Esko 16 ArtPro+ User Guide
ArtPro+ 16 is a powerful prepress software solution for creating high-quality files for printing. It includes a wide range of features for creating, editing, and preparing files for diverse printing processes.
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03 - 2017
ArtPro+ 16
User Guide
ii
ArtPro+
Contents
1. Introduction................................................................................................................................................6
1.1 Copyright Notice .................................................................................................................................6
1.2 Installation ...........................................................................................................................................7
1.3 Licensing ..............................................................................................................................................8
1.4 What's New in ArtPro+ 16.0.2
........................................................................................................... 8
1.5 The About palette ............................................................................................................................ 11
1.6 Getting help ...................................................................................................................................... 11
1.7 Languages ......................................................................................................................................... 11
2. Getting Started........................................................................................................................................ 12
2.1 The ArtPro+ Workspace ...................................................................................................................12
2.1.1 Using the Side Drawer .......................................................................................................... 13
2.1.2 Using the Side Panel ............................................................................................................. 13
2.1.3 The Inspector ......................................................................................................................... 14
2.1.4 Changing tools ....................................................................................................................... 14
2.1.5 Shortcuts overview ................................................................................................................ 15
2.1.6 Modifier keys ..........................................................................................................................17
2.2 Preferences ....................................................................................................................................... 18
2.3 Quitting ArtPro+ ............................................................................................................................... 21
3. Working with files................................................................................................................................... 22
3.1 Open Files ......................................................................................................................................... 22
3.2 Open Recent ..................................................................................................................................... 23
3.3 Close Files ......................................................................................................................................... 23
3.4 Save Files ...........................................................................................................................................23
3.4.1 PDF+ file format .....................................................................................................................24
3.5 Automation Engine connection .......................................................................................................24
3.5.1 Launch Workflow ................................................................................................................... 25
4. Changing the View.................................................................................................................................. 27
4.1 Multiple Document Windows ..........................................................................................................27
4.1.1 Arrange document windows .................................................................................................27
4.1.2 Synchronize Views ..................................................................................................................27
4.2 Changing the Zoom factor .............................................................................................................. 28
4.2.1 Fit in Window ......................................................................................................................... 28
4.2.2 Actual Size .............................................................................................................................. 28
4.2.3 Zoom to Selection ..................................................................................................................29
4.2.4 Zoom In / Zoom Out ..............................................................................................................29
4.2.5 Zoom tool ............................................................................................................................... 29
4.3 Pan tool .............................................................................................................................................30
Contents
4.4 The Crosshair ....................................................................................................................................30
4.4.1 Move or rotate the Crosshair ............................................................................................... 30
4.5 Rotate View .......................................................................................................................................31
4.6 Preview or Outline mode ................................................................................................................ 31
4.7 Hiding objects ...................................................................................................................................32
4.8 Color Management .......................................................................................................................... 32
4.9 Navigating a multi-page document ................................................................................................ 33
5. Checking and Measuring....................................................................................................................... 34
5.1 Quality Control ................................................................................................................................. 34
5.1.1 Breakout ..................................................................................................................................34
5.1.2 Total Area Coverage ...............................................................................................................34
5.1.3 Registration Error ...................................................................................................................35
5.1.4 Object Screening .................................................................................................................... 35
5.1.5 Compare ................................................................................................................................. 36
5.2 Dimensions ....................................................................................................................................... 37
5.3 Densities ............................................................................................................................................38
6. Document Settings..................................................................................................................................40
6.1 Page Boxes ........................................................................................................................................40
6.1.1 Editing Page Boxes ................................................................................................................ 40
6.2 Layers ................................................................................................................................................ 42
6.2.1 Visibility & Printing state ....................................................................................................... 42
6.2.2 Special Type Layers ............................................................................................................... 43
6.3 Object Browser .................................................................................................................................45
6.4 Separations ....................................................................................................................................... 46
6.4.1 Adding or changing a separation ......................................................................................... 49
6.4.2 Ink types ................................................................................................................................. 50
6.4.3 Convert to CMYK ....................................................................................................................50
7. Selecting.................................................................................................................................................... 52
7.1 Group Select ..................................................................................................................................... 52
7.2 Object Select .....................................................................................................................................53
7.3 Selection Breadcrumbs ....................................................................................................................54
7.3.1 Rename Breadcrumbs: named objects ................................................................................55
7.4 Select Same ...................................................................................................................................... 55
7.5 Select Next Object / Select Previous Object ...................................................................................56
8. Editing........................................................................................................................................................ 57
8.1 Undo and Redo ................................................................................................................................ 57
8.2 Cut, Copy and Paste ........................................................................................................................ 57
8.3 Editing objects .................................................................................................................................. 58
8.3.1 Delete ......................................................................................................................................58
8.3.2 Transforming objects .............................................................................................................58
8.3.3 Arrange objects ...................................................................................................................... 63
iii
iv
ArtPro+
8.3.4 Group objects .........................................................................................................................64
8.3.5 Compound ..............................................................................................................................64
8.3.6 Clipping Mask .........................................................................................................................65
8.3.7 Opacity Masks ........................................................................................................................ 65
8.3.8 Edit Path ................................................................................................................................. 67
8.3.9 Spread / Choke .......................................................................................................................68
8.3.10 Protected objects ................................................................................................................. 69
8.3.11 Clean up Groups and Clipping Masks ................................................................................70
8.3.12 Merge similar paths and text ............................................................................................. 70
8.4 Changing the Fill and Stroke ...........................................................................................................71
8.4.1 Fill Color and Stroke Color Inspector ...................................................................................71
8.4.2 Stroke Inspector .....................................................................................................................77
8.4.3 Transparency Inspector ......................................................................................................... 78
8.5 Creating objects ................................................................................................................................79
8.5.1 Create Rectangle / Create Ellipse ..........................................................................................79
8.5.2 Shaper .....................................................................................................................................80
8.6 Working with Text ............................................................................................................................ 80
8.6.1 Text Inspector .........................................................................................................................81
8.6.2 Text Box Transformation Inspector ......................................................................................82
8.6.3 Using the Text Tool ................................................................................................................ 82
8.7 Working with images ....................................................................................................................... 84
8.7.1 Place ........................................................................................................................................ 84
8.7.2 Image Inspector ..................................................................................................................... 85
8.7.3 The Channel Mapping Inspector .......................................................................................... 86
8.7.4 Linked and Embedded images ............................................................................................. 87
8.7.5 Opening images in an external editor ................................................................................. 89
8.7.6 Replacing an image ............................................................................................................... 90
8.7.7 Images Side Drawer ...............................................................................................................90
9. Prepress functions.................................................................................................................................. 92
9.1 Barcodes ............................................................................................................................................92
9.1.1 Create a barcode ................................................................................................................... 92
9.1.2 Edit a barcode ........................................................................................................................93
9.1.3 The Barcode types .................................................................................................................93
9.2 Screening .........................................................................................................................................125
9.2.1 Setting up Screen Sets in the Screening window ..............................................................125
9.2.2 Applying a Screen Set to an object .................................................................................... 126
9.3 Ink Coverage ...................................................................................................................................127
9.4 Trapping .......................................................................................................................................... 128
9.4.1 Trapping / Pullback Settings ................................................................................................130
9.4.2 Trapping tool ........................................................................................................................ 131
9.4.3 Pullback tool .........................................................................................................................131
9.4.4 Trap and Pullback tool ........................................................................................................ 132
9.5 Marks ...............................................................................................................................................133
Contents
9.5.1 Create a custom mark .........................................................................................................134
9.5.2 Mark properties ................................................................................................................... 134
9.5.3 Working with Mark Sets ...................................................................................................... 141
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ArtPro+
1. Introduction
6
1.1 Copyright Notice
©
Copyright 2017 Esko Software BVBA, Gent, Belgium
All rights reserved. This material, information and instructions for use contained herein are the property of Esko Software BVBA. The material, information and instructions are provided on an AS IS basis without warranty of any kind. There are no warranties granted or extended by this document. Furthermore Esko Software BVBA does not warrant, guarantee or make any representations regarding the use, or the results of the use of the software or the information contained herein. Esko Software BVBA shall not be liable for any direct, indirect, consequential or incidental damages arising out of the use or inability to use the software or the information contained herein.
The information contained herein is subject to change without notice. Revisions may be issued from time to time to advise of such changes and/or additions.
No part of this document may be reproduced, stored in a data base or retrieval system, or published, in any form or in any way, electronically, mechanically, by print, photoprint, microfilm or any other means without prior written permission from Esko Software BVBA.
This document supersedes all previous dated versions.
PANTONE
®
, PantoneLIVE and other Pantone trademarks are the property of Pantone LLC.
All other trademarks or registered trademarks are the property of their respective owners.
Pantone is a wholly owned subsidiary of X-Rite, Incorporated.
©
Pantone LLC, 2015. All rights reserved.
This software is based in part on the work of the Independent JPEG Group.
Portions of this software are copyright
©
1996-2002 The FreeType Project (www.freetype.org).
All rights reserved.
Portions of this software are copyright 2006 Feeling Software, copyright 2005-2006 Autodesk
Media Entertainment.
Portions of this software are copyright
©
1998-2003 Daniel Veillard. All rights reserved.
Portions of this software are copyright
©
1999-2006 The Botan Project. All rights reserved.
Part of the software embedded in this product is gSOAP software. Portions created by gSOAP are Copyright
©
2001-2004 Robert A. van Engelen, Genivia inc. All rights reserved.
Portions of this software are copyright
©
1998-2008 The OpenSSL Project and
©
1995-1998 Eric
Young ([email protected]). All rights reserved.
This product includes software developed by the Apache Software Foundation (http:// www.apache.org/).
Adobe, the Adobe logo, Acrobat, the Acrobat logo, Adobe Creative Suite, Illustrator, InDesign,
PDF, Photoshop, PostScript, XMP and the Powered by XMP logo are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.
ArtPro+
Microsoft and the Microsoft logo are registered trademarks of Microsoft Corporation in the
United States and other countries.
SolidWorks is a registered trademark of SolidWorks Corporation.
Portions of this software are owned by Spatial Corp. 1986 2003. All Rights Reserved.
JDF and the JDF logo are trademarks of the CIP4 Organisation. Copyright 2001 The International
Cooperation for the Integration of Processes in Prepress, Press and Postpress (CIP4). All rights reserved.
The Esko software contains the RSA Data Security, Inc. MD5 Message-Digest Algorithm.
Java and all Java-based trademarks and logos are trademarks or registered trademarks of Sun
Microsystems in the U.S. and other countries.
Part of this software uses technology by Best Color Technology (EFI). EFI and Bestcolor are registered trademarks of Electronics For Imaging GmbH in the U.S. Patent and Trademark
Office.
Contains PowerNest library Copyrighted and Licensed by Alma, 2005 – 2007.
Part of this software uses technology by Global Vision. ArtProof and ScanProof are registered trademarks of Global Vision Inc.
All other product names are trademarks or registered trademarks of their respective owners.
Correspondence regarding this publication should be forwarded to:
Esko Software BVBA
Kortrijksesteenweg 1095
B – 9051 Gent [email protected]
1
1.2 Installation
ArtPro+ is only supported on 64-bit operating systems, both on Mac and on Windows.
Currently supported are:
• Mac OS 10.9, 10.10, 10.11 and 10.12
• Windows 7 64-bit, Windows 8 64-bit, Windows 8.1 64-bit, Windows 10 and Windows 10
Anniversary.
You can download the installer for ArtPro+ from
http://mysoftware.esko.com
.
Download the ArtPro+.dmg file for mac, or the .exe file for Windows.
Note: If you want to use the free 30 day trial version of ArtPro+, you must install using the
ArtPro+ Trial installer. If the regular installer has been run, there is no option to start the trial anymore. See
Trial version
7
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ArtPro+
8
1.3 Licensing
You can check the Licenses info by choosing Help > License Info .
You can run ArtPro+ on a free 30-day trial (see
Trial version
), with a valid local license, by connecting to a license server carrying valid network licenses, or by signing in to a Named
User Subscription. More information on licenses and how to activate them can be found here:
https://www.esko.com/en/Support/Product?id=Licensing%20and%20Activation&ver=16
.
A valid license to run ArtPro+ can be:
• An ArtPro+ 16 Essentials perpetual license
• An ArtPro+ Named User Subscription
• An ArtPro 16 license
• A PackEdge 16 license
Note: ArtPro+ version 16 and later doesn't run on a PowerLayout or a Plato license.
1.4 What's New in ArtPro+ 16.0.2
ArtPro+ 16.0.2
Below is a list of changes in ArtPro+ 16.0.2, and a link to the specific page in the documentation:
• After a first time installation of ArtPro+, a Getting Started window is shown. You can open it at any time from the Help menu. See
on page 11
• You can now use the
Object Browser to view and rearrange the order of objects. See
on page 45
• You can now rename breadcrumbs, to change the name of a layer, group or object. This means you can now create
Rename Breadcrumbs: named objects
on page 55
• If you have multiple document windows open, you can Arrange them, or Synchronize
on page 27 and
on page 27
•
Separations
• Convert to CMYK: You can convert a spot color to CMYK, either based on the values in
the file, from Esko Color Management or by custom values. See
on page
50
• Technical inks are no longer shown in a separated list, but all inks are in one single list, allowing you to see and modify the printing order. See
• Unused separations, i.e. separations that are not used in any objects or images are shown as a grayed out separation name in the Separations list, but also in the Screening,
Ink Coverage, Fill / Gradient / Stroke Inspector, etc. See
on page 46
ArtPro+
• When selecting a color in the Inspector, you can now use the
on page 72
• If the ArtPro+ window is not big enough to show all Inspectors for the current selection, they can be reduced to an abbreviated version or even just the corresponding icon.
• In the Channel Mapping Inspector, you can set if the transparency channel will be applied
on page 87
• New Barcodes:
•
•
on page 114
•
on page 115
•
on page 117
• You can remove redundant groups and clipping masks, using the
Clean up Groups and
Clipping Masks . See
Clean up Groups and Clipping Masks
on page 70
• Merge similar paths and text allows you to merge identical objects (same shape, size and position) using the merged color fill, e.g. to combine a CMYK and a spot color object. See
• You can now expand
on page 70
• You can now change a text box size numerically, using the
Text Box Transformation
Text Box Transformation Inspector
ArtPro+ 16.0.1
Below is a list of changes in ArtPro+ 16.0.1, and a link to the specific page in the documentation:
• ArtPro+ now supports multiple documents open at the same time. See
on page 27
• ArtPro+ now supports multi-page documents. See
Navigating a multi-page document
on page
33
• The Side Drawer has been added, containing Messages or an overview of all images. See
• You can now
on page 90
• For linked images in PDF+ files, channel mapping is retained, so the original channel names
• When opening an ArtPro file, placed images are now kept as linked. See
on page
22
• In the Quality Control section, you can now also see a Registration Error Simulation. See
on page 35
• During Trapping, Quality Control is no longer hidden, so you can use the Registration Error
Simulation while in trapping mode
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ArtPro+
• You can now merge separations. See
• You can now set a custom ink to opaque, to enable correct rendering. See
on page
50
• You can use the Select Same function to select objects with the same properties (fill color, stroke color, stroke width, ...) as the current selection. See
• You can now set the
Horizontal Scaling for text. See
• High-level objects have been renamed to
69
ArtPro+ 16
Below is a list of changes in ArtPro+ 16, and a link to the specific page in the documentation.
• ArtPro+ now contains
on page 128
• ArtPro+ now contains Text editing functionality. See
on page 80
•
Automation Engine integration: see
on page 24 and
• You can now create rectangles and circles: see
Create Rectangle / Create Ellipse
79
• the
Channel Mapping Inspector. See
on page 86
• You can now create or update dashed strokes. See
• The Shaper allows to create objects based on uniting, intersecting, excluding, ... existing
• You can now create and manage Marks. See
• You now can change the type of Special Type Layers, or change normal layers into Special
Type Layers from the Type column. See
Special Type Layers in the Layers list
• You can edit an opacity mask without the need to release and remake it, using
Edit Opacity
on page 67
• The Pattern inspector shows the properties of patterns. See
• Select Previous Object and Select Next Object: see
Select Next Object / Select Previous
• Preferences: see
• You can set different units for lengt, area, font and stroke.
• You can set the Automation Engine server you want to connect to.
• If one or more images are selected, the Image Inspector shows relevant information such as color space, resolution, ... See
on page 85
• You can now drag and drop layers to reorder them. See
on page 42
• You can now work with and switch between linked or embedded images. See
ArtPro+
1.5 The About palette
You can open the About window by choosing ArtPro+ > About (Mac) or Help > About
(Windows).
The About palette contains build information, copyrights and a Legal Notices button.
Clicking Legal Notices will show the legal information. By clicking the Done you go back to the default view.
1.6 Getting help
There are several menu items in the Help menu:
1. Clicking Getting Started will open a window that gives a quick tour on ArtPro+ tools and a link to a Getting Started video. After a first installation, this window will appear automatically when starting the application.
2. Clicking What's New will open a presentation on the new functions in ArtPro+
3. Clicking Online Help will open the Online Help page of your current ArtPro+ version in your internet browser. When available, the online help will open in your currently selected language.
4. Clicking Knowledge Base will open Esko's Knowledge Base in your internet browser, filtering on articles about ArtPro+.
5. Click Esko Customer Experience Program to change your choice in participating in the
Esko Customer Experience Program. By enabling this option, you can help to improve
ArtPro+ by allowing us to collect anonymous information about the way you use ArtPro+ and its features.
6. Use the Licensing options to check or edit your license settings. See
on page
8
1.7 Languages
ArtPro+ is supported in English, French, Italian, German, Spanish, Japanse, Simplified and
Traditional Chinese and Korean.
There are no application specific preferences to change the language. To see the user interface of ArtPro+ localized in one of these supported languages:
• On Mac OS X, go to System Preferences > Language & Text (or Language & Region on
Mac OS 10.9 and above) and move your preferred language to the top of the languages list.
• On Windows, go to Control Panel > Clock, Language, and Region > Region and
Language (or Region on Windows 8) and change the Format to the preferred language.
1
11
2
ArtPro+
2. Getting Started
Note: Besides this user guide, you can also find related documentation and a number of introduction videos on the ArtPro+ product page on Esko's help pages:
http://help.esko.com/ products/artproplus
2.1 The ArtPro+ Workspace
When you launch the application, you get a blank application window (on Windows only), and the ArtPro+ menu bar.
Once you've opened a document, this is what you can see in the ArtPro+ Workspace:
12
1. The menu bar
2. The Side Drawer buttons for Object Browser, Images and Messages. See
on page 13
3. The Toolbar, containing Select, the Shaper, Barcode, Screening and Trapping button. See
on page 92,
on page 125 and
4. The View Mode selector. See
on page 31
5. The Server Connection indicator. See
on page 24
6. The Side Panel, containing a Document section (page navigator for multi-page documents, crosshair, page boxes, layers), Marks section, Separations section and Quality Control
on page 13
ArtPro+
7. The Selection Breadcrumbs. See
on page 54
8. The Inspector. See
on page 14
9. The document pane
2.1.1 Using the Side Drawer
The Side Drawer is a panel on the left side, that can show relevant information. You can make it visible by selecting any of the Side Drawer buttons. Click another button to switch the content of the Side Drawer, or click the active button to hide the Side Drawer again.
There are three Side Bar modes: Object Browser, Messages Side Drawer and Images Side
Drawer.
The Object Browser lists all layers, groups and objects in the document. See
page 45
The Messages Side Drawer lists all errors, warnings and information (in this order) that require you to take action. The tooltip of the messages will give more information about the message. Clicking on one of the entries will select the corresponding object(s) or layer(s) in the job. If the Zoom to Selection option is enabled, clicking an entry displays the selected objects as big as possible in the active window.
The Images Side Drawer gives an overview of all images in the document. See
on page 90
2
2.1.2 Using the Side Panel
The Side Panel contains several sections
• If you have a multi-page document open, you can use the Page Navigator. See
Navigating a multi-page document
• In the Document section you can make the Crosshair visible or invisible and set up the
on page 30 and
on page 40.
• In the Layers part, you can make layers visible or invisible, and view their printing state
(printing or non-printing). See
• In the Marks part, you can manage your marks: load mark sets, create new marks, etc. See
on page 133. This is not available for Normalized PDF files.
• In the Separations section, you can reorder and rename separations, make specific separations visible or invisible, add printing separations, remove separations or merge separations. See
on page 46.
• In the Quality Control section you can do some quality control, such as looking for breakouts below a certain percentage, checking if the maximum Total Area Coverage is
13
2
ArtPro+
exceeded, checking the used screen sets, comparing two files or simulating a registration error. See
on page 34.
2.1.3 The Inspector
The Inspectors, shown in the bar between the Selection Breadcrumbs and the Document
Pane show information and possible actions for the current selection, such as the current Fill and Stroke. Using the Inspectors, you can change these settings for the current selection.
General inspectors
•
Fill Color and Stroke Color Inspector
•
on page 77
•
•
• Screen Set Inspector: see
Inspectors for Images
•
•
on page 86
Inspectors for Text
•
•
Text Box Transformation Inspector
on page 82
Inspectors for Barcodes
• Barcode Type Inspector, Barcode Code Inspector, Barcode Inspector, Barcode Font
Inspector: see
on page 92
Inspectors for Marks
• Mark Text Content Inspector: see
on page 137
Note: If the ArtPro+ window is not big enough to show all Inspectors for the current selection, they can be reduced to an abbreviated version or even just the corresponding icon.
2.1.4 Changing tools
There are different ways to select a tool
• Use the tool's shortcut. Using the shortcut multiple times will toggle between related functions, such as Zoom and Pan.
1. T: Text tool. See
on page 82
on page 30
on page 52
4. V or A: Object Select. See
on page 38
14
ArtPro+
6. D: Dimensions. See
7. P: Edit Path. See
on page 67
8. S: Create a Rectangle
9. S: Create an Ellipse
10.E: Transform. See
11.Z: Zoom. See
12.Z or H: Pan Tool. See
• Using the Tool Switcher: right-click anywhere in your document, and select the tool you want in the toolswitcher wheel, or right-drag in the corresponding direction.
2
Note:
The quickest way to change tools, is to (briefly) right-drag (or drag while holding the control key on Mac) in the direction of the tool you need, e.g. up for Text tool Select, left for
Transform, etc. You can save time this way, because you don't have to click exactly on the tool.
For subtools (such as Zoom and Pan), this will select the default (left) option. To select the other subtool, you will have to click it.
2.1.5 Shortcuts overview
Shortcut
Select All
Deselect All
Select Inverse
Page Boxes
Add Barcode
Copy
Mac
Cmd+A
Cmd+Shift+A
Cmd+Alt+A
Cmd+B
Cmd+Shift+B
Cmd+C
Windows
Ctrl+A
Ctrl+Shift+A
Ctrl+Alt+A
Ctrl+B
Ctrl+Shift+B
Ctrl+C
15
2
Shortcut
Transform Again
Shaper
Paste in Front
Paste in Back
Make Group
Release Group
Hide ArtPro+
Hide Others
Show Fill Color
Show Stroke Color
Select Same Fill Color
Select Same Stroke Color
Preferences
Launch Workflow
Numeric Transform
Open File
Place File
Page Boxes Setup
Quit
Show / Hide Crosshair
Save
Save As
Screening window
Trapping
Spread / Choke
Paste
Paste with Layer Structure
Close File
Close All Files
Cut
Switch to Preview / Outline
Color Managed Preview
Undo
Redo
Fit in Window / Previous
Zoom to Selection
Actual Size / Previous
Synchronize Views
Hide
Show All
Bring to Front
Bring Forward
Cmd+Shift+M
Cmd+O
Cmd+Shift+P
Cmd+Alt+P
Cmd+Q
Cmd+R
Cmd+S
Cmd+Shift+S
Cmd+Alt+S
Cmd+T
Cmd+Shift+T
Cmd+V
Cmd+Shift+V
Cmd+W
Cmd+Alt+W
Cmd+X
Mac
Cmd+D
Cmd+E
Cmd+F
Cmd+Shift+F
Cmd+G
Cmd+Shift+G
Cmd+H
Cmd+Alt+H
Cmd+I
Cmd+Shift+I
Cmd+Alt+I
Cmd+Alt+Shift+I
Cmd+, (comma)
Cmd+L
Cmd+Y
Cmd+Alt+Y
Cmd+Z
Cmd+Shift+Z
Cmd+0
Cmd+Alt+0
Cmd+1
Cmd+Alt+1
Cmd+3
Cmd+Alt+3
Cmd+5
Cmd+Alt+5
Ctrl+Shift+M
Ctrl+O
Ctrl+Shift+P
Ctrl+Alt+P
Alt+F4
Ctrl+R
Ctrl+S
Ctrl+Shift+S
Ctrl+Alt+S
Ctrl+T
Ctrl+Shift+T
Ctrl+V
Ctrl+Shift+V not available not available
Ctrl+X
Windows
Ctrl+D
Ctrl+E
Ctrl+F
Ctrl+Shift+F
Ctrl+G
Ctrl+Shift+G not available not available
Ctrl+I
Ctrl+Shift+I
Ctrl+Alt+I
Ctrl+Alt+Shift+I
Ctrl+K
Ctrl+L
Ctrl+Y
Ctrl+Alt+Y
Ctrl+Z
Ctrl+Shift+Z
Ctrl+0
Ctrl+Alt+0
Ctrl+1
Ctrl+Alt+1
Ctrl+3
Ctrl+Alt+3
Ctrl+5
Ctrl+Alt+5
ArtPro+
16
ArtPro+
Shortcut
Send Backward
Send to Back
Make Clipping Mask
Release Clipping Mask
Make Compound
Release Compound
Mac
Cmd+Alt+6
Cmd+6
Cmd+7
Cmd+Alt+7
Cmd+9
Cmd+Alt+9
Zoom in
Zoom out
Cmd++ (plus)
Cmd+- (minus)
Rotate View Clockwise Cmd+Shift++ (plus)
Rotate View Counterclockwise Cmd+Shift+- (minus)
Select Next Object
Select Previous Object
Cycle through document windows
Ctrl+Tab
Ctrl+Shift+Tab
Cmd+`
Show all separations
Show single separation
Object Select
Dimensions / Densities
Transform
Pan
Edit Path tool
Crosshair tool
Create Rectangle / Create
Ellipse
Text tool
Group Select tool / Object
Select tool
Zoom tool / Pan tool
P
R
E
H
S
A
D
0
1 to 9
T
V
Z
P
R
E
H
S
Windows
Ctrl+Alt+6
Ctrl+6
Ctrl+7
Ctrl+Alt+7
Ctrl+9
Ctrl+Alt+9
Ctrl++ (plus)
Ctrl+- (minus)
Ctrl+Shift++ (plus)
Ctrl+Shift+- (minus)
Ctrl+Tab
Ctrl+Shift+Tab
Alt+Tab
A
D
0
1 to 9
T
V
Z
Note: For shortcuts with digits (e.g. Cmd+6) it is advised to use the keys from the numeric keypad.
Note: Shortcuts that only apply if a specific function or tool is used are not mentioned in this list.
2
2.1.6 Modifier keys
Modifier Shortcuts only have effect as long as the key (or key combination) is held. Releasing the key will return to the previously selected tool.
These allow to quickly and temporarily switch from one tool to another.
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ArtPro+
Modifier
Zoom In Modifier
See
on page 29
Zoom Out Modifier
See
on page 29
Zoom in/out using the scroll wheel of your mouse
Select Modifier
• activates Group Select if Object Select is active, and vice versa
Mac
Space+Cmd
Alt
Cmd
Windows
Space+Ctrl
Space+Alt+Cmd Space+Alt+Ctrl
Alt
Ctrl
• If another tool is active, the last used Select tool is activated
Pan Modifier
See
Crosshair Modifier
Space
Cmd+Alt
Note: When using the Crosshair Modifier, you can't rotate the Crosshair, nor can you nudge the
Crosshair using the arrow keys: the Crosshair will snap to the selection or to the page box.
See
Transform tool:
• Scale: Proportional Scaling
• Rotate: contrain rotation angle to multiples of 45 degrees
Shift
Transform tool: rotate around the object's center
Alt
Space
Ctrl+Alt
Shift
Alt
2.2 Preferences
You can open the Preferences in two ways:
• By selecting ArtPro+ > Preferences (Mac) or Edit > Options (Windows).
• By its shortcut
Cmd+, (Mac) or Ctrl+K (Windows).
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2
General
• Keyboard Increment: the distance used when moving by using the Arrow keys, e.g. to move the crosshair or selected objects. The value can be entered in any of the supported units. Holding the Shift key while nudging will move the crosshair or selected objects over
10 times the Keyboard Increment distance.
• Units: the default unit to use for Length, Area, Font or Stroke. For Length, Font and Stroke the different units you can choose from are millimeter, centimeter, inch or points. For Area, the different units you can choose from are millimeter inch
2
.
2
, centimeter
2
, decimeter
2
, meter
2
or
• Selection Color: the color used to indicate what objects are selected.
• Highlight Color: the color used when objects or areas are highlighted, e.g. when using Total
Area Coverage, Breakout or when in Trapping mode.
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Inks
ArtPro+
20
The Inks section of the Preferences lets you set up the order of the available Ink Books. When creating a new ink, or modifying an existing ink, ArtPro+ will suggest inks based on what you type in the input field. The results will be ordered based on the order of the Ink Books in the
Preferences. See also
Adding or changing a separation
You can change the order of the Ink Books by simply dragging and dropping them.
Reading ink books from: by default, ink books are read from the default local CMS, installed when installing ArtPro+. By clicking the ... button, you can browse to a CMS tree on a remote computer (e.g. from PackEdge, Automation Engine or Color Engine) and use those ink books instead. If connection to this remote computer is lost, a warning will be shown, and the local
CMS is used again.
You can switch back to the local CMS by clicking the Use Default CMS button.
Note: Although the preview can change, changing the CMS (and ink books) doesn't change the ink information saved in the file for existing inks. The new ink books are only used when creating a new ink or changing an existing ink.
The Default Profile is used for rendering the document when Color Managed Preview is on and the Document does not have a profile yet. It is also added as rendering intent to non-
Normalized PDF files that do not have a Document Profile yet. See
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ArtPro+
2
Editor
In the Editor tab, you can define the external editor to be used when opening an image in an external editor. See
Opening images in an external editor
on page 89
When set to Default Image Editor, ArtPro+ will open images for editing in the latest version of Adobe Photoshop that it can find on your computer. If no Photoshop is found, it will use the system's default application for editing images. By clicking the Change Editor button, you can browse to and select another application.
Server
You can make a connection to an Automation Engine by entering the Server Name and clicking the Connect button. After entering user name and password, a connection will be made with the server.
2.3 Quitting ArtPro+
You can quit the application in two ways:
• By selecting
File > Quit (Mac) or File > Exit (Windows).
• By its shortcut Cmd+Q (Mac) or by using Alt+F4 to close the last document window
(Windows).
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ArtPro+
3. Working with files
3.1 Open Files
You can open a file in different ways:
• By selecting File > Open , and browsing to the file you want to open.
• By its shortcut Cmd+O (Mac) or Ctrl+O (Windows), and browsing to the file you want to open.
• By dragging and dropping a supported file onto the already opened document in the application window, or on the dock icon (Mac only).
ArtPro+ can open PDF and PDF+ files (see
on page 24), Normalized PDF files
(including PDFPla files) and ArtPro files. If the opened file is a Normalized PDF or an ArtPro file
(opened as Normalized PDF, see below), this will be indicated behind the name of the file in the window title.
When opening a file that contains linked images that can't be found, you will get the possibility to browse for them. For Normalized PDFs and ArtPro files, clicking Cancel will cancel the Open action. For PDF+ files, you will also have the option to unlink or continue without relinking.
Notes on opening files
• By default files are opened in a maximized view. All artwork (including artwork outside the media box) and page boxes are fit in the window. By default, page boxes are hidden.
• If a file takes longer than a second to load, a busy indicator is shown (spinning wheel). Other actions can still be performed while the file is loading.
• If the file you are trying to open is an invalid or corrupt file, you will get an error message.
Known limitations on opening ArtPro files:
• ArtLink values are not updated.
• When opening an ArtPro file in ArtPro+, it is opened (and saved) as a Normalized PDF.
However, if conversion to Normalized PDF is not possible, e.g. because of unsupported objects such as placed standard PDF files, placed EPS, PS or RGB images, the file will be converted to and saved as a PDF+ file.
• When opening an ArtPro file as a Normalized PDF, images in PSD, non-bitmap TIFF and Esko
CT format that were placed in ArtPro ("Place Picture") will be linked. Also, images that were linked in the ArtPro file as a result of importing a Normalized PDF file with the Keep Esko
Links option will remain linked. All other images will be embedded.
Opening image files
You can also open certain image files. This will result in an empty document, with the selected
image file placed. The size of the document will be the size of the image. See
on page
84 for more information on placing image files.
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ArtPro+
3
3.2 Open Recent
You can open one of the 10 most recently opened files by choosing it from the list in File >
Open Recent .
If you try to open a file from this list that is no longer available (because it was removed, renamed, or an external drive is currently not available) you will be warned about this.
Selecting Clear Menu clears all items from the Open Recent list.
3.3 Close Files
You can close a file:
• By selecting File > Close
• By clicking the top left red button (Mac) or top right red cross (Windows)
• By using the shortcut Cmd+W (Mac) or Alt+F4 (Windows)
On Windows, when the last window is closed, the application will quit.
On Mac, if you have multiple documents open, you can choose File > Close All or the shortcut
Cmd + Alt + W to close all documents.
3.4 Save Files
If the document has been edited, you can save the changes:
• By selecting File > Save .
• By its shortcut Cmd+S (Mac) or Ctrl+S (Windows).
The Save function is only available when the document has been edited. This is indicated by a dot in the close button on Mac, or an asterisk next to the document name in the title bar on
Windows.
Note: If an ArtPro file or PDFPla file was opened and modified, the Save function will save the document as a PDF file, next to the original file, with "(imported) added to the file name.
Another option to save the document, is the Save as function, allowing you to save the document with a new name and/or different location:
• By selecting File > Save as... .
• By its shortcut Cmd+Shift+S (Mac) or Ctrl+Shift+S (Windows).
ArtPro+ will save normalized PDF files (i.e. indicated as normalized PDF next to the file name) as normalized PDF, and will save other documents (including new documents) as PDF+ files.
See
23
3
ArtPro+
If you opened an ArtPro file, saving it will write a Normalized PDF file. However, if conversion to
Normalized PDF is not possible, e.g. because of unsupported objects such as placed standard
PDF files, placed EPS, PS or RGB images, the file will be converted to and saved as a PDF+.
3.4.1 PDF+ file format
When ArtPro+ saves a PDF file (i.e. NOT a normalized PDF), ArtPro+ will actually save a
PDF+
file.
This is a native PDF file that you can open and edit in any other PDF editor or reader. However, this PDF+ file also contains additional information, available to any PDF+ compatible editor.
• The ink order is kept in the file;
• Processing steps (special type inks/layers) can be used for non-printing data;
• a document profile needs to be present as rendering intent. If none is present, the default profile will automatically be added when saving;
• Crosshair, Group and Barcode metadata is saved in the PDF+ file;
• Marks can be applied on a PDF+ file in ArtPro+;
• if a PDF+ file contains image links, a full resolution embedded version of the image will still be saved in the file.
• When opening a PDF+ file that contains linked images that can't be found, you can choose to browse for them, unlink them or continue to open the file while ignoring the broken link for now.
• When opening a PDF+ file that contains an out-of-date image (the embedded version doesn't match the linked version), you can choose to update the embedded version to the linked version, to unlink and keep using the embedded version, or to continue opening the file while ignoring the out-of-date images for now.
3.5 Automation Engine connection
To connect your ArtPro+ to an Automation Engine, you first need to set up the server connection in the Server tab of the Preferences. See
You can make a connection to an Automation Engine by entering the Server Name and clicking the Connect button. After entering user name and password, a connection will be made with the server.
The toolbar will show a green connection if the connection is up and running . If no connection to the Automation Engine server is available, a red icon is shown. When no Automation Engine is set, the connection icon will be hidden.
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ArtPro+
Once a connection has been established, you can open and save files directly from and to your
Automation Engine Server: the Browse dialog will contain a Recent Server Places dropdown, where you can easily select the latest server locations where you opened or saved a file, and a
Search button, to open the Automation Engine Search window.
3
• Use the buttons on top of the window to show Jobs & Products, Only Jobs or Only Products.
• Use the
Search field to filter Jobs or Products.
• Select a Job or Product to see its details underneath
• Click OK to close the Automation Engine Search window, and open the selected Job or
Product in the Browse dialog. The corresponding folder will be mounted automatically.
3.5.1 Launch Workflow
If you have an active connection to an Automation Engine server (see
on page 24) you can launch your document directly into an Automation Engine workflow.
1. Select File > Launch Workflow or use its shortcut Cmd+L (Mac) or Ctrl+L (Windows).
2. Select the workflow you want to use from the list of public workflows on the Automation
Engine you are connected to.
3. Enter any public parameters the workflow requests.
4. Enter a Job ID and Job Part ID. If the file was opened from an Automation Engine job, the Job
ID will automatically be entered.
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ArtPro+
5. Click Launch. If the file was modified since the last save, you will be asked to save the file before launching.
6. Check the progress of the launched job using the Automation Engine Pilot.
There is currently no Shuttle dialog to show progress of the launched jobs from within
ArtPro+.
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ArtPro+
4
4. Changing the View
• Files are by default opened in the document pane in a maximized view; this view can be reduced by moving the vertical slider in between the document pane and the side panel, or by resizing the entire application window.
• By default, files are opened at "fit in window" size, fitting all graphic elements (including elements outside of the media box) and all page boxes in the document pane
• Files are always viewed in overprint preview
• Like in all recent Esko applications, technical inks are rendered as opaque
Note: Rotation flags are not taken into account. You can however change the rotation yourself: see
on page 31
Changing the view will not change the file itself: all these changes can not be saved in the file.
4.1 Multiple Document Windows
If you have multiple documents open, every document will have a separate window. You can switch the document you are working on in different ways.
• Simply click in a window to activate it
• Select the document you want to activate in the Window menu. The active document is indicated with a check mark. Unsaved documents are indicated with a *.
• Use Cmd + ` (Mac) or Alt + Tab (Windows) to cycle through the different windows.
4.1.1 Arrange document windows
If you have multiple document windows open, you can arrange them vertically or horizontally.
• Select Window > Arrange > Vertical to place the open document windows next to each other
• Select Window > Arrange > Horizontal to place the open document windows above each other
Note: If you use multiple monitors, the document windows are always arranged on the primary monitor, as defined in the operating system's settings.
4.1.2 Synchronize Views
If you have two or more document windows, you can apply the same zoom, pan, and orientation zoom on all document windows by enabling Synchronize Views, either by choosing Window > Synchronize Views or by its shortcut Cmd + Alt + 1 (Mac) or Ctrl + Alt +
1 (Windows).
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ArtPro+
4.2 Changing the Zoom factor
4.2.1 Fit in Window
• Shortcut: Cmd+0 (Mac) or Ctrl+0 (Windows)
• Menu: View > Zoom > Fit in Window / Previous
Fit in Window with Page Boxes hidden:
If the Page Boxes are hidden, Fit in Window will center the view and adjust the zoom factor so that all graphics (including elements outside of the Media Box) are visible in the document pane.
Fit in Window with Page Boxes visible:
In most cases, the Crop Box is completely inside the Media box. In that case, Fit in Window will fit on the Crop Box. Contents outside the Crop Box will be grayed out.
However, it is possible that the page boxes were defined differently:
• If no Media Box is available, the full Crop Box is shown. Contents outside the Crop Box is grayed out.
• If no Crop Box is available, the Media Box is shown. Contents outside the Media Box is grayed out.
• If the Crop Box is partially outside the Media Box, Fit in Window will center and fit on the part of the Crop Box that is inside the Media Box. Other content is grayed out.
• If the Crop Box is completely outside the Media Box, both Media Box and Crop Box are fitted, but all content will be grayed out.
Using the Fit in Window function a second time will go back to the previous view (position and zoom), allowing you to toggle between the two views.
4.2.2 Actual Size
• Shortcut: Cmd+1 (Mac) or Ctrl+1 (Windows)
• Menu: View > Zoom > Actual Size / Previous
Actual Size will set the zoom factor to 100% to get a clear view on the actual size of the document and its elements. Actual Size or 100% means 100% at a fixed resolution of 72ppi like in Adobe Illustrator.
This action will not recenter the contents of the file but keep the current center point as its center.
Using the Actual Size function a second time will go back to the previous view (zoom), allowing you to toggle between the two views.
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ArtPro+
4
4.2.3 Zoom to Selection
• Shortcut: Cmd+Alt+0 (Mac) or Ctrl+Alt+0 (Windows)
• Menu: View > Zoom > Zoom to Selection / Previous
Zoom to Selection displays the selected objects as big as possible in the active window.
Using the Zoom to Selection function a second time will go back to the previous view (zoom), allowing you to toggle between the two views.
4.2.4 Zoom In / Zoom Out
• Shortcut for Zoom In:
Cmd++ (plus) (Mac) or Ctrl++ (plus) (Windows)
• Shortcut for Zoom Out: Cmd+- (minus) (Mac) or Ctrl+- (minus) (Windows)
• Menu:
View > Zoom > Zoom In and View > Zoom > Zoom Out
Zooming in or out using the shortcuts or by clicking will zoom in fixed steps: zooming in multiplies the current zoom factor by 1,414 (√2), zooming out by 0,7071 (1/√2). This means you can go to double or half the current zoom percentage in two steps. You can for example go from 100% to 141,4% to 200% or vice versa.
The current Zoom level is shown in the window title, next to the file name.
Maximum zoom factor is 100.000%
Minimum zoom factor is reached if the Media Box is displayed at approx. 2 by 2 centimeter.
If the document no longer fits inside the window, horizontal and vertical scroll bars will appear.
For more zoom controls, see
on page 29
4.2.5 Zoom tool
The Zoom tool (shortcut: Z) can be used to change the zoom factor.
• Click to zoom in
• Alt-click to zoom out
• Click and drag a rectangle to zoom in on the area. The area will also be centered.
You can temporarily use the Zoom function without leaving the currently selected tool using the modifier keys:
• Space+Cmd (Mac) or Space+Ctrl (Windows) to zoom in
• Space+Alt+Cmd (Mac) or Space+Alt+Ctrl (Windows) to zoom out
• Hold the Alt key in combination with the mouse wheel to zoom in or out.
As soon as you release the modifier keys, the selected tool becomes active again.
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4.3 Pan tool
The Pan tool (shortcut H for Pan, or shortcut Z, toggling between Zoom and Pan) can be used to move the view by clicking and dragging.
You can temporarily use the Pan function without leaving the currently selected tool using the modifier keys: press and hold Space.
As soon as you release the modifier key, the selected tool becomes active again.
4.4 The Crosshair
The Crosshair is a reference point in the ArtPro+ document and can be moved around. By default, the Crosshair is hidden, but its visibility is remembered when quitting and restarting
ArtPro+. When visible, its default location is at the upper left corner of the media box.
The center for the linear transformations (rotation, scale, mirror, shear) is the zero point of the activated Crosshair. When you deactivate or hide the Crosshair the center of the bounding box of the selected objects is used instead. See
on page 58
The Crosshair can be moved and rotated using the
To hide or show the Crosshair, you can:
• Use the shortcut Cmd+R (Mac) or Ctrl+R (Windows)
• Select View > Hide Crosshair or View > Show Crosshair
• Click the eye or "-" icon in front of Crosshair in the Prepress Layers section in the Side
Panel.
4.4.1 Move or rotate the Crosshair
You can use the Crosshair Tool from the Tool Switcher (Shortcut: R) to move or rotate the
Crosshair
• Use the arrow keys to move the Crosshair over the fixed Keyboard increment distance defined in the preferences, or over 10 times that distance when holding the shift key. See
on page 18
• Hold the Cmd+ALT key (Mac) or Ctrl+ALT key (Windows) while using the arrow keys to move and snap the Crosshair onto the 9 anchor points on the bounding box of the selected objects. If no objects are selected, the Crosshair will snap to the media box.
Note: Cmd+ALT is also the Modifier for the Crosshair: whatever tool is currently selected, you can hold Ctrl+ALT to temporarily switch to the Crosshair tool.
• Click (or click and drag) in your document to position the Crosshair center
• Click and drag on the horizontal or vertical line of the Crosshair to move only this line of the
Crosshair.
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ArtPro+
• Hold the ALT key and click and drag to rotate the crosshair. A blue circle is shown on the center of the Crosshair, containing the Angle Readout. Also hold down the Shift key to constrain the rotation to multiples of 15 degrees.
• Hold the ALT key and click on the center of the Crosshair to enter the desired angle for the
Crosshair.
4.5 Rotate View
You can rotate the view in multiples of 90 degrees.
• You can rotate the view clockwise by selecting
View > Rotate View > Clockwise or by its shortcut Cmd+Shift++ (plus) (Mac) or Ctrl+Shift++ (plus) (Windows).
Note: The shortcut only works using the plus key from the numeric keypad.
• You can rotate the view counterclockwise by selecting View > Rotate View >
Counterclockwise or by its shortcut Cmd+Shift+- (minus) (Mac) or Ctrl+Shift+- (minus)
(Windows)
If the View is rotated, a compass-like Rotation indicator is shown in the bottom right of the document pane, indicating the current rotation
4
• You can go back to the normal view (no rotation) by selecting View > Rotate View > No
rotation or by clicking the Rotation indicator
4.6 Preview or Outline mode
ArtPro+ can displays the document in two modes: Preview mode, where the filled version of the file is displayed, or Outline mode where only the technical lines of the paths are visible.
Functions can be executed both in preview mode and in vector mode.
To switch between Preview and Outline:
• Use the shortcut Cmd+Y (Mac) or Ctrl+Y (Windows)
• Select View > Switch to Preview or View > Switch to Outline
• Using the View Mode selector button in the top right of the Side Panel
By default, in Outline mode, you will still see "hinting": a dimmed version of the colored preview below the outlines. You can switch this on or off using the + button next to the
View
Mode selector button when in Outline mode.
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ArtPro+
1. Preview mode
2. Outline + mode with "hinting"
3. Outline mode without "hinting"
4.7 Hiding objects
Using the Hide function, you can hide the selected objects. Hidden paths are no longer visible and cannot be selected nor modified. Still, they are saved with the file, so they will become visible again, when the file is next opened. You can apply this function multiple times, to hide additional objects.
Show All makes all hidden paths visible again. It will deselect all paths in the current job first and then show the hidden paths, which will come back selected. This allows you to check something and then immediately Hide them again.
• Select Object > Hide or its shortcut Cmd+3 (Mac) or Ctrl+3 (Windows)
• Select Object > Show All or its shortcut Cmd+Alt+3 (Mac) or Ctrl+Alt+3 (Windows)
4.8 Color Management
In ArtPro+ you can have a color managed preview of your job.
To use Color Management, a number of options and functions are available:
•
Color Managed Preview
• The
Document Profile
• The Default Profile set in the Preferences. See
Color Managed Preview can be switched on and off by choosing View > Color Managed
Preview or by using its shortcut Cmd+Alt+Y (Mac) or Ctrl+Alt+Y (Windows).
If Color Managed Preview is enabled, the document will be rendered using the
Document
Profile
• If your document contains an embedded profile, this profile will be used.
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ArtPro+
• If your document contains a link to a profile that is installed on your computer, this profile will be used
• If your document refers to a profile that is not embedded and not installed on your computer, or if no profile is defined, the Default Profile set in the Preferences will be used.
You can change the Document Profile by choosing File > Document Profile
Note: Installing ArtPro+ does not automatically install any color profiles.
Saving a PDF+ file requires a rendering intent. Therefor, when saving a file in ArtPro+ that is not a normalized PDF, the Default Profile will be used as Document Profile if no profile has been set yet, and a warning will be shown.
4
4.9 Navigating a multi-page document
If you open a multi-page document, the first page will be shown. You can navigate through the different pages.or by using the shortcuts.
• You can use the menu options in View > Go To to go to the first, previous, next or last page.
• You can enter a page number in the page navigator in the side panel to go to a specific page, or use the buttons to go to the first, previous, next or last page.
• You can use the shortcuts:
• Page Up or Page Down to go to the previous / next page
• Hold Cmd (Mac) or Ctrl (Windows) and press Page Up or Page Down to go to the first / last page
Navigating to a different page does not affect the selection, zoom level, color management, visibility of page boxes, rotated view, etc.
Undo / Redo will navigate to the page where the action is occuring.
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ArtPro+
5. Checking and Measuring
5.1 Quality Control
In the Quality Control section you can perform some quality control functions:
• Check for highlight Breakout: see
on page 34
• Check the
• Check your trapping by showing a
on page 35
• Compare two documents. See
on page 36
• Visualize the used Screen Sets. See
on page 35
5.1.1 Breakout
A Breakout is an area where the percentage of a single separation is lower than the
First
Visible Dot value. This can be used to track areas that won’t show up on print because the values are too low.
Your printer should provide you with the First visible Dot value. The First visible dot is set in the Limit field. The value is always rounded off to the closest system value (n/255 in %). You can increase or decrease the value by one system value using the arrow up or arrow down key while in the Limit field. You can hold the Shift key to increase or decrease the value 10 times faster.
To enable the Breakout preview, select Breakout from the Quality Control dropdown list and if no Eye icon is visible yet, click on the "-" icon in front of "Breakout". Once Breakout is selected and enabled, all areas where a single separation has a value lower than the Limit value (but higher than 0%), will be displayed in highlight color. You can define the highlight color in the
Preferences: see
on page 18.
Note: Because breakouts are only highlighted if they are lower than (and not equal to) the
Limit value but higher than 0%, and because of the rounding off to the closest system value
(n/255 in %), the minimum value is 0,8%. When this value is entered, any breakouts that are rounded off to 0,4% will be highlighted. If you also want breakouts of 0,8% to be highlighted, you should enter the next value, i.e. 1,2%.
You can use the Densitometer to measure the densities at a specific location. See
page 38.
Note: Invisible layers, invisible separations and Technical Inks are not taken into account.
5.1.2 Total Area Coverage
The Total Area Coverage (TAC) is the sum of all separation-densities at a certain point in your document.
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ArtPro+
To enable the Total Area Coverage preview, select "Total Area Coverage" from the Quality
Control dropdown list and - if no Eye icon is visible yet, click on the "-" icon in front of "Total
Area Coverage". Once the Total Area Coverage preview is enabled, the image in the preview pane will be dimmed and all areas where the sum of the densities is higher than the TAC limit specified in the current Press Setting will be highlighted. You can define the highlight color in
on page 18
The Limit is the maximal Total Area Coverage that your document may contain. This value depends on the press and the substrate your design will be printed on. Your printer should provide you with the TAC Limit value to use.
You can click inside the Limit field and enter the Limit value, or you can use the arrow up key to increase the TAC Limit value or the arrow down key to decrease the value. You can set the value up to 500%. You can hold the Shift key to increase or decrease the value 10 times faster.
You can use the Densitometer to measure the densities at a specific location. See
page 38.
Note: Invisible layers, invisible separations and Technical Inks are not taken into account.
5
5.1.3 Registration Error
The Registration Error Preview is a simulation of a design printed with registration errors. It can be very helpful to see if trapping is applied sufficiently and correctly.
The separations are randomly shifted. In fact, all separations are moved exactly the distance of the Maximum Deviation, but all under a random angle.
If you want to see another random registration error simulation, press
Y
In the example above, you can see a small area of a job in regular preview (left) and with registration errors (right). In this case, you can clearly see no trapping was applied, so white lines appear at the registration shifts.
5.1.4 Object Screening
Using the Object Screening Preview, you can get an indication of what Screening Set is used on what objects.
The Quality Control section will show a list of all Screen Sets used in your file, each with a different color. Objects using a specific screen set will show in the corresponding color. Areas where multiple screen sets overlap are shown in red.
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ArtPro+
Using the eye icons, you can make the objects using the selected Screen sets visible or invisible.
For more information on Screening, see
5.1.5 Compare
Using the Compare function, you can compare the current document with a Reference file
1. To enable Compare, select Compare from the Quality Control dropdown list.
2. You will automatically be requested to select a Reference file. If Compare was already selected, click the ... button to select the reference file.
ArtPro+ will calculate the visual differences. The job will be shown dimmed, with rectangles indicating the visual differences. In the Information Side Panel, you get an indication on the number of areas containing visual differences, along with a notification in case the Trim Box,
Media Box or separation list of the two documents don't match.
36
3. Compare the documents:
• Click the eye icon in front of Compare to toggle between differences view and normal view.
• Hold the C key to temporarily show the reference file instead of the open document. By using this toggle, you can easily see the difference between both documents.
Note: When toggling between the active file and the reference file, the Page Box information (when visible) will be updated. The Layer list and Separation list is not updated, and thus will always show the information of the active document.
Note: You can select the page of the active document to be compared. However, comparing is always done using the first page of the reference document.
Calculating the differences
When calculating the differences between the open document and the reference document, these rules are followed:
ArtPro+
• The two documents are aligned according to the left bottom corner of their trim box
• Visible layers of the current document are compared against all printing layers of the reference document
• When the visibility state of the layers of the current document is changed, the comparison is recalculated accordingly. This allows you e.g. to disable the trap layer in the current document and check if the artwork of this trapped document still matches that of the untrapped reference document.
• Visible separations of the current document are compared to all separations of the reference document. A difference found only in a specific separation will not be reported if that separation is hidden. Technical inks are not taken into account.
• When separations are hidden or made visible, the comparison is recalculated accordingly
• If the current document is rotated, the reference document is rotated in the same way
Note:
Even when no visual differences are found, it can happen that the previews look different when toggling between the current document and the reference document. This is typically the effect of a different separation order: When the order of the separations is different, the visual effect on screen may be different as well, e.g. because of opaque inks, or due to color management.
This alone does not affect the output of each individual plate though, so no difference is found.
In this case, the following message will be issued: "Separation order is different. Preview on screen may be different."
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5.2 Dimensions
The
Dimensions tool (shortcut: D, toggling with Densities) can be used to measure dimensions
(distance, angle, area, ...).
1. Select the Dimensions tool
2. Click the first point where you want to start measuring
3. Click the second point, or drag to the second point.
Note: You can change the zoom and pan without interrupting your measuring, by using the modifier keys. See
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You will see
• the distance, both vertical, horizontal and in total
• the angle
• the total area of the rectangle. If the area is too small to show the value, you can see it as a tooltip when hovering over the area icon
Distances and areas are shown in the units defined in the Preferences (see
on page 18). However, for distances, you can click in the black circle to toggle between this unit and point (pt). All distances shown will be adjusted accordingly.
4. You can click and drag one of the points to change its location. Click elsewhere to start a new measurement, or use the esc key to clear the current measurement.
5.3 Densities
The Densities tool (shortcut: D, toggling with Dimensions) can be used to measure densities at a specific location.
1. Select the Densities tool
2. Click the point you want to measure
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You will see the
Density Wheel around the measure point (indicated by a crosshair):
• The upper half of this wheel will show color bars and values for each printing separation in the file. Technical inks are ignored. The height of each bar corresponds to the percentage at the measured point.
• The corresponding values for every separation are also shown in the % column of the
Separations section in the Information Side Panel.
• The bottom half of the wheel will show the color visualization of measured pixel.
• At the left hand side, the lowest (non-zero) measured value of all printing separations is shown. If this value is below the
Breakout Limit, the value is shown in a circle in the highlight color, and a colored line at the inner circle of the Densitometer wheel is shown indicating the separation in which the value was measured. See
on page 34
• At the right hand side, the total ink percentage of all printing separations and all visible layers at the measured point is shown. If this value is above the
Total Area
Coverage Limit, the value is shown in a circle in the highlight color. See
Note: Invisible layers are not taken into account. Invisible separations are measured.
3. You can click and drag to get a continuous readout of the measured point.
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6. Document Settings
6.1 Page Boxes
By default, when opening a file, the Page Boxes are not visible.
You can toggle the Page Boxes visibility in different ways:
• By selecting View > Show/Hide Page Boxes
• Using the shortcut Cmd+B (Mac) or Ctrl+B (Windows)
• By clicking the Page Boxes eye in the Document section of the side panel.
Page Boxes that are defined in the document are shown in black, with a label on the top left corner, indicating the Page Box name and its dimensions. Double-clicking the label will open the
Page Boxes Setup dialog, with the selected Page Box active. See
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When Page Boxes are visible, only a section of the canvas is shown, the rest is grayed out.
The visible section is:
• The part of the Crop Box that is inside the Media Box.
• If no Media Box is available, the full Crop Box is shown
• If no Crop Box is available, the Media Box is shown.
• If the Crop Box is completely outside the Media Box, all content will be grayed out.
The Fit in Window function reacts differently if Page Boxes are visible: see
on page 28
6.1.1 Editing Page Boxes
Using the Page Box Setup dialog, you can define or edit Page Boxes.
You can open the dialog in different ways:
• Choose File > Page Boxes Setup ...
• Use the shortcut Cmd+Alt+P (Mac) or Ctrl+Alt+P (Windows)
• Double click the label of one of the Page Boxes. The selected Page Box will be active in the
Page Boxes Setup dialog.
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• Double click Page Boxes in the Side Panel.
You can edit any page box by selecting it, and changing its values. The changes will be shown in the document immediately, but only accepted if you click
OK
Note: Holding the Alt key will change the Cancel button in a Reset button. Clicking it will reset all page boxes to the previous accepted settings.
Set [...] Box
The check box at the top of the dialog allows you to add or remove the page box.
This is only available for Crop Box, Bleed Box and Art Box: the Trim & Media Box are always defined.
If you add a Page Box (e.g. a Crop Box) by selecting Set Crop Box, the Page Box will use the dimensions of the Media Box.
Dimensions
You can edit the size of any Page Box by entering the dimensions. The
Transformation Origin
buttons allow to set in what direction the Page Box should be modified. If you e.g. select the top left corner, the top left corner of the Page Box will remain unmodified.
Note: You can use calculations when entering dimensions, e.g. by entering "300 mm + 2 inch", the result will be 350,80 mm.
•
•
•
•
Fit to ...
Using the buttons, you can set the size and position of the page box:
Fit to All: the page box will be modified so it fits all objects in the current document.
Fit to Selection: the page box will be modified so it fits all objects currently selected.
Fit to Trim Box: the page box will match the Trim Box. This is only available for
Media Box, Bleed Box and Art Box.
Fit to Media Box: the page box will match the Trim Box. This is only available for
Crop Box, Bleed Box and Art Box.
Margins on Trim Box
The Media Box and Bleed Box can be defined by entering a margin on the Trim Box. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
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Errors
Any errors, such as a Trim Box not fully covered by the Media Box, are indicated by a blue circle with a white "i" next to the Page Box name. At the bottom of the dialog, you can find more info on what's wrong, and a link providing a possible solution (e.g. to fit the Bleed Box to the Media
Box).
6.2 Layers
The Layers section lists all of the layers that are present in the current document. Groups and individual elements are not listed.
Note: Sublayers are only shown if these sublayers are saved in the PDF file correctly.
Sublayers in Adobe Illustrator are not saved in the PDF file.
•
• Double-click the layer name to change its name.
• In the Visibility and Print column, you can change the visibility and printing state of all
The Selection column will show an icon if some objects in that layer are selected. If all objects in the layer are selected, the icon changes to this: the Selection column to select all objects in that layer.
. You can also click the icon in
• You can select a layer by clicking the layer name. You can command-click to add a layer to the selection, or shift-click to select a range.
Note: Selecting multiple layers can only be used to delete multiple layers at once.
•
• Double-click a layer name to rename the layer.
By clicking the Move selection to active layer button objects to the topmost selected layer.
you can move the selected
• If you apply a regular Paste, the pasted objects will be in the active layer. Other Paste
methods are also available. See
• Click the + button to add a new layer. Click the - button to remove the selected layer(s) and their content.
• Select Delete All Empty Layers from the fly-out menu to delete any layers that do not contain any objects.
• To reorder layers, click and drag a layer to its new position.
6.2.1 Visibility & Printing state
When opening a file, ArtPro+ will show the visibility and printing states of the layers as they were saved in the file. Non-printing layers will be hidden by default.
Note: When opening PDF 1.5 compliant files (e.g. ArtPro files and Normalized PDF files), invisible layers will always open as invisible and non-printing, regardless of their printing state in the original application.
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Column icon
The icon on top of the column shows
• an eye icon if all layers are visible.
• a "-" in the visibility column, if at least one layer is hidden.
You can use the top icons to change all layers at once:
Action
Click the top icon
Result
Change all layers to "Visible" or "Printing".
If this is already the case, this will change all layers to hidden / non printing.
Alt-click the eye icon
Alt-click the Printing icon
Toggle between all layers visible, and the previous state
Sync visibility to the printing state: printing layers become visible, non-printing layers become invisible.
Layer icons
The eye icons show if a layer is visible or not, the printing icon shows if a layer is printing or not.
You can change the state of layers in different ways:
Action Result
Click an icon Toggle Visibility / Printing State on or off
Click and drag over multiple icons Toggle the visibility or printing state for the first layer you clicked, and apply the same state to all layers you drag.
If e.g. you click and drag starting on the eye icon of a visible layer, this layer and all others you drag will become hidden.
Alt-click an icon The selected layer becomes visible / printing, while all other layers become hidden / non printing
Alt-clicking again will change all layers back to the previous state
Note: Making a layer invisible, will deselect all objects in that layer.
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6.2.2 Special Type Layers
Ever since PDF became the preferred file format in the graphic industry, PDF files were used not only to store the artwork to be printed, but also as a container for information related to the production process: cutting lines, dimensions, etc.
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How the information was stored in the PDF file, depends on the application that was used to generate the PDF, and the preferences of the user. For example the die cut lines can be in a separation called "Die", or in a layer named "Cut". Obviously, this leads to a multiple of ad hoc methods, which leads to interoperability problems, and a complex and error-prone situation.
ISO 19593 defines a new mechanism to store objects and metadata corresponding to such processing steps in a PDF file in a standardized way.
Based on this ISO norm, the use of Processing Steps was introduced in ArtPro+ as
Special Type
Layers.
Keep in mind however that these Special Type Layers are only available when working with non-normalized PDF files. Normalized PDF files use Technical Inks instead.
Objects in Special Type Layers
Special Type Layers contain objects in your PDF file (a path, a text object, ...) that are associated with a specific Processing Step.
The type of Special Type Layer can influence the properties of the PDF objects. For example, a PDF object in a Structural Special Type Layer has to be colored in a spot color (to visualize in viewing and proofing applications). Because the objects in these Special Type Layers should not have any influence on the final printed version (and on the plate making), this spot color should not be used for "normal" PDF objects, nor should the objects knock-out other objects, or participate in transparency blending with other "normal" objects.
Types of Special Type Layers
• Structural Data: a collection of contours that describe how the printed product will be finished to produce a 3D end product from a flat substrate, such as cutting lines, crease lines, etc.
• Braille: braille characters that are applied after printing, e.g. by a die cutter or inkjet device.
• Legend: job related data outside the boundaries of the actual printed products.
•
Dimensions: indications of the physical sizes
• Positions: objects that indicate intended, allowed or forbidden positions for certain types of elements, e.g. allowed positions for content on a flap of a carton.
• White: white ink to be printed on a transparent or metallic substrate.
• Varnish: indicating the application of varnish after printing.
Special Type Layers in the Layers list
Special Type Layers appear in the Layers list, grouped per type, and the actual Type is shown in the Type column.
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You can change any layer into a Special Type Layer, or change the type of a Special Type Layer by clicking the triangle in the Type column, and selecting a Special Type Layer type from the dropdown.
ArtPro+
You can change a Special Type Layer into a normal layer by clicking the triangle in the
Type
column and selecting None.
Unlike normal Artwork layers, Special Type Layers come with a set of restrictions. If one of these restrictions is not met, a warning is shown in the Message Side Drawer. You can hover over the warning symbol to get an indication on what is wrong.
Colorants for Special Type Layers
Separations that are only used in Special Type Layers are considered "Colorants": they can be used to color objects in the Special Type Layers, but are not considered printing inks, as they should not appear on plates or on the final printed result.
Colorants for Special Type Layers are represented in the Separations list using a round color patch.
Note: If an ink is used in at least one "normal" object in an artwork layer, the separation is shown as a normal printing separation, with a square color patch. It is very likely that any
Special Type Layer using the Colorant will show a warning message.
Move objects to ...
Using the Move Objects to function, you can move the objects using a specific separation into a Special Type Layer.
1. Select a spot color separation in the separations list.
2. Select Move objects to from the fly-out menu underneath the separations list.
3. Select the Special Type Layer you want to use.
4. ArtPro+ will try to move all objects using the selected separation to the selected Special
Type Layer.
• Objects in a flat color, only using the selected separation, will be placed in a Special Type
Layer, with the same name as the original artwork layer they were in (when available).
These objects will also be put in overprint (all other separations transparent).
• Other objects (e.g. objects in a mixed color, images, ...) will not be moved nor changed.
• If the separation is only used in the Special Type Layers, it will become a Colorant. See
Colorants for Special Type Layers
on page 45
6.3 Object Browser
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By clicking the Object Browser button you can open the Object Browser.
The Object Browser lists all layers, groups and objects in the document.
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1. Click the triangle in front of a layer or group to expand / collapse it.
2. Click Layers, groups or objects to select them.
a) You can select multiple objects by dragging on the items in the browser b) You can add to or remove from the selection by using the Shift or Cmd/ctrl key.
c) By clicking and dragging, you can change the position of an object, group or layer. Doing so, you can change the order, take objects in or out of a group or layer, etc.
3. Enable the Keep Expanded button to keep all layers and groups expanded. When disabled, groups and layers in the object browser automatically expand/collapse to ensure that only the selected objects are selected in the object browser.
4. Enable Zoom to Selection to automatically zoom in on the object(s) you select in the object browser
6.4 Separations
The Separations section lists all of the separations that are used in the current document.
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1. The top icon shows an eye if all Separations are visible, and a "-" if at least one separation is invisible. You can click the icon to make all separations visible, or (in case all separations are already visible) to hide all separations. You can also alt-click the header eye icon to toggle between all Separations visible, and the previous state.
2. You can change the visibility of the individual separations in different ways:
• You can click an eye icon to toggle visibility on or off.
• You can click and drag over multiple icons to change the visibility of all those separations at once: they all get the same state as the first separation you clicked. For example, if you start clicking and dragging on a visible separation, you make this separation (and all other separations you drag) invisible
• You can alt-click a separation icon to make that separation visible, and all others invisible.
Alt-click and drag makes all of the involved separations visible, and all others invisible.
Alt-clicking again changes the visibility of all separations back to the previous situation.
3. The # column shows the index number of the separation in the separations order.
4. The Type column lists the type of the separations. See
on page 50
5. The Color patch shows the color of the separation. It can be a square (Process inks and inks from an Ink Book), square with a white triangle (Custom Ink, see
round (Colorant for Special Type Layers, see
Colorants for Special Type Layers
on page 45
6.
Use the Convert to CMYK button to convert the selected separation to CMYK, the
-
button to remove the selected separation, or the + button to add a new printing separation.
Adding or changing a separation
7. The fly-out menu, also accessible by right-clicking a separation
• You can select Move Objects to to move all objects using the selected separation into a
on page
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• You can select Merge Separation with to merge the selected separation with another separation in the list. The selected separation will be removed, and merged with the target separation, which keeps its properties. You can also merge a separation by dragging and dropping it on the target separation.
• You can select Convert to CMYK to convert the selected separation to CMYK. See
Removing a separation
You can remove any separation by selecting it and clicking the - button. If the separation you try to remove is in use, a message will be shown.
Note: If your document contains non-white preserving blend modes (Hue, Saturation, Color or
Luminosity) you will not be able to remove the process inks.
Numeric control
You can press the numbers 1 to 9 on your keyboard, to make the corresponding separation visible, and hide all others. Pressing the same number again will reset all separations to the state they were in before using the numeric keys.
You can press 0 to make all separations visible, and press 0 again to return to the previous state.
Single separation preview
When only one separation is visible, 3 extra icons show up, allowing to inspect a single separation in different modes:
1. Color: the single separation is shown in its own color
2. Positive film: the single separation is shown in black
3. Negative film: the single separation is shown in black, but negative.
Separation order
You can change the separation order by simply dragging and dropping a separation onto its new location.
Printing separations can only be dragged and dropped inside the Printing list, while Technical separations can only be dragged and dropped inside the Technical list
Unused Separations
Separations that are not used in any objects or images are shown as a grayed out separation name in the Separations list, but also in the Screening, Ink Coverage, Fill / Gradient / Stroke
Inspector, etc.
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Unused separations will not be saved in the PDF so when the document is reopened, they will not be listed anymore.
6.4.1 Adding or changing a separation
1. Click the + button to add a new separation, or double click an existing separation to change it.
2. You can use the input field as a filter to search and select an ink from the available ink books, in the order defined in the Preferences. See
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If you enter a name of an Ink, ArtPro+ will try to match this to a "known" ink:
• 'M' or 'magenta' will result in 'Process Magenta'. The same logic is used for 'C', 'Y' and 'K' for the other process inks.
• Entering the short version of an ink will take the ink from the available ink books, e.g.
"Warm Red" will find the ink "PANTONE Warm Red C"
If the name you enter doesn't match any ink, this will be a custom ink, indicated by a white triangle in the bottom right corner of the color patch
Note: Separation names in ArtPro+ are case sensitive, so you can e.g. have both a separation "Green" and "green".
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3. When creating a new custom ink, the Colors dialog allows to select the preview color for the separation. Changing an existing separation to a (new) custom ink will maintain its color.
You can double click the color patch to change the color for any custom ink.
6.4.2 Ink types
Technical separations in PDF
In ArtPro+ 14.0.2 and later, there is no support for Technical inks in non-Normalized PDF files.
Technical inks will be treated as opaque printing separations, and will be saved as such. This means that when sent to a RIP, these separations will appear on the output.
When opening a non-Normalized PDF containing Technical inks, a message will be shown warning you about this behavior.
You can use these inks to set up Special Type Layers. See
Custom Opaque inks
For all inks except for process inks and inks that are defined as opaque in the ink book, you can change the ink type clicking the triangle in the Type column.
In Normalized PDF, you can set an ink to Opaque, Varnish, Technical or Normal.
In PDF+, you can set the ink to Opaque or Normal. To achieve a Varnish or the equivalent of a
Technical ink, you can use Special Type Layers. See
Making an ink opaque will change the rendering of the file. Keep in mind that when using opaque inks, the printing order is very important for a correct preview.
Note: In ArtPro and PackEdge, it is possible to change an opaque ink into a Varnish, which is not allowed in ArtPro+. When opening a file containing such inks, a warning will be shown.
6.4.3 Convert to CMYK
You can convert the selected separation to CMYK. This is not possible for Technical separations in a Normalized PDF.
1. Select the separation you want to convert to CMYK
2.
Click the Convert to CMYK button or select Convert to CMYK from the fly-out menu.
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3. Select the CMYK values you want to use:
• the CMYK values that are saved in the PDF file
• the CMYK values using the Esko Color Management (not available for custom inks)
• Custom values you can enter yourself.
4. Click Convert
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7. Selecting
•
Objects in the document can be selected by using one of the Select tools:
The
Group Select Tool to select the highest level groups or objects. See
on page 52
•
The Object Select Tool to select lowest level objects and compounds, even inside groups. See
Note: You can also select using the Transform tool, by clicking anywhere, or dragging outside
of the bounding box of the selection. See
The selected objects are shown in the selection color. See Display Color for Selections in
Modifier Key
You can use the Cmd (Mac) or Ctrl (Windows) Modifier Key
• to temporarily switch to the last used Select Tool if another tool is selected.
• to temporarily switch from Group Select to Object Select tool or vice versa.
Select / Deselect All, Inverse
You can also use one of the special Select functions:
• Use Select > Select All or its shortcut Cmd+A (Mac) or Ctrl+A (Windows) to select all visible and unlocked objects.
• Use Select > Deselect All or its shortcut Cmd+Shift+A (Mac) or Ctrl+Shift+A (Windows) to deselect everything.
• Use Select > Select Inverse or its shortcut Cmd+Alt+A (Mac) or Ctrl+Alt+A (Windows) to invert the selection: selected items become deselected, unselected objects become selected.
Note: Making a layer invisible, will deselect all objects in that layer.
7.1 Group Select
Group Select is the default selection tool. You can select it from the Tool Selector, or by its shortcut V.
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Note:
You can use the Cmd (Mac) or Ctrl (Windows) Modifier Key
• to temporarily switch to the Group Select Tool if another tool is selected, and if the Group
Select tool was the last used select tool.
• to temporarily switch to Group Select if the Object Select tool is selected.
• Click in an object (in Preview mode) or on its path (in Outline mode) to select the highest group the object belongs to. If the object doesn't belong to a group, this will select the entire object, compound path or image plus clipmask.
• Drag a selection rectangle to select everything entirely within the selection rectangle.
Objects inside a group will only be selected if all objects in the group are completely in the selection rectangle.
Note: If the Crosshair is rotated, the selection rectangle you drag will be rotated the same
• Click on an empty space in the document to deselect all objects
• Using the Shift key while selecting inverts the selection of the objects. A deselected group or object is selected and vice versa. You can use this to add objects to the selection, or remove them from the selection.
7.2 Object Select
You can select the Object Select tool from the Tool Selector, or by its shortcut A or the shortcut V, toggling with Group Select.
Note:
You can use the Cmd (Mac) or Ctrl (Windows) Modifier Key
• to temporarily switch to the Object Select Tool if another tool is selected, and if the Object
Select tool was the last used select tool.
• to temporarily switch to Object Select if the Group Select tool is selected.
• Click in an object (in Preview mode) or on its path (in Outline mode) to select the smallest path you click on, i.e. an object inside a group, the clip path of an image or the image in a clipped image group.
• If a selected object or group is part of a group or clipped image group, the Object Select cursor will have a plus sign when hovering over it. Clicking again while in this Plus mode will select the next level group of the clicked group, without changing other selections. You can do this repeatedly to climb higher in the group structure.
• Drag a selection rectangle to select every object entirely within the selection rectangle.
Note: If the Crosshair is rotated, the selection rectangle you drag will be rotated the same
• Click on an empty space in the document to deselect all objects.
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• Using the Shift key while selecting inverts the selection of the objects. A deselected group or object is selected and vice versa. You can use this to add objects to the selection, or remove them from the selection.
Note: Live text, compound paths and other Protected objects (such as smartmarks, see
on page 69) are considered as 1 single object, even though they may seem
to consist of multiple elements. Outlined text can be selected path by path.
7.3 Selection Breadcrumbs
The Selection Breadcrumbs show the selection in the hierarchy of layers and groups. The
Selection Breadcrumbs appear on top of the document window if anything is selected.
1. The left-most element shows the highest level: the Layer containing the selection.
2. The left-most highlighted crumb indicates the current selection. Other highlighted crumbs are part of the selection.
3. The right-most element can indicate the origin of the selection (See below)
The Breadcrumbs show the grouping structure: every element is a part of the element on its left side. In this example, the Path (3) is part of a Group, which is part of another Group (the current selection). This selected group is part of a named group "NamedGroup", on a layer
"Artwork".
Note: Generic objects are shown between brackets, such as "<Group>". Named objects are shown by their name.
The Origin of the selection
The Origin of the selection is the object or path you clicked on using the select tool.
When clicking on an object using the Object Select tool, you will select the object you clicked on. The Origin is the same as the Selection.
When clicking on that same object using the Group Select tool, the Origin will be the object you clicked on, while the selection will be the topmost group that object belongs to.
You can click each breadcrumb to broaden the selection to a higher group or refine it to a lower group or to the object you initially clicked.
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Note:
In some cases, ArtPro+ will not have an origin to show, for example if you add to the selection by clicking while holding the Shift button, or if the origin was lost because of a change in the selection.
In that case, the breadcrumbs can show Multiple if multiple objects or groups within the same group are selected, or All if all elements within the group are selected.
7.3.1 Rename Breadcrumbs: named objects
By double-clicking an entry in the breadcrumbs, you can (re)name an object, group or layer.
• You can't rename <all>, <Multiple> and <Clipping Path>
• If you change a Layer name, the Layers list is updated accordingly
• Changing the name of an Image does not change the names shown in the Images browser.
• Named objects created in ArtPro or PackEdge will keep their name in ArtPro+. Object names given in ArtPro+ are recognized by PackEdge, but not when importing back in ArtPro.
7.4 Select Same
Using the Select Same tool, you can quickly select objects with the same properties as the current selection.
1. Select one or more objects
2. Choose Select > Select Same... , click the Select button or use its shortcut Cmd+U (Mac) or
Ctrl+U (Windows) to open the Select Same window.
3. Select one or more criteria to take into account, either by clicking the button or by pressing the corresponding number key (1 - 7)
Note: If the currently selected objects have different values for a criterion (represented by the ≠ symbol) or if the criterion is not available (e.g. font when no text objects are selected), this selection criterion will not be available
4. Click Select
All (visible) objects in the document that have the same properties (e.g. the same Fill Color and
Stroke Color) as the current selection will be selected.
There is also a quick way to select objects with the same Fill Color or Stroke Color:
• Choose Select > Select Same Fill Color or use the shortcut Cmd+Alt+i (Mac) or Ctrl+Alt+i
(Windows)
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• Choose Select > Select Same Stroke Color or use the shortcut Cmd+Alt+Shift+i (Mac) or
Ctrl+Alt+Shift+i (Windows)
7.5 Select Next Object / Select Previous Object
Select Next Object and Select Previous Object offer you the possibility to select objects that are covered by other objects for faster access.
1. While in Preview mode, use the Object Select tool to click on the spot you want to inspect.
The topmost object will be selected.
2. Choose Select > Select Next Object or use the shortcut Ctrl+Tab to select the next (not hidden) object underneath.
All Inspectors will show the parameters of the selected object. Every time you press Ctrl+Tab the next object is selected. Once the lowest object is reached, the topmost object of the session is selected again.
3. Choose Select > Select Previous Object or use the shortcut Ctrl+Shift+Tab to do the same but in the reverse order: every time you click, the object on top is selected. When the topmost object is selected, using Ctrl+Shift+Tab will select the bottommost object
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8. Editing
8.1 Undo and Redo
The Undo and Redo function allows to undo your changes step by step. The menu items in
Edit > Undo and Edit > Redo will show the next action that can be undone or redone.
To undo or redo an action:
• Select Edit > Undo [action] to undo, and Edit > Redo [action] to redo the undone action.
• Use its shortcut Cmd+Z (Mac) or Ctrl+Z (Windows) to undo
• Use the shortcut Cmd+Shift+Z (Mac) or Ctrl+Shift+Z (Windows) to redo
Note: If the action you Undo or Redo is on a different page in the document, ArtPro+ will
automatically navigate to this page. See
Navigating a multi-page document
on page 33
8.2 Cut, Copy and Paste
Cut deletes the selected objects from the document and places them on the clipboard.
Copy puts a copy of the selected objects on the clipboard. The original objects are not removed from the file.
All properties of the cut or copied objects are stored in the clipboard. One of the consequences of this, is that if you paste an object, the separations used by that object are added to the document.
Note: When selecting elements of a group without selecting the group as such, the group information is not copied. Partially copied content of sublayers will be copied as a group.
Paste puts the clipboard objects in the active file.
You can paste the cut or copied objects into the same file or into another file. When pasting in another document, inks from the source document that don't exist in the target document will be created.
Quitting ArtPro+ clears the clipboard.
If the Crosshair was visible both when applying Cut (or Copy) and Paste, the objects are pasted at the same position relative to the center of the Crosshair. If the Crosshair was hidden when cutting / copying or when pasting, the objects will be pasted at the center of the visible part of the document pane.
In the Edit menu Shortcut
Cut
(Mac)
Cmd+X
Shortcut
(Windows)
Ctrl+X
Result
places the selected objects on the clipboard
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In the Edit menu Shortcut
(Mac)
Copy
Paste
Paste in Front
Paste in Back
Paste with Layer
Structure
Cmd+C
Cmd+V
Cmd+F
Shortcut
(Windows)
Ctrl+C
Ctrl+V
Ctrl+F
Result
copies the selected objects on the clipboard pastes the objects on the clipboard in the active Layer, on top of any other objects in that layer.
pastes the objects directly on top of the topmost selected object and in the same layer as this object.
Cmd+Shift+F Ctrl+Shift+F pastes the objects directly below the lowest selected object and in the same layer as this object.
Cmd+Shift+V Ctrl+Shift+V pastes the objects in the same layers as they were when copying (the "source" layers).
When pasting with the Layer Structure:
• If a source layer name matches a layer in the current document (case sensitive), the objects will be pasted in that layer, on top of all objects in that layer.
Note: Even if they have the same name, a Special Type layer and a regular artwork layer will never be merged. A new Special Type layer or Artwork layer will be created. For more information on Special Type layers, see
on page 43
• When pasting in a Normalized PDF, objects from Special Type layers are pasted into a regular artwork layer with the same name as the special type layer. For more information on Special Type layers, see
on page 43
• If a source layer doesn't exist in the current document, it will be created on top of the current layers, and have the same printability state as the source layer.
• You can't paste into a hidden layer. If the target layer is hidden, you will get the option to cancel or to make the target layers visible before pasting.
8.3 Editing objects
8.3.1 Delete
You can delete one or more objects, by selecting them and using the delete or backspace key.
8.3.2 Transforming objects
You can transform the selected objects in different ways:
• transform manually using the Transform tool: see
on page 59
• do a numeric transformation using the Numeric Transform: see
page 61
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• you can do limited transformation by changing values in the Transformation Inspector.
on page 62
• You can use Transform Again to repeat the last performed transform. See
on page 62
Note: Protected objects (such as unsupported barcodes, Smartmarks, ...) can not be transformed. If a selection contains Protected objects, these objects will not be transformed along with the other (regular) objects, but stay part of the selection. See
on page 69
Transforming manually
Using the Transform tool, you can manually transform the selected objects.
1. Select the Transform tool, either by selecting it in the Tool Switcher (see
on page 14) or by its shortcut
E
When the Transform tool is active, the bounding box of the selected object(s) is shown (1), with 8 handles on it (2).
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2. The Interactive Transform Tool can be used for 4 functions : selecting, moving, scaling and rotating. The function depends on the location you click.
a)
Click anywhere, or drag outside of the bounding box of the selection (1), to use the tool to
select. The tool works the same way as the regular Select tool. See
on page 52 b)
Click and drag inside the bounding box of the selection (2) or use the arrow keys to
on page 60
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c) d)
Click and drag on one of the corner handles (3) or the center handles (4) to scale the selection. See
Click outside but close to the bounding box of the selection (5) to rotate the selection. See
on page 60
Move
•
Click and drag inside the bounding box of the selection to
move the selection.
• Use the arrow keys to move the selection over the fixed Keyboard increment distance defined in the preferences, or over 10 times that distance when holding the shift key. See
on page 18
• Hold the Cmd key (Mac) or Ctrl key (Windows) while using the arrow keys to move and snap the bounding box of the selected objects onto the Crosshair.
• Hold the ALT key to keep the original objects. This will result in copying the objects.
Scale
•
Click and drag on one of the corner handles to scale the selection.
•
Click and drag one of the centers of the bounding box borders to scale the selection only in vertical or horizontal direction.
• Hold down the Shift key to apply proportional scaling.
When visible, the Crosshair is used as point of origin. For more information on the Crosshair, see
If the Crosshair is hidden, the handle on the opposite site of the bounding box is used as point of origin when scaling:
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You can use the center of the bounding box as point of origin by holding the ALT key, regardless of the Crosshair's visibility state.
Rotate
•
Click outside but close to the bounding box of the selection (5) to rotate the selection.
• Hold down the Shift key to constrain the rotation angle to multiples of 45 degrees.
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When visible, the Crosshair is used as point of origin. For more information on the Crosshair, see
However, if the Crosshair is hidden, or when holding the ALT key, the center point of the bounding box is used as center of the rotation.
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Numeric Transform
Using the Numeric Transform function, you can numerically transform the selected objects.
You can open the Transform window, either by choosing Object > Transform or by its shortcut Cmd+Shift+M (Mac) or Ctrl+Shift+M (Windows).
1. Define the point of origin for the transformation by selecting one of 9 points. The corresponding point on the bounding box of the selection is used as point of origin.
However, if the Crosshair is visible, the center of the Crosshair is used as point of origin. See
on page 30
2. Define the Move Distance
3. Define the Scaling. If the Link option next to the scaling fields is enabled, scaling will be proportionally.
4. Define the angle for Rotation and for Shearing.
5. Enable the Mirror buttons to mirror the selection vertically or horizontally
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6. Define if you want to Include the Gradient & Pattern Fills, Stroke Weight and Opacity Masks in the transformation. When disabled, transforming the selection will leave the Gradation &
Pattern Fills, Stroke Weight and/or Opacity Masks unchanged.
7. Define the number of times you want to perform the transformation.
8. By default, the selected objects are transformed as one, with one point of origin. If you want to transform each object in the selection individually, each with their own point of origin, you can enable Transform each. This option can not be combined with using the Crosshair as point of origin.
The example underneath shows a scaling by 200%, with "Transform Each" disabled (A) and enabled (B)
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9. Click the Cancel button to close the dialog without transforming, or hold the ALT key and click the same button to Reset all settings to their default value.
10.Click the Transform button to apply the transformation to the selection, or hold the ALT key and click the same button to Copy the selection. The selection will be transformed, while the original objects are kept as well.
Transform Again
Select Object > Transform Again or its shortcut Cmd+D (Mac) or Ctrl+D (Windows) to repeat the previous transform.
Transformation Inspector
The Transformation Inspector shows information on the size, position and rotation of the selected objects. You can also use it to do basic transformations on the selection. For
more elaborate transformations, you can use the numeric transform function. See
on page 61.
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1. The reference point on the bounding box of the selection used to determine the position
(see below) and when changing the size or rotation while the crosshair is hidden.
2. The position, horizontal and vertical, of the center of the crosshair to the selected reference point. If the crosshair is not visible, the top left corner of the mediabox is used instead. You can move the selected objects by entering a different distance.
3. The size of the selection. You can scale the selection by entering a different size. If the two values are linked, changing one value will also change the other. The center of the crosshair is used as point of origin. If the crosshair is hidden, the reference point is used instead.
4. The angle of rotation of the selection. You can rotate the selection by entering a different angle. The center of the crosshair is used as point of origin. If the crosshair is hidden, the reference point is used instead.
5. The shear angle of the selection. You can shear the selection by entering a different angle.
The center of the crosshair is used as point of origin. If the crosshair is hidden, the reference point is used instead.
6. If the selected object is a Mark, you can also set the Attach To dropdown. See
on page 135
Note: When selecting multiple objects with different rotation or shearing angle, these fields will show "≠".
8.3.3 Arrange objects
Using the Arrange function, you can change the order of the objects within their layer or group.
• Select Object > Arrange > Bring to Front or its shortcut Cmd+5 (Mac) or Ctrl+5 (Windows)
• Select Object > Arrange > Bring Forward or its shortcut Cmd+Alt+5 (Mac) or Ctrl+Alt+5
(Windows)
• Select Object > Arrange > Send Backward or its shortcut Cmd+Alt+6 (Mac) or Ctrl+Alt+6
(Windows)
• Select Object > Arrange > Send to Back or its shortcut Cmd+6 (Mac) or Ctrl+6 (Windows)
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Note: An object that is inside a group can only be arranged within the group. If you need to arrange it further up or down in the layer, you can use cut and paste to take the object out of the group.
8.3.4 Group objects
Using the Group function, you can create a group of multiple objects, compounds or groups.
Making a Group keeps the color of the individual objects, and their relative order. The complete group is placed at the location (position and layer) of the topmost selected object.
• Select Object > Group or its shortcut Cmd+G (Mac) or Ctrl+G (Windows) to group the selected objects and/or groups.
• Select an entire group and choose Object > Ungroup or its shortcut Cmd+Shift+G (Mac) or Ctrl+Shift+G (Windows) to release the group. All components return to their previous state as path, compound or group.
Note: If you release a group that contains Group Transparency, you will get a warning that the transparency will be lost.
Note: The result of ungrouping can still contain groups. You can apply "Ungroup" multiple times untill there are only individual objects left.
8.3.5 Compound
With
Make Compound all the selected paths will become one single object.
Where paths are overlapping, a look-through window to the background is created (this is an
"even-odd" compound path). As a compound is one object, it can have only one color, so when paths with different colors are compounded, they will be filled with the paint style of the object at the bottom of the selection. The compound is placed at the location (position and layer) of the bottommost selected object. If this bottommost selected object is a user named object made in PackEdge, the compound path will take over this name.
• Select Object > Compound > Make or its shortcut Cmd+9 (Mac) or Ctrl+9 (Windows) to make a compound of the current selection.
• At least two objects are needed to make a compound path.
• Both "even-odd" and "non-zero winding" compounds are supported, but compounds made in ArtPro+ will always be "even-odd".
• The compound will inherit the fill and stroke color, the halftone information and the location of the bottom-most object in the selection.
• Protected objects (such as unsupported Barcodes, Smartmarks, ...) and live text can not be compounded. If a selection contains Protected objects or text, you will get a warning, and these objects will not be included in the compound. If there are less than
two objects remaining in the selection, no compound will be made. See
on page 69
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• If the bottom-most object of the compound has a clipping path, this clipping path will stay when compounding and remains a separate object (not part of the compound path).
This clipping path will be put in a Clipping Group with the compound path. Clipping paths linked to other objects in the selection are removed.
• Select one or more compounds and choose Object > Compound > Release or its shortcut
Cmd+Alt+9 (Mac) or Ctrl+Alt+9 (Windows) to release all selected compounds.
• All components will keep the color of the compound after releasing.
• If a clip was applied to the compound, all released objects will be clipped by this clipping path.
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8.3.6 Clipping Mask
With Clipping Mask you can set or release Clipping Masks.
• Select Object > Clipping Mask > Make or its shortcut Cmd+7 (Mac) or Ctrl+7 (Windows) to make the topmost object as Clipping Mask for all objects underneath.
• At least two objects are needed to make a clipping mask.
• Protected objects must be expanded first to be included in the clipping mask.
• All selected objects will be placed in a "Clip Group". The group will be positioned at the place of the second topmost object (the highest object apart from the object or group used as clipping mask).
• In outline view or when selected, the Clipping Path object will be shown using a dashed line.
• Select one or more Clip Groups and choose Object > Clipping Mask > Release or its shortcut Cmd+Alt+7 (Mac) or Ctrl+Alt+7 (Windows) to release all selected Clipping Masks.
• All components will get their original state, and the clipping mask object becomes a regular object but without any fill or stroke.
8.3.7 Opacity Masks
If you select an object with an Opacity Mask, the
on page 78) will show a number of extra options.
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• The
• The
Release Opacity Mask button. See
Make and Release Opacity Masks
• A Preview of the originals without opacity mask, and of the opacity mask itself.
• The Link option in between both previews. If the link is disabled, any transformation (move, scale, ...) applied on the selection will not change the opacity mask. If it is enabled, all transformations (move, scale, ...) will be applied to the opacity mask as well.
• If the Clip option is enabled, the masked objects will become completely transparent outside the boundaries of the Masking object.
• The Invert Mask option reverses the luminosity values of the masking object, and so also reverses the opacity of the masked objects.
Make and Release Opacity Masks
With Opacity Mask you can set or release Opacity Masks.
• Select Object > Opacity Mask > Make or click the Make Opacity Mask button in the
Transparency Inspector to set the topmost object (or group) as Opacity Mask for all objects underneath.
• At least two objects are needed to make an opacity mask.
• All selected objects will be placed in an "Opacity Group". The group will be positioned at the place of the second topmost object (the highest object apart from the object or group used as opacity mask).
• Making an Opacity Mask is not possible if Clipping paths (and not the Clipping Group) are selected.
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• Select one or more Opacity Groups and choose Object > Opacity Mask > Release or click the Release Opacity Mask button in the Group Transparency Inspector to release all selected Opacity Masks.
• All components will get their original color back, and will be assigned the default screening after releasing.
Edit Opacity Masks
You can edit an opacity mask without the need to release and remake it, using
Edit Opacity
Mask.
• Select an Opacity Mask group
• Select Object > Opacity Mask > Edit , click the Edit Opacity Mask button in the
Transparency Inspector or double-click the mask thumbnail in the Transparency Inspector.
ArtPro+ will switch to Edit Opacity Mask mode. This means that:
• Only the contents of the opacity mask is editable
• In Preview mode, the objects in the opacity mask are shown opaque, while in the background a dimmed version of the document is still visible.
• In Outline mode, only the outlines of the opacity mask objects are shown. In Outline with hinting mode, the document is also visible.
• If you hold the Y key, you get a preview of what the document looks like with the edited
Opacity Mask. If you release the Y key, you return to Opacity Mask editing.
• Functions not relevant for Object Mask editing will not be available. For example Layers,
Quality Control, Separations are hidden, Page boxes can be viewed but not edited, etc.
• The document Separations list is replaced by the opacity mask Colorants list, showing the inks only used in the opacity mask under edit. This can be edited totally independent of the document's Separations list.
• The opacity mask colorants are converted to CMYK for visualization purposes to match the output on the RIP. The Densities tool behaves accordingly.
• While in Edit Opacity Mask mode, you can not undo actions that were done before starting the opacity mask editing.
• If you are done changing the Opacity Mask, you can leave Edit Opacity Mask mode by clicking Back to Document in the breadcrumbs or in the Side Panel.
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8.3.8 Edit Path
Using the Edit Path tool, you can change the path of the selected object.
Note: Protected objects (such as unsupported barcodes, Smartmarks, ...), barcodes and text can not be edited. See
on page 69
1. Select the Edit Path tool, either by selecting it in the Tool Switcher (see
page 14) or by its shortcut
P
When the Edit Path tool is active, the anchor points and handles on the selected path will become visible.
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2. The Edit Path tool can be used for several functions : create, move or remove anchor points, select or deselect objects, etc. The function depends on the location you click.
a)
Click or drag objects to select. The tool works the same way as the Object Select tool.
on page 52. Click outside the bounding box of a selection to deselect.
b)
Click on the path to add an anchor point.
c)
Click on an anchor point to (de)select it. Hold the Shift key to select multiple anchor points. You can also drag to select a number of anchor points d) e) Hold the Command (Mac) or Control (Windows) key and use the arrow keys to move the anchor points onto the crosshair, using the bounding box of the selected anchor points f)
Click and drag selected anchor points to move the anchor point(s). Hold down the shift key to constrain the movement to vertical, horizontal or over 45 degrees.
Click and drag one of the handles to move both handles. Hold the shift key to only modify the length of the handle.
g)
Click and drag one of the handles while holding the Alt key to only modify the one handle instead of both.
h) Double-click an anchor point to convert it between a smooth point (with handles) and a corner point (without handles)
8.3.9 Spread / Choke
Using the Spread / Choke function, you can enlarge (Spread) or reduce (Choke) the selected object(s).
1. Select the objects you want to spread or choke
Note: Spread / Choke is not supported on images, barcodes, text and Protected objects.
If your selection contains unsupported objects, you will get a warning when spreading / choking. If your selection only contains unsupported objects, Spread/Choke will be disabled.
2. Open the Spread / Choke window by choosing Object > Spread/Choke or by its shortcut
Cmd+Shift+T (Mac) or Ctrl+Shift+T (Windows)
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3. Using the buttons on the top, choose between Spread and Choke
4. Enter the Distance to be used
5. Select how the sharp corners should be handled:
• Mitered: this option works with a miter ratio. The miter ratio serves to limit the length of the sharp corner (the distance from the base of the trap to the corner point). The default miter ratio value is 4. This means that if the length of the sharp corner is more than 4 times the Distance, then the corner will be cut off (beveled). If it is less than 4 times the
Distance, the corner will be left as it is.
• Round: a round cap will be placed at all corners.
• Beveled: this will cut sharp corners off.
6. Enable Copy if you want to keep the original object as well as the spread / choke.
• Select Behind if you want to place the spread/choke object underneath the original
(default for spreading).
• Select In Front if you want to place the spread/choke object on top of the original
(default for choking).
8.3.10 Protected objects
Protected objects (or "High-level objects" as they were called earlier) are objects saved in the
PDF file, using "Private Data": specific information about the object, written in the PDF file by the PDF file creator. Common examples are
• Unsupported Barcodes: see
on page 92
• Unsupported live text (not in a text box)
• Smartmarks
• Unsupported images, that will be linked instead of embedded.
In ArtPro+, it is not allowed to change these Protected objects: you can not transform them, or
include them in a compound. See also
on page 64
Note: Unsupported images are marked as Protected objects, but they can be transformed.
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You can however
expand a Protected object. See
Expand
Protected objects (see
on page 69), Marks (see
on page 133) and
Forms can be expanded.
To expand all Protected objects in the selection:
• Choose Object > Expand
• Click the Expand button in the Inspector bar.
Expanding these objects will replace them by regular objects (e.g. a Mark can be replaced by a number of rectangles or pieces of text, the placed art in a Form becomes editable) in a group.
Note: The result of expanding can still contain expandable objects. You can apply "Expand" multiple times until the object is completely expanded.
By doing so, the objects become fully editable, but lose the information used to create them.
8.3.11 Clean up Groups and Clipping Masks
To remove redundant groups and clipping masks (e.g. a group as sole component in another group) you can use the Clean up Groups and Clipping Masks function.
1. Select the objects & groups you want to apply the function on.
2. Select Object > Clean up Groups and Clipping Masks
The redundant groupings and clipping masks will be removed, and a message will be shown indicating how many groups and/or clipping masks were removed.
Note: Named groups will not be removed.
8.3.12 Merge similar paths and text
In some situations (e.g. to make a combination between CMYK and spot color), a path or text box can be composed of different identical objects (shape, size and position) on top of each other. For example, a rectangle containing a CMYK color, and an identical object on top, containing a spot color percentage in overprint.
The Merge similar paths and text function allows to combine such objects into one object, whereas the fill will be merged. In the example described above, that would be one object combining CMYK and the spot color fill.
1. Select the objects & text boxes you want to apply the function on.
2. Select Object > Merge similar paths and text
The redundant objects or text objects will be removed, and the remaining object or text box will get the merged fill color. A message will be shown indicating how many objects or text boxes were cleaned up.
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Note: Merging will only be done if this will make no difference to the final result. For example with different blend modes or screening, merging will not be done.
8.4 Changing the Fill and Stroke
8.4.1 Fill Color and Stroke Color Inspector
When one or more objects are selected, the Inspector will show 2 color patches: one for the
Fill
and one for the Stroke . If all selected objects have the same Fill or Stroke, the color patch will give a representation of the Fill or Stroke color. Otherwise, it will show the ≠ symbol.
Note: If the selection only contains one or more barcodes, you will get the Barcode Inspector.
See
You can use the shortcut Cmd+I (Mac) or Ctrl+I (Windows) or click the Fill color patch to open the Fill Inspector.
You can also use the shortcut Cmd+Shift+I (Mac) or Ctrl+Shift+I (Windows) or click the Stroke color patch to open the Stroke Inspector.
The buttons on top of the dialog are:
• None : the object or stroke is empty, and thus completely transparent.
•
• Gradient: a gradation between two colors. See
on page 73.
•
Note: You can toggle between None, Color and Gradient by using the shortcut Cmd+/ (Mac) or
Ctrl+/ (Windows).
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Flat Color
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Below the color patch is a list of the current separations, and the percentage for each separation.
• Enter the percentage for every separation to change the color. You can enter a value, or use one of the shortcuts: a) Enter a followed by a value, to set all separations to that value.
b) enter x to set the value to 100%, or enter ax to set all values to 100%
•
• c) Click the color patch to set the value for that separation to 100%. Clicking it again will switch it between 0% and 100%.
• Click the Color Picker or use the shortcut i (while the Inspector is open) to pick a color from your job. If you click and drag, the Color Picker will show the currently selected color
the same way as the Densities tool. See
on page 38. As soon as you release, the selected color will be set in the Inspector.
Click the All Zero button knock-out for all separations
to make the object(s) or stroke(s) completely white and
Click the Registration Color button to switch to registration color. The dialog will only show one line, and the entered percentage will be used for all separations. The Registration
Color button has changed to this: . Click this button to switch back to normal color.
•
Click the button on the right of the separation name to switch the selected object(s) or stroke(s) to overprinting for that specific separation. The separation percentage field will become empty, and the state will change to overprinting . Clicking the button again will switch back to knock-out and 0% You can also enter t as value to set the separation overprinting. Enter
at to set all separations overprinting.
• If all separations that are unused (i.e. set to 0%) are set to knock-out, you can click the
Set unused separations overprinting button above the separations to change the
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state of all unused separations to an "overprinting" state. If at least one separation is overprinting, you can click the Set overprinting separations knockout button to switch all overprinting separations to knock-out (0%).
Gradient
Gradients are defined by a series of stops along the gradient slider. A stop marks the point at which a gradient changes from one color to the next, and is identified by a square below the gradient slider. The squares display the color currently assigned to each gradient stop. With a radial gradient, the leftmost gradient stop defines the center point’s color fill, which radiates outward to the color of the rightmost gradient stop.
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• Select the type of gradient: Radial or Linear
• Use the Angle field to numerically change the rotation.
• Set up the Color stops:
a) Click a Color Stop to select it and set its color . See
Setting the color of a gradient Color Stop
on page 74 b) Click on the bottom of the bar to add a Color Stop.
c) Click and drag a Color Stop to change its position in between the other Color Stops. This is not possible for the start and end Color Stop.
d) Select a Color Stop and drag while holding the ALT key to duplicate the Color Stop e) Select a Color Stop and click the trash icon or drag it downwards to delete it. You can't delete the start and end Color Stop.
• Set up the
Midpoints
a) Click and drag a Midpoint of the gradient to move it manually.
b) Click a Midpoint to select it, and enter its Position as a percentage. Values between 13% and 87% are allowed.
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c) ALT-click a Midpoint to reset it to 50%
•
Setting the color of a gradient Color Stop
Setting the color of one of the Color Stops of a gradient is the same as setting a flat color. See
on page 72
There are however a few restrictions:
Clicking the
Registration Color button
will change both the begin and end color to registration color (or back to normal color when clicking again)
• A gradient can not go from transparent to knock-out (0% or a specific value). If you set one point to transparent for a separation that is knock-out in the other point, this will automatically change back to knock-out.
• Because of the limitation mentioned above, clicking the
Set unused separations
overprinting button will only change the separations that are unused (0%) in both the begin and end point. Both occurences will change to Transparent.
Manually editing the handle points of a gradient
If you select an object with a gradient, you have one of the selector tools (Object Select tool,
Group Select tool or Transform tool) and the Inspector is open, you can edit the gradient using the handle points in the object itself.
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• Click and drag one of the end points of a linear gradient to move the position of the end point.
• Click and drag the center point of a radial gradient to position the center point within the gradient.
• Click and drag the circumference of a radial gradient to change its size.
• Click and drag the handles line to move the gradient while maintaining the angle and distance between end points
• Click and drag a Midpoint to change its position. ALT-Click it to re-center it in between the two Color Stops.
• Double-click a Color Stop or Midpoint to select it. You can then change its properties (color for a Color Stop, Position for a Midpoint
Pattern
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If you have a pattern filled object selected, you can open the
Pattern Inspector
• You can click the Expand Pattern button to replace the fill with a repetition of the actual objects.
• If the pattern is colored, you get a preview of the pattern, but can't change it.
• If the pattern is uncolored, the pattern inspector will show 2 thumbnails, and you can set the color for the pattern yourself.
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8.4.2 Stroke Inspector
Using the Stroke Inspector, you can change the size and shape of a stroke
1. Open the Stroke Inspector
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2. Define the Weight of the stroke. Enter a number to use the default unit, or add the unit and
it will be converted to the default unit. See
on page 18. You can enter zero or leave the field blank to swith to "no stroke".
3. Select the shape of the End Caps:
• With Butt Caps the stroke is squared off at the end point of the path.
• With Round Caps, a semicircular arc with diameter equal to the line width is drawn around the end points of the line, thus prolonging it.
• With Projecting Caps the stroke continues beyond the end point of the path and is squared off at a distance equal to half the line width.
4. Select how the sharp corners should be handled:
• Mitered: this option works with a miter ratio. The miter ratio serves to limit the length of the sharp corner (the distance from the base of the trap to the corner point). The default miter ratio value is 4. This means that if the length of the sharp corner is more than 4 times the Distance, then the corner will be cut off (beveled). If it is less than 4 times the
Distance, the corner will be left as it is.
• Round: a round cap will be placed at all corners.
• Beveled: this will cut sharp corners off.
5. Enable Dashed to create a dashed stroke
• Define the size of the dash and the size of the gap
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• If you want to add another combination of dash and gap, click the + button. To remove a combination, click the - button
• Enter an Offset distance to modify the starting point for the dashes & gaps.
8.4.3 Transparency Inspector
The Transparency Inspector shows the transparency settings of the currently selected object or group. Keep in mind that although group and object transparency can be combined, the inspector will show either the group or the object transparency, depending on the selection.
Note: You can use the Breadcrumbs to see or change the current selection.
Object Transparency Group Transparency
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Blend Mode
A Blend Mode makes a combination between the blend object (object on which the blend mode is applied) and a base object (underneath the blend object), resulting in a blend color.
The final result will depend on the base object, the blend color and the opacity (see below)
Note: Non-separable blend modes (Hue, Saturation, Color and Luminosity) require all 4 process separations. If these separations are not present, using a non-separable blend mode will add them.
Opacity
The Opacity defines how much of the Blend result will be used. If the Opacity is 100%, the result will be 100% of the Blend result (as described above). If the Opacity is e.g. 60%, the final result will be 60% of the Blend result (not the color of the object to be blended, but the resulting Blend color) and 40% of the original Base color.
Opacity & Mask Define Knockout Shape
The Opacity & Mask define knockout shape option only affects the combination of objects with an Opacity mask, inside a group with the Knockout Group option. The result will be that, instead of knocking out completely, the object with the Opacity Mask will be knocked out based on the Opacity Mask and the Opacity value.
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Isolate Blending
When an object inside a group has a blend assigned to it, this will affect all objects underneath. If the Isolate Blends option is on, blends assigned to objects inside a group, are only calculated to objects within the same group and not to objects outside the group. The opacity however will also affect the objects underneath.
Knockout Group
With the Knockout groups option on, objects inside the group will only interact with what’s behind the group - not with other elements inside the same group. This means that all blending and opacity calculation is done between the object (which is inside the group) and the group’s background (which is outside the group).
Note: A group without transparency (shown as "Group" in the breadcrumbs, and not as
"Transparency Group") will inherit the Knockout Group setting from the Transparency Group it is part of.
Clear Transparency
Clicking the Clear Transparency button will set the Blend Mode to Normal, set the Opacity to
100% and deselect all options. The Transparency Group will become a normal Group again, so the Knockout Group option will again be inherited (see above).
Opacity Mask
If an Opacity Mask is selected, the Transparency Inspector will contain the
Edit Opacity Mask
button, Release Opacity Mask button, a preview of the mask, the Clip option and Invert
on page 65
8.5 Creating objects
8.5.1 Create Rectangle / Create Ellipse
Using the Create Rectangle or Create Ellipse tool you can create rectangles, squares, ellipses and circles.
1. Select the Create Rectangle or Create Ellipse tool
• By selecting the tool from the Tool Swicher. See
• By using the shortcut S.
Note: If another tool is active, the shortcut S will select the Create Rectangle tool. If the
Create Rectangle or Create Ellipse tool is active, using the shortcut will switch between
Create Rectangle and Create Ellipse.
2. Click and drag to create a rectangle or ellipse
• By default, a rectangle or ellipse is created from the corner point. In other words, the point you start dragging will be one of the corners of the rectangle or bounding box of the ellipse. Hold the ALT key to create the shape from the center point
• Hold the Shift key to create a constrained shape, i.e. a square or a circle.
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• Hold both the ALT and the Shift key to create a constrained shape from the center point.
The shape you create will follow the angle of the Crosshair. See
on page 30
The created object will take the fill and stroke of the active selection at the time of creation. If nothing is selected, the new shape will have a 100% fill of the darkest color, and no stroke.
The new object will be screened using the default screen set, when available.
8.5.2 Shaper
Using the Shaper tool you can make combinations of existing objects
1. Select one or more objects
2. Choose Object > Shaper , click the Shaper button or use its shortcut Cmd+E (Mac) or Ctrl
+E (Windows) to open the Shaper window.
3. If you want to create new objects based on the Shaper operation, select Work on a copy in
active layer. If you want to modify the selected objects, leave the option disabled.
4. Click the button or apply the shortcut of the operation you want to perform:
• Unite combines your selected objects into a single shape. Shortcut 1.
• Intersect keeps the areas where objects are stacked on top of each other. Shortcut 2.
• Exclude keeps the areas where an odd number of objects are stacked on top of each other. Shortcut 3.
• Minus Front keeps the areas of the bottom shape which are not overlapping with the overlying shapes. Shortcut 4.
• Minus Back keeps the areas of the top shape which are not overlapping with the underlying shapes. Shortcut 5.
• Divide creates a group of individual areas filled with 100% of the darkest document separation. This can be used to prepare your White Underprint shapes. Shortcut 6. This function does not include open paths or objects without fill and stroke paint.
8.6 Working with Text
ArtPro+ contains basic text editing functionality.
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You can select a text box or text inside a text box and edit its properties in the Text Inspector, as well as creating and editing text boxes.
8.6.1 Text Inspector
Using the Text Inspector, you can check and change the parameters for the currently selected text.
1. Select the text you want to check or change
• Select text boxes using the regular selection tools
• Use the Text Tool and select a portion of the text.
2. Open the Text Inspector
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3. Select the Font Family and Font Style.
The Font Family dropdown will show all fonts used in the current document on top, and all available system fonts underneath.
4. Define the Font Size, Leading, Kerning, Tracking and Level.
For Font Size, Leading and Level, you can enter a number to use the default Font unit, or add the unit and it will be converted to the default unit. See
on page 18
5. Set the Horizontal Scaling. A negative value will flip the text.
If you scale text using the transform tools, the Font Size and Horizontal Scaling values will be adjusted accordingly.
6. Using one of the buttons, you can set the Alignment: Left, Central, Right, Justify only full lines or Justify all lines.
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7. Set the Indentations: Left, Right, First Line Indent and First Line Gap (distance above the paragraph).
8. Define the Word and Letter Spacing
8.6.2 Text Box Transformation Inspector
The Transformation Inspector shows information on the size and position of the selected text box. You can also use it to do basic transformations on the text box. For more elaborate
transformations, you can use the numeric transform function. See
on page
61.
1. The reference point on the bounding box of the text box used to determine the position
(see below) and when changing the size while the crosshair is hidden.
2. The position, horizontal and vertical, of the center of the crosshair to the selected reference point. If the crosshair is not visible, the top left corner of the mediabox is used instead. You can move the text box by entering a different distance.
3. The size of the text box. You can change the size by entering a different size. If the two values are linked, changing one value will also change the other. The center of the crosshair is used as point of origin. If the crosshair is hidden, the reference point is used instead.
8.6.3 Using the Text Tool
Using the Text Tool you can create or edit a text box, and edit text in a text box.
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1. Select the Text Tool from the Tool Selector or by its shortcut T. You can also activate the
Text Tool by double-clicking a Text Box using any selection tool (Select Group, Select Object or Transform).
Note: If the Text Tool is active, all text boxes are highlighted, so you can see where live text is located.
2. Click and drag to create a new text box, or click inside a text box to start editing it.
Note: If you create a new text box, it will use the system default font (Helvetica on Mac,
Arial on Windows) in 100% of the darkest ink in the document. However, if you have a text box selected when creating a new text box, the properties and fill of that text box will be used in the new text box.
3. Edit the text inside the text box (see
on page 83) or click and drag one of the handles of the text box to change the text box.
4. Select another tool or use the esc key to exit the text editing mode.
Note: If there are any problems displaying, editing, embedding or saving the font information, a warning will be shown.
Editing text
When you are in text edit mode, you can change the content of the active text box
1. You can select text by click and dragging, or by one of the specific text selection functions.
Selecting text inside a text box
on page 83
2. You can select text and remove it using the backspace or delete key
3. You can type to add text.
4. You can Cut, Copy and Paste text, even across multiple documents and multiple editors
5. You can use the Text Inspector to change the properties of the selected text. See
on page 81
Selecting text inside a text box
While in text edit mode, there are different ways to select parts of the text box.
• Click and drag to select a specific portion
• Drag while holding the ALT key to select full words when dragging horizontally, or full paragraphs when dragging vertically
• Use Shift + Left or Right arrow to select a single character
• Use Shift + ALT + Left or Right arrow to select a full word at a time
• Use Shift + ALT + Up or Down arrow to select a full paragraph at a time.
• Use Cmd + A (Mac) or Ctrl + A (Windows) to select all text in the text box.
• Use Cmd +Shift + A (Mac) or Ctrl + Shift + A (Windows) to deselect all text in the text box.
• Double-click to select a full word, triple-click to select the full paragraph, or quadruple-click to select all text in the text box.
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Merging text boxes
You can merge different text boxes into one single text box.
1. Use one of the selection tools to select the text boxes you want to merge
2. Choose Object > Text Box > Merge
When possible (i.e. the text boxes are close enough, yet not overlapping), the selected text boxes will be replaced by one single text box. If no merging is possible, a warning will be shown.
When trying to merge more than 2 text boxes, all text boxes that can be merged (see above) will be, and other text boxes remain unchanged.
Splitting a text box
You can use the Split function to split a text box
1. Use the Text tool to activate the text box you want to split.
2. Place the cursor in the text where you want to split the text box, or select the text you want to put in a separate text box
3. Choose Object > Text Box > Split
The text box will then be split in two or (if you selected text in the middle of the text box) three separate text boxes, each keeping the text properties and visual appearance of the original.
8.7 Working with images
8.7.1 Place
You can place an image file in your current document
• By selecting File > Place .
• By its shortcut Cmd+Shift+P (Mac) or Ctrl+Shift+P (Windows).
You can place images as linked images by enabling the Link Images option in the Place dialog.
If the option is disabled, the image will be embedded.
ArtPro+ can place TIFF files, PSD files, and Barco .ct files.
• Only CMYK and DeviceN images are supported. Other types, e.g. RGB, will not be placed, and a message will be shown.
• If you place an image that contains inks not in the current document, these ink(s) will be added to your document. When doing so in a Normalized PDF, saving the file will warn you that the default screening will be applied to unscreened objects.
You can also place Barco .LP files. These always use the Black separation.
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Important: When saving a PSD file in Adobe Photoshop, make sure to enable the "Maximize compatibility" option. Files saved without this option might not open correctly. The option can be found when saving, or in Preferences > File Handling > File Compatibility > Maximize
PSD and PSB File Compatibility
8.7.2 Image Inspector
If the selection contains an image, the Image Inspector will be available.
The Image Inspector will show all properties of the selected image:
• the Color Space: Bitmap, Grayscales, CMYK, Multichannel, RGB or Lab
• the ICC Profile used in the image
• the Pixel Size
• the Resolution in ppi. If multiple images are selected, the minimum and maximum resolution are shown.
• Transparency: does the image contain a transparency (Alpha) channel, yes or no.
• The
Opening images in an external editor
Note: The resolution used is the output resolution, after the scaling of the image
For Linked images, you will also see:
• File Name: the name of the linked image. If the name is underlined and blue, the name works as a link to open the file location in Finder (Mac) or Windows Explorer (Windows). If the name is underlined but gray, it means the link can (temporarily) not be found.
• The
on page 89
• (Embed and) Unlink. See
on page 88
For embedded images, you will also see:
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• Extract and Link. See
8.7.3 The Channel Mapping Inspector
If the selection contains one image (or multiple copies of the same image), the
Channel
Mapping Inspector will be available. This can be used to remap an image channel to another ink, invert a channel or change its Density. Mapping a channel onto a (different) separation means the data of that channel will be used for output on the specified separation. In the example underneath, the data of the Black channel of the image will be output in the brown
Pantone separation
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• For every separation, you can define what channel of the image you want to use. You can also define the channel you want to use as Transparency channel. See
Using a Transparency channel
.
a) Click in the Image Channel column and select the channel you want to use from the dropdown. All channels found in the image will be available in the dropdown.
b) Enter a percentage between 0% and 100% in the Density field to set the maximum
Density for the channel.
• Enter a followed by a value, to set all separations to that value.
• enter x to set the value to 100%, or enter ax to set all values to 100%
• Click the color patch to set the value for that separation to 100%. Clicking it again will switch it between 0% and 100%.
c) Click the Invert button to invert the channel
•
Click the Registration Color button to switch to registration color. The dialog will only show one line, and the selected channel and density percentage will be used for all
ArtPro+
8 separations. The Registration Color button has changed to this: switch back to normal color.
. Click this button to
• For separations that don't have a channel assigned, you can click the overprinting button
on top of the column, or next to any of the unmapped separations, to switch all unmapped separations to overprinting . Clicking one of the buttons again will switch them all back to knock-out.
For embedded images, the origin of the channels can't be kept, so when you save, close and reopen a file with embedded images, the channel names will match the separation names again - even if these channels were originally taken from another separation. E.g. if you map the Cyan channel onto the Magenta separation, the name of the channel will remain Cyan while you are still working on the file. Once you've saved, closed and reopened it, the channel for the Magenta separation will be called Magenta (but contain the data from the original Cyan channel).
For images that are linked (both in Normalized PDF and PDF+), ArtPro+- remembers the origin of the channels, so even after saving, closing and reopening, you will still see the original name of the channel. So in the given example, the channel for the Magenta separation will still be called Cyan after a save, close and reopen. This will allow to apply the same channel mapping
on page 90
Using a Transparency Channel
In the Channel Mapping Inspector, you can set any image channel as Transparency channel.
1. Use the Density percentage field to reduce the opacity.
2. Click the Invert button to invert the channel. Inverting is done before applying the density.
3. By default, the transparency channel is only applied on the base color space, so typically on the CMYK channels, and not on the spot color channels. You can however change this by opening the channel selection dropdown and choosing
(Do not) Apply transparency
on this channel. The icon in front of the channel will change indicating the transparency is applied or not
• This option is only available if a Transparency channel is set.
• This setting applies to wherever the channel is used. A channel mapped on multiple separations can only have one setting
• If you change the setting so it doesn't conform to the Photoshop model (i.e.
transparency applied on a spot color, or transparency not applied on a process separation), Edit in Editor will not be available.
8.7.4 Linked and Embedded images
Images can be linked (i.e. the reference to the external file is saved in the file), embedded (the actual image information is saved in the file) or both.
When saving normalized PDF, embedded images are saved as embedded images, and linked images are saved as linked images.
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on page 24) file containing linked images, a full
resolution embedded version of the image will also be saved in the file, so when opening a
PDF+ file that contains linked images that can't be found, you can choose to browse for them, continue to open the file while ignoring the broken link for now, or unlink the images and keep using the embedded version. When opening a file, if the linked image and embedded image are no longer in sync, you can choose to update the embedded version to the external file, ignore the difference or unlink and keep using the embedded version.
• When placing an image, you can enable Link Images to place the image linked, or you can
deselect it to embed the image. See
on page 84
• You can extract an embedded image and make it linked using the
Extract and Link
• You can unlink a linked image using the Unlink function. For Normalized PDF files, this means removing the link and embedding the image. In case of PDF+, the image is already
embedded, so this will only remove the link. See
on page 88
Extract and Link
Using Extract and Link you can extract the embedded image and replace it by a linked image.
to the location where you want to save the linked image. By default, ArtPro+ will suggest to save the file as a TIFF, however PSD can be available as option too, depending on the contents of the image.
1. Select the embedded image you want to extract
2. Select Object > Image > Extract and Link or click the Extract and Link button in the
Image Inspector
3. Set the location and file name to save the image to disk. By default, the job name is used as file name.
The image is saved to disk, and this image is then used as linked image.
Unlink / Embed and Unlink
Unlink (for PDF+) and Embed and Unlink (for Normalized PDF) will remove the link to the image file on disk and only keep an embedded version of the image in the document
1. Select the linked image you want to embed
2. Select Object > Image > Unlink or Embed and Unlink, or click the (Embed and) Unlink button in the Image Inspector
Missing and out-of-date images
When opening a file containing linked images, ArtPro+ will try to find the linked images. If the file is a PDF+ file, containing both a link and an embedded version, ArtPro+ will also check if the embedded version matches the linked image.
In case images are not up to date or can't be found, you will get a warning, indicating which images can't be found, or for which images the embedded image doesn't match the linked image.
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You can then choose how to handle these images:
• Click Unlink to remove the link to the images on disk, and keep using the embedded version.
• Click
Ignore to use the embedded version of the images but remember the link. You can use this option e.g. if the image is temporarily unavailable.
• Click Browse and Update to browse to the linked images (if they are missing) and update the embedded version.
Update images
Update will check if the image on disk has been changed, and if so, update the preview in the document.
You can either choose Object > Image > Update , click the Update button in the Image
Inspector, or select Update in the fly-out menu of the Images Side Drawer.
If the image cannot be found at the moment the image is selected in the document, the
Update button in the Image Inspector will be replaced by a Browse button, allowing to relocate the missing image.
If the updated image contains less or more channels than the original, you will be informed about it. If there are now less channels than in the original, the obsolete channels are removed from the image channels list in the Channel Mapping inspector. If the updated image has extra image channels, they will appear in the image channels list in the Channel Mapping inspector, but won't be used in the channel mapping automatically.
8.7.5 Opening images in an external editor
Images placed in ArtPro+ can be easily edited in an external editor, and the changes can immediately be applied in ArtPro+.
1. If necessary, define the External Editors for Images in the Preferences. See
page 18. If it is already defined or if you want to use the default image editor, you can skip this step.
2. Select the image you want to open in the external editor, and do any of the following:
• Alt-double-click the image
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• Alt-double-click the "Image" breadcrumb.
• Select Object > Image > Edit in Editor
• In the Image Inspector, click
Edit in Editor
For an embedded image, a temporary copy of the image will be opened in your external image editor. For a linked image or if both are available (PDF+), the external file is opened.
3. Apply the desired changes to the image, and save it.
4. Switch back to ArtPro+. A message will inform you that an image was edited, and you can see all changes are applied on the image.
Note:
If the number of channel is changed and saved, the behavior will be the same as when
8.7.6 Replacing an image
You can simply replace an image without having to place (and scale, position,...) the image again.
1. Select the image you want to replace, or multiple instances thereof.
2. Select Object > Image > Replace... and navigate to the correct image. You can only select supported image file types. See
3. If you want the new picture to be linked, enable the Link option. If you want the new picture to be embedded, disable it. By default, the option will be enabled if the image you are replacing is linked, and it will be disabled if it is embedded.
4. Click Open.
The selected (copies of the) image willl be replaced. Position and dimension of the replaced image are kept. If the new image has different proportions than the replaced image, it is scaled non-proportionally to fit the dimensions.
If the image you replace is a linked image, the channel mapping is kept and applied on the replaced image.
8.7.7 Images Side Drawer
The Images Side Drawer shows a list of all images used in the document. You can open it by clicking the
Images button in the upper toolbar.
For every image, you get a preview, the name of the image (or "Embedded Image x" for embedded images), resolution, pixel size, dimensions and color space. In case multiple copies of the same image are used, you can expand and collapse the list of all copies, each with their properties, by clicking the triangle.
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Using the buttons below the list, you can sort the images by name, by resolution or by color space.
You can select one or more images in the list, and the corresponding objects in the document will be selected as well.
If the Zoom to Selection option is enabled, clicking an entry displays the selected image(s) as big as possible in the active window.
From the fly-out menu, you can apply actions on the selected images:
on page 88
on page 89
• Unlink: see
on page 88
• Replace: see
on page 90
Opening images in an external editor
Using Show/Hide Info of All Copies you can expand or collapse the information on the individual copies of all images.
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9. Prepress functions
Next to the normal editing functions, ArtPro+ contains a number of specific Prepress functionality, such as Barcodes, Screening, etc.
9.1 Barcodes
You can create a new barcode by using the
page 92
Barcodes created in ArtPro+, or supported barcodes in an opened file can be edited by
selecting it and changing its settings in the Barcode Inspector. See
on page 93
Supported barcodes:
on page 93 are supported in the following cases:
• if they were created in ArtPro+
• if they were generated by PackEdge or DeskPack and saved in Normalized PDF files
• if they were generated in ArtPro and saved as ArtPro file
Currently not supported:
• Barcodes generated by other applications, in non-normalized PDF
• Barcodes created in ArtPro and saved as PDF
• Other types of barcodes
Regenerating barcodes
Barcodes created in other applications are kept unchanged after opening the file. However, if you change one of the parameters, or scale the barcode, the barcode will be regenerated. In some cases this will cause a change in the visual appearance of the barcode:
• Barcodes in ArtPro can have options that are not supported in ArtPro+, such as corner marks. A warning will be shown when opening the file. These unsupported options can disappear when the barcode is regenerated.
• Barcodes generated by ArtPro can also have a slightly different appearance than those generated in other Esko applications like ArtPro+, DeskPack or PackEdge: the Light Margin
Indicator has a slightly different shape, small differences in text spacing for Code 39 codes, etc. The appearance will be adjusted when the barcode is regenerated.
• Also for barcodes coming from other applications, there might be a change in the visual appearance after regenerating, for example if the barcode was written incorrectly or inaccurately.
9.1.1 Create a barcode
You can create a new barcode in different ways:
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•
Click the Create Barcode button
• Select Prepress > Add Barcode
.
• Use the shortcut Cmd+Shift+B (Mac) or Ctrl+Shift+B (Windows)
If the Crosshair is visible, the barcode will be created at the center of the Crosshair. If the
Crosshair is hidden, the barcode will be created on the center of the document pane. By default, the barcode is an EAN-13 code, uses all zeros as code, and is colored in the darkest printing separation. You can change its settings afterwards in the Barcode Inspector. See
on page 93
9.1.2 Edit a barcode
If you select one or more barcodes (and no other objects), you can use the different barcode related Inspectors.
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If all selected barcodes have the same value (e.g. code, Magnification, ...), the Barcode
Inspector will show this value. Otherwise, it will show the ≠ symbol.
1. Click the color patch to change the color of the barcode, and use the Transparency inspector to change the transparency settings. See
on page 78
2. Set the Code Type in the Barcode Type Inspector.
Depending on the selected barcode, an additional setting can be made, such as
Supplemental Digits or Code Set. Check
on page 93
3. Set the Code for the selected barcodes in the Barcode Code Inspector.
For barcodes with a check digit, if you enter a code with a wrong or missing check digit, you will get a warning, and the code will be automatically adjusted. For other barcodes, you can choose whether or not to automatically add a check digit.
4. Click the button showing a few key settings (such as magnification) to open the Barcode
Inspector. The properties in this Inspector define the appearance of the bar code (height, bar with, ...). The available options depend on the selected barcode. Check the properties
5. Click the button showing the currently selected font to open the Barcode Font Inspector.
The properties in this Inspector define the text in barcodes. The available options depend on the selected barcode. Check the properties for a specific barcode in
page 93
9.1.3 The Barcode types
An overview of the parameters and properties per barcode type.
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2 of 5
Info
2 of 5 is a numeric self-checking barcode, which can have a variable length. This barcode only encodes data in the bars. It is used for industrial applications, article numbering, photo development and ticketing.
Example
Input
Check Digit unlimited amount of digits
None
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Narrow Bar Ratio
This parameter determines the ratio between the width of the widest bar and the width of the narrowest bar of your barcode. It does not affect the width of your barcode proportionally.
Changing this parameter will adjust the Narrow Bar parameter.
Character Frequency
This parameter determines the amount of character per milimeter or per inch, depending on the setting in the Preferences (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Narrow Bar parameter. It is only available when using the default font.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
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Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
Code 39
Info
Code 39 is a popular barcode in industrial barcoding systems, mainly in the
U.S.A. It is used in the non-retail industry, particularly in the manufacturing, military, and health sectors. It can encode alphanumeric data.
Example
Input
Check Digit
Maximum 128 characters (digits and capitals)
The automatically added check digit is optional.
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
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Narrow Bar Ratio
This parameter determines the ratio between the width of the widest bar and the width of the narrowest bar of your barcode. It does not affect the width of your barcode proportionally.
Changing this parameter will adjust the Narrow Bar parameter.
Character Frequency
This parameter determines the amount of character per milimeter or per inch, depending on the setting in the Preferences (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Narrow Bar parameter. It is only available when using the default font.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button
Barcode Text Parameters
Add human readable text
you can set one margin for all 4 sides.
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This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
Code 128
Info
Code 128 is a variable length, high density, alphanumeric barcode. It has the second highest density of all the 1D barcodes (after the GS1 Databar
Expanded).
After selecting the barcode type, you can set the Code Set. By default this is set to Automatic. In that case, the encoding type is chosen automatically, to optimize the content encoding. To obtain an optimal utilization of the codesets A and B but prevent the usage of the space saving code-set C, set the
Code Set to Long. Select A or B to force the usage of the specific code-set A or B.
Example
Input
Check Digit
Maximum 128 characters (digits and letters) none.
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Character Frequency
This parameter determines the amount of character per milimeter or per inch, depending on the setting in the Preferences (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Narrow Bar parameter. It is only available when using the default font.
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Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Add light margin indicator
Use this option to add light margin indicators before ("<") and/or after (">") the barcode number
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
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Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
Data Matrix
Info
Data Matrix is used for encoding large amounts of alphanumeric data and / or marking small objects. It can encode all the standard ASCII and extended
ASCII characters.
The Data Matrix symbol size can adjust automatically depending on the amount of data.
Note: ArtPro+ always generates Data Matrix symbols with the recommended ECC200 error correction scheme.
Example
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Input
Check Digit unlimited none
Barcode Parameters
Symbol Size
The amount of Cells in a barcode. The Symbol Size will automatically increase when entering too much data for the curent symbol size.
Cell Size
The size of a single black or white square.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
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Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
EAN-8
Info
EAN-8 is an abbreviated version of EAN-13 (see
use on smaller packages. It contains eight digits of data.
Example
Input
Check Digit
The input for an EAN-8 code is 8 digits.
The 8th digit is a check digit.
Barcode Parameters
Magnification
Use this parameter to increase or decrease the width of the barcode. Changing the
Magnification will also change the Font Size and Vertical Offset.
By entering "0" in the input field, you can reset the Magnification to its default value (100%).
Attention: Changing the Magnification does not change the Height of the barcode.
You can however reset the Height by entering "0". The Height will be proportionally scaled to the current Magnification.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Add light margin indicator
Use this option to add light margin indicators before ("<") and/or after (">") the barcode number
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
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Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
EAN-13
Info
European Article Numbering system or EAN is the standard for article numbering in Europe. It is also used in Japan where it is called JAN.
Note: EAN is the European equivalent of the UPC system in the U.S.A.
and Canada. Both systems use the same size requirements and a similar encoding scheme. This means that most European and American retail barcode scanners can read both EAN and UPC barcodes. For more information on UPC, see
on page 121.
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Example
Input
The input for an EAN 13-code is 13 digits, with optionally 2 or 5 supplemental digits, if set in the Code Type dialog.
Check Digit
The 13th digit is a check digit.
Recommendations• Magnification: between 80% and 200%
Barcode Parameters
Magnification
Use this parameter to increase or decrease the width of the barcode. Changing the
Magnification will also change the Font Size and Vertical Offset.
By entering "0" in the input field, you can reset the Magnification to its default value (100%).
Attention: Changing the Magnification does not change the Height of the barcode.
You can however reset the Height by entering "0". The Height will be proportionally scaled to the current Magnification.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Add light margin indicator
Use this option to add light margin indicators before ("<") and/or after (">") the barcode number
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
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Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
GS1 128
Info
GS1 128 is based on Code 128 but has a double start sequence. See
Example
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Input
Maximum 128 characters (digits and letters)
GS1 barcodes consist of 1 or multiple codes that start with so-called
Application Identifiers (AI) - 2 digit codes that indicate a specific goal. For example: AI 11 indicates a production date, AI 17 an expiration date, AI 10 a batch or lot number, etc. The Application Identifiers require specific input, for example AI 11 and AI 17 are fixed and require 6 digits, AI 10 is variable and can contain up to 20 alphanumeric characters.
If multiple AIs are allowed, they can be entered in multiple ways:
• Just enter the codes one after the other, without any spaces. In this case you should enter fixed size Application Identifiers (AI) first, and AI with a variable length last to allow a correct validation of the barcode.
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Check Digit
• Put the AI between brackets. In that case it is clear where one code ends and another one begins, so variable AIs can be put at the start if so desired.
• At the end of an AI, type "[F1]" before entering the next AI
• For an even higher readability: use Shift-Enter to start a new AI at the next line depending on Application Identifier
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters (
Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
ArtPro+
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Position text above barcode
This option places the text above the barcode instead of below.
Wrap text
This option allows to put the text on multiple lines, one line per AI.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
GS1 Databar Expanded - Expanded Stacked
Info
GS1 DataBar Expanded (formerly RSS Expanded) encodes regular barcode data (“primary item identification” data) and Application Identifiers. It can encode alphanumeric characters.
This barcode can be scanned omnidirectionally by suitably programmed slot scanners.
GS1 DataBar Expanded Stacked can encode the same amount of data as
GS1 DataBar Expanded, but can also “stack” the barcode into several rows to save space.
Example
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Input
GS1 barcodes consist of 1 or multiple codes that start with so-called
Application Identifiers (AI) - 2 digit codes that indicate a specific goal. For example: AI 11 indicates a production date, AI 17 an expiration date, AI 10 a batch or lot number, etc. The Application Identifiers require specific input, for example AI 11 and AI 17 are fixed and require 6 digits, AI 10 is variable and can contain up to 20 alphanumeric characters.
If multiple AIs are allowed, they can be entered in multiple ways:
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Check Digit
• Just enter the codes one after the other, without any spaces. In this case you should enter fixed size Application Identifiers (AI) first, and AI with a variable length last to allow a correct validation of the barcode.
• Put the AI between brackets. In that case it is clear where one code ends and another one begins, so variable AIs can be put at the start if so desired.
• At the end of an AI, type "[F1]" before entering the next AI
• For an even higher readability: use Shift-Enter to start a new AI at the next line depending on Application Identifier
Barcode Parameters
Maximum Row Segments
Use this parameter to define how many segments of data (groups of bars encoding several digits) can fit in one row. If the barcode contains more segments, they will be stacked.
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Barcode Text Parameters
Add human readable text
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This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Position text above barcode
This option places the text above the barcode instead of below.
Wrap text
This option allows to put the text on multiple lines, one line per AI.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
GS1 Databar Omnidirectional
Info GS1 DataBar Omnidirectional encodes Global Trade Item Numbers (GTIN) in a linear symbol that can be scanned omnidirectionally by suitably programmed slot scanners
Example
Input
Check Digit
The GS1 Omnidirectional barcode only allows 1 identifier, of type 01. The input is 14 digits, which means that the Application Identifier itself has to be omitted.
last digit
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
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Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Position text above barcode
This option places the text above the barcode instead of below.
Wrap text
This option allows to put the text on multiple lines, one line per AI.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
GS1 Databar Stacked
Info GS1 DataBar Stacked is a variation of the GS1 DataBar barcode, that is stacked in two rows and used when the normal barcode would be too wide for the product.
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Example
Input
Check Digit
GS1 barcodes consist of 1 or multiple codes that start with so-called
Application Identifiers (AI) - 2 digit codes that indicate a specific goal. For example: AI 11 indicates a production date, AI 17 an expiration date, AI 10 a batch or lot number, etc. The Application Identifiers require specific input, for example AI 11 and AI 17 are fixed and require 6 digits, AI 10 is variable and can contain up to 20 alphanumeric characters.
If multiple AIs are allowed, they can be entered in multiple ways:
• Just enter the codes one after the other, without any spaces. In this case you should enter fixed size Application Identifiers (AI) first, and AI with a variable length last to allow a correct validation of the barcode.
• Put the AI between brackets. In that case it is clear where one code ends and another one begins, so variable AIs can be put at the start if so desired.
• At the end of an AI, type "[F1]" before entering the next AI
• For an even higher readability: use Shift-Enter to start a new AI at the next line depending on Application Identifier
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
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Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Position text above barcode
This option places the text above the barcode instead of below.
Wrap text
This option allows to put the text on multiple lines, one line per AI.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
GS1 Databar Stacked Omnidirectional
Info GS1 DataBar14 Stacked Omnidirectional is taller version of GS1 DataBar14
Stacked, that can be read by omnidirectional scanners.
Example
110
Input
GS1 barcodes consist of 1 or multiple codes that start with so-called
Application Identifiers (AI) - 2 digit codes that indicate a specific goal. For
ArtPro+
Check Digit example: AI 11 indicates a production date, AI 17 an expiration date, AI 10 a batch or lot number, etc. The Application Identifiers require specific input, for example AI 11 and AI 17 are fixed and require 6 digits, AI 10 is variable and can contain up to 20 alphanumeric characters.
If multiple AIs are allowed, they can be entered in multiple ways:
• Just enter the codes one after the other, without any spaces. In this case you should enter fixed size Application Identifiers (AI) first, and AI with a variable length last to allow a correct validation of the barcode.
• Put the AI between brackets. In that case it is clear where one code ends and another one begins, so variable AIs can be put at the start if so desired.
• At the end of an AI, type "[F1]" before entering the next AI
• For an even higher readability: use Shift-Enter to start a new AI at the next line depending on Application Identifier
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
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Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Position text above barcode
This option places the text above the barcode instead of below.
Wrap text
This option allows to put the text on multiple lines, one line per AI.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
GS1 DataMatrix
Info The GS1 DataMatrix barcode is a high density, high capacity, scalable 2D barcode. It is used to concentrate a lot of (alphanumeric) information in a very small space.
Example
112
Input
GS1 barcodes consist of 1 or multiple codes that start with so-called
Application Identifiers (AI) - 2 digit codes that indicate a specific goal. For example: AI 11 indicates a production date, AI 17 an expiration date, AI 10 a batch or lot number, etc. The Application Identifiers require specific input, for example AI 11 and AI 17 are fixed and require 6 digits, AI 10 is variable and can contain up to 20 alphanumeric characters.
If multiple AIs are allowed, they can be entered in multiple ways:
• Just enter the codes one after the other, without any spaces. In this case you should enter fixed size Application Identifiers (AI) first, and AI with a variable length last to allow a correct validation of the barcode.
ArtPro+
Check Digit
• Put the AI between brackets. In that case it is clear where one code ends and another one begins, so variable AIs can be put at the start if so desired.
• At the end of an AI, type "[F1]" before entering the next AI
• For an even higher readability: use Shift-Enter to start a new AI at the next line depending on Application Identifier
Barcode Parameters
Symbol Size
The amount of Cells in a barcode. The Symbol Size will automatically increase when entering too much data for the curent symbol size.
Cell Size
The size of a single black or white square.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Position text above barcode
This option places the text above the barcode instead of below.
Wrap text
This option allows to put the text on multiple lines, one line per AI.
Font Family, Font Style and Size
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By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
Interleaved 2 of 5
Info
Interleaved 2 of 5 (or Int. 2 of 5) is a barcode originally used for transportation packaging, that can have any even number of digits. Since this type of packaging consists mainly of cardboard boxes printed in low quality, the Interleaved 2 of 5 barcode is more tolerant to distortion than other barcodes.
Example
Input
Check Digit unlimited amount of digits
None
Barcode Parameters
Narrow Bar
This parameter determines the width of the narrowest bar of your barcode (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Character Frequency.
Narrow Bar Ratio
This parameter determines the ratio between the width of the widest bar and the width of the narrowest bar of your barcode. It does not affect the width of your barcode proportionally.
Changing this parameter will adjust the Narrow Bar parameter.
Character Frequency
This parameter determines the amount of character per milimeter or per inch, depending on the setting in the Preferences (and affects the width of your barcode proportionally).
Changing this parameter will adjust the Narrow Bar parameter. It is only available when using the default font.
Height
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The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
ITF-14
Info
ITF-14 is a standardized version of the Interleaved 2 of 5 barcode, containing
14 digits, the last being a check digit.
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Example
Input
Check Digit
The input for an ITF-14 code is 14 digits.
The 14th digit is a check digit.
Barcode Parameters
Magnification
Use this parameter to increase or decrease the width of the barcode. Changing the
Magnification will also change the Font Size and Vertical Offset.
By entering "0" in the input field, you can reset the Magnification to its default value (100%).
Attention: Changing the Magnification does not change the Height of the barcode.
You can however reset the Height by entering "0". The Height will be proportionally scaled to the current Magnification.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Printable Gauges
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Use this option to add the printability gauges (“H” marks) either side of your barcode. Use the
Smax and Smin parameters to define the size. Smax defines the width of the left “H”, Smin defines the width of the right “H”.
Add Bearer Bars
Use this option to add bearer bars to your barcode
• Set the Width of the bearer bars
• Define the Placement: either Top and bottom, or all sides
• Use the Top, Bottom, Left and Right fields to add a white margin between your barcode and the bearer bars. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
ITF-16
Info
ITF-16 is a standardized version of the Interleaved 2 of 5 barcode, containing
16 digits, the last being a check digit.
Example
Input
Check Digit
The input for an ITF-16 code is 16 digits.
The 16th digit is a check digit.
Barcode Parameters
Magnification
Use this parameter to increase or decrease the width of the barcode. Changing the
Magnification will also change the Font Size and Vertical Offset.
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By entering "0" in the input field, you can reset the Magnification to its default value (100%).
Attention: Changing the Magnification does not change the Height of the barcode.
You can however reset the Height by entering "0". The Height will be proportionally scaled to the current Magnification.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Printable Gauges
Use this option to add the printability gauges (“H” marks) either side of your barcode. Use the
Smax and Smin parameters to define the size. Smax defines the width of the left “H”, Smin defines the width of the right “H”.
Add Bearer Bars
Use this option to add bearer bars to your barcode
• Set the Width of the bearer bars
• Define the Placement: either Top and bottom, or all sides
• Use the Top, Bottom, Left and Right fields to add a white margin between your barcode and the bearer bars. You can enter a different margin for the top, left, right and bottom, or
you can set one margin for all 4 sides.
by enabling the Lock button
Barcode Text Parameters
Add human readable text
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This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
Alignment
Using the buttons, you can set the alignment of the text to left, centered or right.
Micro QR
Info
The Micro QR Code is a very small QR Code for use on smaller spaces (for example to encode the ID of printed circuit boards and electronics parts).
It works with smaller amounts of data (maximum 35 numeric characters), and uses only one position pattern.
Example
Input
Check Digit
35
None
Barcode Parameters
Symbol Size
The amount of Cells in a barcode. The Symbol Size will automatically increase when entering too much data for the curent symbol size.
Error Correction
Error correction adds check sums to the barcode to detect and correct incorrect data. You can choose one of the following Error correction levels:
• Level L: 7% of codewords can be restored.
• Level M: 15% of codewords can be restored.
• Level Q: 25% of codewords can be restored.
• Level H: 30% of codewords can be restored. (Not available for Micro QR)
Note: Keep in mind that a higher correction level makes the barcode bigger (as more check sums are added to the barcode) and may limit the maximum length of the encoded data.
Cell Size
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The size of a single black or white square.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
QR
Info
The QR barcode is a 2-dimensional barcode used for commercial tracking and convenience-oriented applications aimed at mobile phone users
(known as "mobile tagging").
QR codes storing addresses and URLs may appear in magazines, on signs, buses, business cards, or other objects... Users with a camera phone equipped with the correct reader application can scan the QR code to display text, contact information, connect to a wireless network, or open a web page in the phone's browser.
Example
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Input
Check Digit
Unlimited
None
Barcode Parameters
Symbol Size
The amount of Cells in a barcode. The Symbol Size will automatically increase when entering too much data for the curent symbol size.
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Error Correction
Error correction adds check sums to the barcode to detect and correct incorrect data. You can choose one of the following Error correction levels:
• Level L: 7% of codewords can be restored.
• Level M: 15% of codewords can be restored.
• Level Q: 25% of codewords can be restored.
• Level H: 30% of codewords can be restored. (Not available for Micro QR)
Note: Keep in mind that a higher correction level makes the barcode bigger (as more check sums are added to the barcode) and may limit the maximum length of the encoded data.
Cell Size
The size of a single black or white square.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
UPC-A
Info
Universal Product Code or UPC is the standard for article numbering in the
U.S.A. and Canada. It is similar to the EAN system and compatible with it. For more information on EAN, see
on page 101.
Example
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Input
The input for an UPC-A code is 12 digits starting with a zero, with optionally
2 or 5 supplemental digits, if set in the Code Type dialog.
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Check Digit
The 12th digit is a check digit.
Barcode Parameters
Magnification
Use this parameter to increase or decrease the width of the barcode. Changing the
Magnification will also change the Font Size and Vertical Offset.
By entering "0" in the input field, you can reset the Magnification to its default value (100%).
Attention: Changing the Magnification does not change the Height of the barcode.
You can however reset the Height by entering "0". The Height will be proportionally scaled to the current Magnification.
Height
The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Add light margin indicator
Use this option to add light margin indicators before ("<") and/or after (">") the barcode number
Note: The light margin indicators are only available when using 5 additional digits.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
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Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
UPC-E
Info
Universal Product Code or UPC is the standard for article numbering in the
U.S.A. and Canada. It is similar to the EAN system and compatible with it. For more information on EAN, see
on page 101.
UPC-E is an abbreviated version of UPC-A, for use on smaller packages.
Example
9
Input
Check Digit
The input for an UPC-E code is 8 digits, starting with a zero. You can also enter a 12 digit code, if it can be compressed into an 8 digit code. Optionally
2 or 5 supplemental digits, if set in the Code Type dialog.
The 8th digit is a check digit.
Barcode Parameters
Magnification
Use this parameter to increase or decrease the width of the barcode. Changing the
Magnification will also change the Font Size and Vertical Offset.
By entering "0" in the input field, you can reset the Magnification to its default value (100%).
Height
Attention: Changing the Magnification does not change the Height of the barcode.
You can however reset the Height by entering "0". The Height will be proportionally scaled to the current Magnification.
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The height you enter is the combined height of the bars and the human readable characters.
Your barcode needs to be tall enough to be read easily by barcode scanners.
Bar Width Reduction.
Use this to adjust the width of barcode bars, in order to compensate for ink bleeding when printing on your substrate.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Device Compensation
Use this if your printer gave you a separate device bleed value. This parameter adjusts the bar's width to compensate for bleed caused by the plate or film making process.
Note: If you use both a Bar Width Reduction and a Device Compensation value, the Barcode
Inspector will add them to adjust the bar's width.
Tip: You can enter a negative value if you want to print thicker and not thinner bars.
Snap Bars to Output Resolution and Output resolution
Use this to adjust specific barcode parameters ( Bar Width Reduction, Device
Compensation, Magnification and Font Size) so that the bars' width take up a complete number of pixels or dots.
Enable Snap Bars to Output Resolution and enter the resolution you will use to print your barcode in ppi. Everytime a value is adjusted because of this option, a warning will be shown.
By entering "0" in the input field, you can reset the Output Resolution to its default value
(2540 ppi).
Add Box
Use this parameter to create an opaque white box under your barcode.
Use the Top, Bottom, Left and Right fields to add a white margin around your barcode and make the box bigger. You can enter a different margin for the top, left, right and bottom, or by enabling the Lock button you can set one margin for all 4 sides.
Barcode Text Parameters
Add human readable text
This option defines if the barcode's code should be visible as normal text. By default this option is enabled.
Font Family, Font Style and Size
By default the digits are vectorized from the standard OCR-B font. You can use real text by selecting a font family. You can also define the style and size.
By entering "0" in the Size input field, you can reset the text size to the default value for the selected barcode type.
Offset
Use this parameter to apply a vertical offset to the text of the barcode. A positive value moves the text down, a negative value moves the text up.
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9.2 Screening
In ArtPro+ you can set up object based screening. The document will contain a number of
"Screen Sets" which are saved in the file. Each of the Screen Sets contains specific ruling, angle, dot shape and DGC information for each defined separation.
You can set up the Screen Sets in the
When an object is selected, you can see what Screen Set is applied in the Screening Inspector.
See
Applying a Screen Set to an object
on page 126.
9.2.1 Setting up Screen Sets in the Screening window
In the Screening window, you can define a number of Screen Sets. Each Screen Set defines the ruling, angle, dot shape and DGC for each of the separations.
1. Open the Screening window.
•
Click the Screening button
• Choose Prepress > Screening
•
• Use the shortcut Cmd+ALT+S (Mac) or Ctrl+ALT+S (Windows)
From within the Screening Inspector, click the Manage Screen Sets button .
2. In the Screen Sets list on the left, click the + button to add a new Screen Set, or the - button to remove the selected Screen Set.
Note: If you create a new screen set, the currently selected screen set will be duplicated.
If no screen set is available, a default screen set using a 120lpi ruling and offset angles is created.
3. Double-click the name of a Screen Set to rename it
4. Set the star in front of the Screen Set you want to use as Default Screen Set. The default is applied to all unscreened objects when saving Normalized PDF, and to Mask objects when an opacity mask is released.
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Note: When opening a Normalized PDF, the most used Screen Set will be the default screen set, unless a default was defined already. When opening an ArtPro file, ArtPro+ will determine the default screen set based on the screen name. If that doesn't work, the first screen set will be used.
5. To edit one Screen Set, select it in the Screen Sets list, and change its settings on the right hand side: a) Set the Ruling in lines per inch (lpi). You can enter the ruling in lines per centimeter by adding the unit "lpcm" to the value. It will be converted to lpi.
b) Set the Angle to be used for each separation.
c) Set the Dot Shape. The dropdown contains the most common Esko supported dot shapes, but you can manually enter the dot shape name as well. You can easily search a specific dot shape by typing the first letters.
d) Set a Dot Gain Curve DGC by selecting it from the dropdown, or by entering it manually.
In case you select a PressSync curve, you can also define a percentage between 20 and
70%.
e) You can set the Ruling, Dot Shape and DGC for all separations at once by using the All row.
6. To save all defined Screen Sets in a Screen Preset, for example to be reused in other documents, click the Save Preset... button, and define the name for the Screen Preset.
7. To load the Screen Sets saved in a Screen Preset, click the Load Presets... button and select the Screen Preset to load. The Screen Sets in the Preset will be merged with the current
Screen Presets: if a Screen Set with the exact same name and settings already exists, the
Screen Set will not be created.
Note: Only Esko supported dot shapes are recognized. Other dot shapes will come in as
"Standard PDF". In PDF+, if no dot shape is specified, this will also be shown as "Standard PDF" after saving and reopening the file.
9.2.2 Applying a Screen Set to an object
You can see what Screen Set is applied in the
Screen Set Inspector
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1. Select one or more objects.
2. Click the Screen Set Inspector at the right side of the Inspector bar.
The Screen Set Inspector will show what Screen Set is currently used, and lists all available
Screen Sets.
3. Select a Screen Set to apply it to all selected objects.
4.
To edit the Screen Sets, click the Manage Screen Sets button
on page 125
Note: If the selected objects use different Screen Sets, the Screen Set Inspector button will show "≠", and all Screen Sets used in the selection will have a checkmark.
9.3 Ink Coverage
Using the Ink Coverage menu you can calculate the surface ink coverage for the active job.
The total surface of the job and the surface covered by each separation is calculated. The results are displayed in the unit defined in Preferences (see
on page 18), as well as in percent.
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Ink coverage is only calculated inside the border set using the dropdown, so if the border is set for example to trim box, it does not include any bleed or other elements outside that size.
Note: Invisible layers are excluded from the calculation. However, invisible Separations or non-printing layers are included.
9.4 Trapping
Using the Trapping tool, you can add traps.
1.
Click the Trapping button
(Windows) to switch to Trapping mode
or use the shortcut Cmd+T (Mac) or Ctrl+T
2. Define the size of Gaps you want to automatically close, and click Enter Trapping Mode.
• All layers are grouped in one single layer named "Artwork"
• Functions not relevant for trapping will not be available. For example Page Boxes are hidden, Separations can be viewed but not edited, other tools except Densities and
Dimensions are disabled, Compare in Quality Control is disabled, etc.
• The Trapping settings are shown at the bottom of the workspace. See
3. While in Trapping mode, you have different tools available from the tool selector to create your traps.
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4.
1. The Trap tool and Trap Similar tool, shortcut T. When switching to Trapping mode, the
Trapping tool will be activated automatically. See
2. The Trap + Pullback and Trap + Pullback Similar tool, shortcut B. See
on page 132
3. The Pullback and Pullback Similar tool, shortcut B. See
on page 131
4. The regular Densities and Dimensions tool, shortcut D. See
on page 38 and
on page 37
5. The regular Zoom and Pan tool, shortcut Z. See
on page 30
If you are done creating traps, you can click the Trapping button the Leave Trapping Mode button in the side panel to exit Trapping mode
again or click
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Trap objects will use a Darken blend mode, and are placed in a layer "Trap Layer x"
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9.4.1 Trapping / Pullback Settings
When in Trapping mode, you can set the Trapping and/or Pullback settings at the bottom of the workspace.
• Distance: the size for the trap. Enter a number to use the default unit, or add the unit and it
will be converted to the default unit. See
on page 18.
• Truncate: ArtPro+ can truncate the trap so that it doesn’t stick out on another color. There are two truncation modes:
• On Edge (A): when a portion of a trap comes too close to the contour of another object, it is truncated on the other object’s edge.
• On Center (B): when a portion of a trap comes too close to the contour of another object, PowerTrapper Standalone limits it to half the distance between the trapped object and the other object.
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• Joins:
• A Mitered corner closes in one point. A Miter limit of 4 is used. This means the corner will be cut off at a distance of 4 times the trapping distance.
• A Rounded corner joins the corners with a circular arc with the diameter equal to the trapping width.
•
End Caps: This option specifies how to shape the ends of an open trap.
•
Square: this option ends the trap at right angle to the adjoining object.
• Round : this rounds the ends of the trap. This option is typically only used in combination with white knockout (reverse trapping).
• Keep: the color that will be kept (i.e. not pulled back) when applying a pullback. Hold Shift to select multiple colors.
ArtPro+
• If the Link option is enabled, Trapping and Pullback parameters are kept the same.
9.4.2 Trapping tool
The Trap tool allows to create traps from one object to another.
Using the Trap Similar tool applies the trap to the edge you selected, but also to all edges of the same color combination. You can temporarily switch to the Trap Similar tool by holding the
Shift key.
The shortcut T will toggle between Trap and Trap Similar.
• Click and drag from one object to a neighbouring object to create a trap. If a trap is possible, the arrow you drag will have a solid line. Otherwise, it will be dashed.
• Click and drag in the opposite direction to change the direction of a trap. You don't need to remove it first.
• After changing the Trapping Settings, you can click and drag over an existing trap again to apply the new settings.
• Hold the ALT key to remove a trap. The cursor will change to a cross. Click and drag over an existing trap to remove it.
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9.4.3 Pullback tool
The Pullback tool allows to create pullbacks. An ink pull back keeps away all but the darkest ink of a color area composed of multiple inks that borders to a very light background. It prevents individual inks from the composed color to become visible on the background due to registration errors during the printing process. Ink pull backs are also known as “Cutbacks” or
“Keepaways”.
The example below shows an object with 100% dark blue and 50% magenta on an empty background (1). If misregistration occurs, a magenta line might be visible (2). 50% magenta is pulled back and a fine line of 100% dark blue remains (3). In this case, misregistration will not cause any magenta lines (4). The color that remains (dark blue) is the Keep ink.
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Using the Pullback Similar tool applies the pullback to the edge you selected, but also to all edges of the same color combination. You can temporarily switch to the Pullback Similar tool by holding the Shift key.
The shortcut P will toggle between Pullback and Pullback Similar.
• Set the Keep ink (i.e. the ink that is not pulled back) in the Pullback Settings by clicking the ink you want to keep. Shift-click to select more than one ink. You can also press K to open a separate Keep Color selector.
• Click and drag from one are to a neighbouring are to create a pullback. If a pullback is possible, the arrow you drag will have a solid line. Otherwise, it will be dashed.
• After changing the Pullback Settings, you can click and drag over an existing trap again to apply the new settings.
• Hold the ALT key to remove a pullback. The cursor will change to a cross. Click and drag over an existing pullback to remove it.
In case the "rich" color touches a colored background (e.g. yellow), it is advised to use
Trap and
Pullback. See
on page 132
9.4.4 Trap and Pullback tool
The Trap and Pullback tool allows to create pullbacks and a trap in the same pass.
A normal pullback keeps away all but the darkest ink of a color area composed of multiple inks. However, if this "rich" color borders another (light) color (1), the pullback will pull back the other colors (2). In case of misregistration of the dark blue, a white line might become visible
(3). Trap and Pullback will pull back all inks except the Keep ink, and trap the light color in the pullback (4), so that no white lines can be seen in case of misregistration. (5)
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Using the
Trap and Pullback Similar tool applies the trap and pullback to the edge you selected, but also to all edges of the same color combination. You can temporarily switch to the
Trap and Pullback Similar tool by holding the Shift key.
The shortcut
B will toggle between Pullback and Pullback Similar.
• Click and drag from one are to a neighbouring are to create a trap and pullback. If a trap and pullback is possible, the arrow you drag will have a solid line. Otherwise, it will be dashed.
• After changing the Trapping or Pullback Settings, you can click and drag over an existing trap and pullback again to apply the new settings.
• Hold the ALT key to remove a trap and pullback. The cursor will change to a cross. Click and drag over an existing trap and pullback to remove it.
9.5 Marks
Using the Marks, you can create sets of marks, add them in a document, and have full control over these marks.
Important: You can only create and apply marks in a PDF+ file. Marks are not supported in
Normalized PDF files.
The marks in your document are shown in the Marks section of the Side Panel.
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The Marks list shows all marks in your document. The Type icon indicates what type of mark it is: a custom mark or a text mark.
• Click the Selection icon in front of a mark name to select the mark in your document, e.g. to
change its color or position. See
on page 134
• Double-click a mark to change its name
• Click the Load Mark Set button to save or load a Mark Set. See
on page 141
• Click the Create Mark from current selection button to create a mark based on the
• Select a mark in the list and click the - button to delete the mark.
• Select Delete all Marks from the fly-out menu to remove all marks in the document.
• Marks can be
expanded into 'normal' objects. See
on page 70
Warning: In ArtPro+ 16, it is strongly advised to only expand ALL Marks at the same time. Expanding one or more marks separately might give unexpected results.
9.5.1 Create a custom mark
You can create a mark based on the selected object(s)
1. Select the object(s) you want to convert into a mark
2. Click the Make Mark button
The selected objects will be put in one single group, and become a Dynamic Mark. The properties of the newly created mark will be based on the objects used to create it.
In case you only had a text element selected, the mark will be a Text Mark. In all other cases, it will be a Custom Mark.
9.5.2 Mark properties
The properties of a selected Mark can be set in different places:
• The
Fill and Stroke Inspector will contain some specific settings for Marks. See
on page 135
• The
Transformation Inspector allows to change the positioning of the Mark. See
on page 135
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• For a Text Mark, the Mark Text Content Inspector can be used to change the text in the
Mark. See
on page 137
The color of a mark
Important:
To make sure your marks are visible when they are being created, it is advised to create custom marks while there are no unused inks in the document.
Keep in mind that a separation that is only used in the object you turn into a mark will also become unused by doing so. It is advised to avoid this by making sure the separations are also used in a another 'normal' object besides the object you turn into a mark.
The color of a mark can be one of these settings:
• Static: If color is set to Static, the current color is stored, based on the actual inks. The color of the mark will not change if the order of the ink list is changed.
Note:
When placed on an existing document, "Static" marks are the only marks that affect the ink list: the inks used in the mark will be added if necessary.
• Dynamic: If color is set to "Dynamic", the current color is stored, but based on the ink positions in the Ink list, and not the actual inks.
For example, if the first ink is Cyan, a 100% cyan mark is stored as "100% of the first ink". If the first ink is different (by changing the ink order, or by placing the mark on a different file), the mark will become 100% of the first ink.
By default a mark will be Dynamic when created.
The Separations button will open a window in which you can decide what separations to use and what separations to exclude from being used in your mark.
• Darkest Color: The mark will be colored with 100% of the darkest ink used in the document. You can't change the percentage for "Darkest" ink, it will always be 100%.
Changing the inks in the document can change the color of the mark. Only printing inks are considered for Darkest Color..
Note: If you manually change the color of a mark set to Darkest, the color will change back to the darkest ink at the next mark update.
Mark positioning
The position of a Mark is set in the Transformation Inspector.
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It is based on 3 settings:
Attach to
The position of the Mark can be based on
• Any page box: Media Box, Crop Box, Bleed Box, Trim Box or Art Box
• another Dynamic Mark
Positioning
The way the Mark is attached, can be chosen by clicking and dragging the blue square
(representing the Mark) to the desired position on the grey square (representing the
Attach To
reference). Each square has 9 reference points (top left center and right, middle left center and right, and bottom left center and right), so you have 81 different ways of positioning the mark.
In the example underneath, the top center of the (bounding box of the) mark will be placed on the left bottom corner of the (bounding box) of the reference defined in the Attach to field.
Note: If you create a Mark from an existing object, the Positioning settings (the blue rectangle) will be automatically set, using the smallest offset possible while keeping the object at the same location.
Offset
In the offset fields, you can move the mark based on the defined position. A positive value for offset moves the mark to the right / bottom, as indicated by the arrows.
Note: You can also manually move Marks. In that case, the offset will automatically adjust to the new location. The other settings (Attach To and Positioning) will NOT change.
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Text in a Mark
When creating a Text Mark, the complete text mark will have the same formatting, based on the formatting of the first character. Use the Text Inspector to change the properties.
The text in a text mark can't be changed using the Text Tool. Instead, it can be set in the
Mark
Text Content Inspector.
You can modify the (static) text, and you can add dynamic text or
Smart Text
1. Place your cursor where you want the variable to be, or select the text to replace with a variable, and click the + Smart Text button.
2. In the Insert Field dialog that opens, choose the fields to insert: a) Select Local Variables to select variables from the local file, or Server Variables to use
SmartNames from the Automation Engine server. In that case, all Database queries defined on the server will be available, as well as all job and product parameters.
b) choose a field Category, for example Barcodes, Date & Time...
c) in that Category, choose the Field you want to use (see
137 for a list of available categories and fields), d) if applicable, choose the Format to use for your chosen Field (see
Note: The Preview line shows how the field will be resolved in the current document.
e) when your field is completely set up, click OK.
The dynamic parts of a text object will appear as a gray block with white text.
Categories and Types
Inks
Local Variables
• Number of Inks
• Ink Names
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Date & Time
Document
System
Barcodes
Server Variables
Job Info
• Modification Date and Time
• File Name
• Layer Names
• Media Box
• Crop Box
• Trim Box
• Bleed Box
• Art Box
• Author
• Title
• Color Profile
• Application
• Operating System
• User
• Number of Barcodes
• Type
• Code
• Bar Width Reduction
• Device Compensation
• Magnification
• Narrow Bar
• Job Name
• Order ID
• Sub Order ID
• Description
• Due Date
• Project ID
• Job URL
• Category
• Category2
• Category3
• Category4
• Category5
• Category6
• Category7
• Customer Ref
• CSR
• CSR Email
• Customer ID
• Customer Name
• Customer Description
• Due Day
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Product Info
File Info
Path Info
Global
• Due Time
• Job Container Name
• Job Container URL
• Job CT URL
• Job ID
• Product Name
• Product ID
• Product Customer Name
• Customer's Product Reference
• Product Description
• Product Part Name
• Product Part Status
• Product Custom Field 1
• Product Custom Field 2
• Product Custom Field 3
• Product Amount
• Product Customer Description
• Product Customer ID
• Product Part Datazone
• Extension of File
• File
• File Type
• First Folder of File
• Folder of File
• Folder of Input
• File URL
• Job Temp URL
• URL Folder of Input
• URL of Input
<user defined smart names>
Formatting Dynamic Fields
You can format certain fields so they look a certain way (for example, have the date in
European or American format).
You can use predefined formats or create custom formats. You can also choose to use a different format for each field, or the same format for all fields.
Using an Existing Format
• You can choose an existing format to apply to your field in the Format list.
For example, use [name][ext] to display the file name and extension when using the File
Name field.
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Tip: Hover over to get more information about the different formats.
Repeating the Format for All Items
If the field you want to use can have several values (e.g. Fonts, Ink Names, Placed Files...), you can put them all in one dynamic object.
You can also set the same format for all those values at once.
After choosing an existing format or defining a custom one:
1. Select Repeat format for all items.
2. Choose the Separator you want to use between the values (Comma, Space...).
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Note: You can also specify your own separator by typing it directly in the Separator list.
3. When you are satisfied with what you see in the Preview, click Insert.
9.5.3 Working with Mark Sets
By clicking the Mark Set button , the Mark Sets dialog will open, in which you can load, save, delete, .. Mark Sets.
Note: If you want to reuse a Mark Set in another document, it is not sufficient to save the
ArtPro+ file: you need to save it as a Mark Set as described below.
• If you have an Automation Engine connection set up, the list of Mark Sets will show all compatible Mark Sets saved on the server. If not, it will list the locally saved Mark Sets. See
• Click the + button to save the current set of marks as a new Mark Set. Enter the name of an existing Mark Set to overwrite it
• Select a Mark Set in the list, and click the - button to remove it.
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• Select a Mark Set in the list, and click Replace to remove all marks in your document, and add the marks defined in the Mark Set. See
• Select a Mark Set in the list, and click Add to add the marks defined in the Mark Set.
• Use the Search field to filter the list of Mark Sets.
Tip:
To change a Mark Set, it is better to do this on the saved Marks file than on the document where you applied the Mark sets.
Local Mark Sets are saved in C:\ProgramData\Esko\DynamicMarks (Windows) or /Users/
Shared/Esko/DynamicMarks (Mac OS).
Mark Sets on Automation Engine are saved in \\servername\Esko
\bg_data_marks_v010\DynamicMarks
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Key features
Trapping
Screening
Color Management
Quality Control
Automation Engine integration
Multiple document windows
Multi-page document support
Frequently asked questions
ArtPro+ 16 is supported on 64-bit operating systems, both on Mac and on Windows. Currently supported are: Mac OS 10.9, 10.10, 10.11 and 10.12; Windows 7 64-bit, Windows 8 64-bit, Windows 8.1 64-bit, Windows 10 and Windows 10 Anniversary.
You can download the installer for ArtPro+ from http://mysoftware.esko.com. Download the ArtPro+.dmg file for mac, or the .exe file for Windows.
A valid license to run ArtPro+ can be an ArtPro+ 16 Essentials perpetual license, an ArtPro+ Named User Subscription, an ArtPro 16 license, or a PackEdge 16 license.
No, ArtPro+ version 16 and later doesn't run on a PowerLayout or a Plato license.
