparency, text in excess, bad fonts, cropping, etc. before conversion to PDF.

Any advice you could offer would be appreciated.

Hi Peter, my biggest frustration is I can't communicate with the printer - there is remote, no time to talk with clients and speaks German. All I can think to do is inform how professionally prepare the files, and then write (and translated) a note describing what I did as well as possible. At least I will have done my "due diligence" and if there are problems with the work, the responsibility will be on him, if he didn't read the memo, or ask me to fix everything that does not work for its workflow. I will be certainly work in two files, one for one (K only) for uncoated and coated.

Peter Spier says:

Said what Rob is OK, but I think in this case, given that the work, I think, goes on press and print on two different stocks, would probably prepare files for color on coated stock and the K-only on non-coated, but ask to the printer. Questions about the way they really want to receive your material to address them.

Tags: InDesign

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