InDesign CM Workflow Questions

jethrodesign wrote: We have begun to try to keep images as RGB now while editing/retouching, then converting a flattened version, after packaging, to the printer's supplied ICC profile. But still trying to figure out how best to deal with the InDesign file (which of course has the images placed in it). We send everything as InDesign files w/ fonts & links.

Leave the images as RGB with open layers. Place the layered PSD files in InDesign. Use View: Proof Setup to "CMYK soft proof" the RGB in both Photoshop and InDesign (use the printer's CMYK ICC profile). For images already converted to CMYK you can soft proof in the printers CMYK as well, again using View: Proof Setup, the printer ICC profile, and enabling "Preserve Numbers" (be aware of total ink limit however)

Leaving your Photoshop images as source RGB has tremendous advantages. No more going through the conversions in Photoshop and doubling your image files. Also you are free to repurpose the source RGB to whatever destination color you want. For example, you could use InDesign to convert to newsprint CMYK, a sheet fed coated CMYK, a SWOP profile for coated Web publications, or even sRGB for web output. The choice is yours. The one thing to remember - always use View: Proof Setup to see the images in the destination color space. If color adjustments are needed, use non-destructive adjustment layers in Photoshop. These layers can be turned on and off as needed in InDesign (if you place PSD), depending on the needs of the current project.

jethrodesign wrote: - With the colors we've picked on this particular job, we've tried to limit it to 2 or 3 channels only (C+M, C+Y, C+M+K, etc.). When converting, these values get changed obviously, and usually add a touch of other channel colors. Would I have to then edit those colors again to make them more 'pure'?

In InDesign if you are creating CMYK swatches for a CMYK job, I recommend first assigning the printer's CMYK ICC profile to the InDesign document. Try using the Pantone Process library (avoid the Solids). Any swatches you add will be soft proofed in the printer's CMYK color space. Remember the accuracy of the soft proof depends on two things. One, your monitor must be properly calibrated and profiled. Two, the CMYK profile must be an accurate representation of the print condition.

jethrodesign wrote: - Would it be better to change the default InDesign working space to the end printer's ICC profile when first starting the project? What if we don't know who it will be going to until later on?

That is one of the pitfalls of print design. If you design thinking it's coated, and then the situation changes down the road and it's going to be uncoated, it's tough. When that happens, in InDesign assign the new CMYK. Then you can soft proof placed RGB in the new CMYK (just turn on Separations Preview). As far as swatches, stick with the Pantone Process. If the colors  change too much for your liking, try picking new swatches. Avoid CMYK - CMYK conversions in InDesign, they can be problematic. If you have CMYK Photoshop images, you may need to convert them to the new CMYK in Photoshop, especially if TIL (total ink limit) is an issue (ask your printer). To see total ink limit, create a blank CMYK in Photoshop. Assign the profile. Hit "D". Click on the black foreground color, and add up the CMYK values. For example US Web Coated – 75C, 68M, 67Y, 90K = 300.

The cool thing about RGB images, you avoid that issue completely.

jethrodesign wrote: - Is there a way to convert the placed images as well upon packaging the job, or will we always have to go into Photoshop and do this manually on each image? Efficient workflow here?

Absolutely not. InDesign will convert to the CMYK, even if you have placed 16 bit layered RGB PSD, InDesign merges the layers on PDF export and converts the merged result to 8 bit CMYK.

Talk with your printer. The decision to supply packaged native files or PDF should be up to you. Most people supply PDFs, but if the need for edits after proofing comes up more than likely the printer will request a new PDF.

If the printer demands CMYK and native files, find another printer.

It comes down to three options:

1. You supply native including RGB, and the printer subscribes to late binding (he converts to CMYK)

2. You supply PDF including calibrated RGB with a CMYK Output Intent, and the printer subscribes to late binding (he converts to CMYK)

3. You supply CMYK PDF.

For 2 and 3, export using the PDF/X-4 standard. For 2, "No color conversion" (under Output, Color Conversion). For 3, "Convert to destination" preserve numbers, Document CMYK.

This is a deep and complex subject, let me know if you have any questions. One other note: in Photoshop, make sure the RGB and CMYK policies are "Preserve Embedded Profiles." In InDesign and Illustrator, RGB "Preserve Embedded" and CMYK "Preserve Numbers". These are default policies. Use Bridge to synchronize your color settings if you have Bridge, this should give you consistent color across the board.

If you are a Photographer and you convert from RAW, and aren't sure what RGB color space works well for print design, I recommend using Adobe RGB. Try 16 bit if your computer can handle it, and aim for an effective PPI in InDesign (found in the links panel) to be in a resolution window of around 300 - 450 PPI. A good workflow is 300 or 400 PPI in Photoshop, and all images placed at 100% in InDesign (no scaling).

Hope this helps.