TM
Iridesse Production Press Design and File Preparation Guidelines
Table of Contents
2
3
About this guide
4
Understanding the Iridesse™ Production Press
9
Creating Spot and Metallic Colours
12
Setting-up your files for Speciality Dry Ink
18
Exporting as a high-res PDF from Indesign®
19
Check PDF before sending to Printer
Designing with Silver Dry Ink
About this guide The Iridesse™ Production Press raises the capabilities of digital printing to new levels. Until now, designers could only dream of creating projects that utilize such a wide choice of effects when printing on a digital device. In this guide, we will show you the steps required to prepare existing files or create new designs to fully utilise the features of the press.
With Specialty Dry Inks, you can:
•
Create true metallic colours
•
Add underlay metallic colour to specific images, making them “pop off the page”
•
Draw attention to headline or variable text
•
Apply digital watermarks to add artistic effects or enhance document security
•
Highlight photos, logos or variable images
•
Add an extra protective layer to an entire sheet
•
Add an underlay of white to create unique colour images on dark media
•
Overlay white on clear media creating striking decals
IridesseTM Design Guidelines
3
Understanding the Iridesse™ Production Press The Iridesse™ Production Press has the ability to print specialty colours either under or on top of the CMYK dry ink in a single pass. It does this by utilising 6 dry ink stations. CMYK is confined to the 4 centre stations 2, 3, 4 & 5 and stations 1 and 6 can be used for the specialty colours. When printing Gold or Silver as an underlay in station 6, a four colour metallic effect can be achieved. This is because the metallic effect can be seen through the four colour image. If a solid Gold or Silver result is required, the specialty colour can be applied as an overlay. The Gold and Silver specialty dry inks are more opaque than the CMYK dry inks and will block the image underneath.
Print CMYK plus two types of specialty effect at the same time
Underlay
Overlay
CMYK Dry Ink
Silver, Gold, or White
Station 6
Silver, Gold, Clear or White
Station 5
Station 4
Station 3
Printing two Specialty Dry Inks in a single pass gives you a whole new level of design flexibility.
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IridesseTM Design Guidelines
Station 2
Station 1
The Fuji Xerox Metallic Colour Swatch Library has pre-defined colours for both Gold and Silver Metallic swatches. When setting up for your job, ensure that the correct specialty dry ink station is installed in position 6. Example 1 shows a metallic colour that uses Silver Dry Ink as an underlay.
#6
K
C
M
Y
#1
Optional Specialty dry ink
CMYK layer
Fuji Xerox Metallic - Standard
Silver Paper
Example 2 shows a metallic colour that uses Gold Dry Ink as an underlay.
#6
K
C
M
Y
#1
Optional Specialty dry ink
CMYK layer
Fuji Xerox Gold Metallic - Standard
Gold Paper
A variety of metallic colours you can choose right from your colour palette. Highly reflective metallic colours can be easily achieved by installing the Fuji Xerox Metallic Swatches to your applications. Additional Metallic colours such as PANTONE® METALLICS Coated and PANTONE®PREMIUM METALLICS Coated can also be used. These can be customised and saved to create your own new metallic swatches
Endless options for specialty colours. Because the press creates metallic colours by combing station 6 with CMYK Dry Ink, there’s no need to set up for each speciality colour that uses the same metallic base. With this press, you can easily create an endless variety of metallic colours. The colour of the Specialty Dry Ink can then be swapped allowing the press to handle complex jobs quickly and easily.
IridesseTM Design Guidelines
5
White and Clear Dry Ink bring new possibilities of design expression. With the high brightness and opacity that comes with White Dry Ink, amazing results can be achieved on dark stock or other special substrates. Underlaying with White Dry Ink provides a bright white base coat for optimizing CMYK vibrancy enabling variable information printing on coloured substrates. Using White Dry Ink with dark cover weight stocks opens up a world of opportunities to create striking designs on direct mail, invitations, postcards etc. Clear Dry Ink creates a gloss finish to elements giving a spot varnish look and feel. Add real value to your designs by offering a creative way to help customers deliver their message. Flood an entire page for sheen and protection with a varnish effect. Use a spot application to make specific elements pop, apply authentication marks or magnify the dramatic dimensional effect by adding multiple passes of Specialty Dry Inks.
When it comes to designing it’s all about thinking in layers
Layers Layers should be arranged in your files to mimic the order in which the Specialty Dry Inks are applied at the press. A metallic layer of Silver or Gold may be applied as the first layer on the page, creating an underlay for the iridescent hues you will see in this guide. CMYK elements are in the middle, and Silver, Gold, or Clear may be used on top as a spot overlay.
Overlay Underlay
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IridesseTM Design Guidelines
Mapping Speciality colours for an individual file using the GX Print Server When files are designed with specialty colours, it’s important to have the colour named correctly. If the naming of the Specialty Colour element(s) is unknown or not named exactly as Silver, Gold, Clear or White you can map the colour using the GX Print Server. The steps below show you how to use the Pre-Flight function to determine and re-map the specialty colours. 1.
From the Job Manager screen, Right-click on the file and choose Preflight > Create PS Preflight Report. To view the report, rightclick on the file again and choose View PS Preflight Report.
2.
In the Preflight report, look under Spot Colors and copy the name of the spot colour name to the clipboard. If more than one spot colour is listed, make a note of these. Close the Preflight report.
3.
From the Job Manager screen, Right-click on the file again and choose Properties>Speciality Dry Ink and check the “Use specialty dry ink” checkbox. To map a colour for use in the Top Layer
4.
In the Specialty Dry ink in Sub menu, select Top Layer>Map Spot Colours>Specify. Paste or enter the name of the specialty colour element exactly as it appeared in the Preflight results into the text box. To map a colour for use in the Bottom Layer
5.
In the Specialty Dry in Sub menu, select Bottom Layer>Map Spot Colours>Specify. Paste or enter the name of the specialty colour element exactly as it appeared in the Preflight results into the text box.
6.
Click apply and continue to set any other attributes for printing. The job can now be submitted.
Printing Multi-pass Applications To create eye-catching texture and dimension, pages can be run through the press multiple times, magnifying the dimensional effect by building up the Specialty Dry Ink layer. Using the GX Print Server, there is no need to create a separate file for multi-pass. Follow steps as follows: 1.
Print your job as you normally would then reload stock into the feeder.
2.
In the stock library, set the stock as “Preprnted Stock”.
3.
From the Job Manager screen, Go to the Speciality Dry Ink tab, select Top Layer or Bottom Layer as required.
4.
Print the job as many times as required.
Printing two strikes of White, Gold or Silver in one Pass To enable the printing of objects at 200% (two strikes) of a specialty dry ink in one pass, station 1 and 6 must be loaded with the same specialty colour. The two stations can then be installed simultaneously. An additional kit of the required specialty dry ink station is required for this. A new spot colour “White200” has been added to the GX Print Server and objects in your artwork with this name will be printed with white dry ink on both the top and bottom layer. The name “White200” should be defined as a Spot Colour when creating and designing artwork when printing at with 2 strikes of White.
IridesseTM Design Guidelines
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How to import Fuji Xerox Metallic Colour Swatch Libraries The Fuji Xerox Metallic Swatch Library can be installed for use with your design software e.g. Adobe Illustrator. 1.
Open a web browser and type https://bowdengroup.com.au/resources/iridesse-digital-press-pantone-swatches/ OR scan the QR Code for instant access.
Ó. Open Adobe Illustrator CC. On the Swatches palette, select Open Swatch Library> Other Library.
.ase is an Adobe Swatch Exchange ƂNG CPF KV ECP DG WUGF YKVJ CNN Adobe Creative Suite products.
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IridesseTM Design Guidelines
Creating Spot and Metallic Colours Procedures for creating and using specialty colours in design software. Creating Specialty Colours
Changing the Opacity of Specialty Colours
Specialty colours are available after they are registered with the swatch library. The following example is for Adobe Illustrator CC.
You can change the opacity or tint of a specialty colour to highlight elements or differentiate areas of a spot colour.
1.
From the Swatches panel menu, select New Swatch.
2.
Enter the desired name. ie. Gold. Note that Caps, spaces etc will be recognised.
3.
Select Spot Color as the Colour Type and CMYK for the Colour Mode.
For instance, the Spot colour Gold can be used in multiple areas of the design and each instance can have a unique opacity value. In Sample 1, Gold is used at 100% opacity for the runner whilst only 50% is applied to the stripe pattern.
A range of gold tints
Enter your desired values for CMYK using the sliders (Recommended value for Silver is C/M/Y/K: 20/10/10/10 and Gold is 25/30/80/0 respectively). These colours will only show on screen for your visual reference when designing. They will be replaced on the RIP by the Specialty Dry Ink.
A range of silver tints
100%
100%
80%
80%
60%
60%
40%
40%
20%
20%
Then, select Add to my Library and click OK.
In the sample below, with the First runner from the right, Gold is selected from the swatch library and the Opacity is set to 100%.
silver 100% Sample 1
World Sports Festival 2018
gold 100%
For all athletes and supporters.
gold 75% gold 50%
World Sports Committee 世界スポーツ委員会は、すべてのアスリートとサポーターを応援します。 私たちは、スポーツを通じて世界平和と国際親善に貢献するとともに、 全世界のスポーツ振興に寄与することを目的としています。
http://www.world-sports-committee.sample/
IridesseTM Design Guidelines
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Using Metallic Colours with Imported Swatch Libraries
Using PANTONE® Metallic Colours
FX Metallic - Standard and FX Gold Metallic - Standard are available for download from Web Manager on the GX Print Server.(See Page 8)
PANTONE+Metallics Coated and PANTONE+Premium Metallics Coated are pre-installed with Adobe products.
• Swatch Library for Silver Metallic
Select your required swatch from the list.
To access, select Open Swatch Library > Color Books from the Swatches panel menu.
• Swatch Library for Gold Metallic
To access, select Open Swatch Library > Other Library from the Swatches panel menu. Select your required swatch from the list.
In Sample 2, FX Metallic - Standard 032 has been used for the fireworks illustration.
In Sample 3, 24 individual colour swatches from the PANTONE®+ Metallics Coated range have been used.
FX Metallic - Standard 032
PANTONE+ Metallics Coated 8440C
Sample 2
Sample 3 420C C 40 84
8421C C 00 81
C 61 83
8262C
8181C
8182C
8022C
8021C
8020C
C 02 81
C 62 83
lic Metales Seri
C 60 83
For all athletes and supporters.
C 01 81
8422C
C 42 84
8180C
World Sports Festival 2018
C 41 84
C 02 82
C 01 82
8261C C 00 82
8260C
World Sports Committee http://www.world-sports-committee.sample/
歓喜 の 瞬間 を、共 に。 http://www.G-PAINT.sample/
FX Metallic - Standard 012
FX Metallic - Standard 033
FX Metallic - Standard 021
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IridesseTM Design Guidelines
Create metallic colours using Adobe®illustrator®
Add a Clear effect over a metallic colours using Indesign®
Metallic colours are created by combining a Silver or Gold underlay with CMYK. It is possible to print Gold and Silver inks together in one pass but only one can be selected as an underlay colour.
To create clear effect over a metallic colours all objectes need to be in below order. A Clear Overlay
Because Metallic Colours utilise an underlay of either Gold or Silver, not all Metallic Colours can be produced in one pass. The example below illustrates the creation of a Silver Metallic coloured object. 1.
Create a spot colour layer.
2.
Select or draw your object on the Spot layer and fill it with your Silver Spot Colour.
CMYK Tint Overlays
Metallic Underlays
3.
4.
Duplicate the object onto your CMYK layer. Ensure your layers are set in the correct order – see page 6
1.
Create your Clear Objects in the Clear layer. Fill them with your Clear spot colour.
Fill your object with your chosen colour. Note: Lighter CMYK tints tend to create more vibrant metallic colours whilst reducing the percentage of metallic ink can create softer colours.
5.
Select your object in the Spot layer and go: Window > Transparency > Select Blending Mode - Multiply. Note: Multiplying layers will result in a muddy appearance on screen. Output a press proof for evaluation.
2.
Multiply your Clear objects so they overlay your metallic colours correctly. Multiplying layers will result in a “muddy” apperance on screen. A press proof required to see real effect.
IridesseTM Design Guidelines
11
Setting-up your files for Speciality Dry Ink Add metallic effects to images that have been supplied as PDF’s
The following example shows you the steps to create stunning metallic effects when working with photographs and raster images that have been supplied as PDF files. The objective is to create a mask for the silver channel which reduces the amount of Silver used in areas of high density. This minimises the flattening effect of printing 100% silver underneath these darker areas. With Acrobat DC, you can select images, open and then edit them in Photoshop. Images can be stylised and saved back into the PDF without affecting any other element of the file. This example shows how to apply Silver Metallic effect to a page in a PDF file.
1.
Open the Pdf file in Acrobat DC and the Save As <Your_ filename_Silver>
From the Channel drop down menu, select New Spot Channel and name it Silver (case sensitive). For visual reference, make the colour 20C 10M, 10Y, 10K. and Solidity 40% then select OK.
3.
Note – Solidity and colour values entered here will not affect output colour. These are for onscreen visual reference only.
2.
Select the Tools > Edit PDF Right-click on the image and select Edit Using Photoshop. The image will open in Photoshop.
Sam followed the spider’s words and found himself on the edge of a cliff staring back at the Earth. He saw the only way forward was to jump. So he closed his eyes, took a deep breath and...
25
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IridesseTM Design Guidelines
4.
Select the CMYK Channel then perform a select all (Command/Control A) Your image should now show that it is selected.
5.
Copy (Command/Control C) and then paste the image into the Silver channel.
9.
Turn on CMYK Channel visibility to view the result. Note Onscreen view may appear flat or muddy. This is normal.
6.
De-select the CMYK channels from view. You should now see a mono version of your image.
10.
Save the file (cmd/ctrl-M) without changing the original filename. This will update the image in Acrobat. If the image is to be used elsewhere, select Save As psd or tiff.
7.
8.
Open the Curves Window, go Image > Adjustments > Curves (Cmd/ctrl-M)
11.
In Acrobat, Save the file (cmd/ctrl-M) The updated image will be saved into the PDF.
12.
You can inspect the file using output preview. (See page 19)
Select negative (RGB) curve from pre-sets and adjust the input and ouput values as required. Note - As a starting point, change the output to 60 and leave the input on 0. A press proof is recommended for evaluation.
IridesseTM Design Guidelines
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Add metallic effects to images that have been supplied as Bitmap By creating a Monotone image, masks can be made for the Specialty Dry Ink channel which controls the effect in areas of high density. This example shows how to apply Gold Metallic effect to a bitmap image for use in InDesign. 1.
Open the image in Photoshop and Save As <Your_filename_ Monotone>
5.
Click on Ink 1 Color Picker swatch and change the color to CMYK: 25/30/80/0 .
6.
Save Ink 1 to Gold (case sensitive) and click OK. Note - The name entered here must match the spot colour name in the file.
2.
Convert to Greyscale (Image > Mode > Greyscale)
3.
Change the Color Mode to Duotone
7.
(Image > Mode > Duotone)
4.
Select the Ink 1 curve and apply the following values to 3 of the incremental steps in the curve. •
Step 40 = 100
•
Step 80 = 0
•
Step 100 = 0
Select Type as “Monotone”.
8.
Click OK to the Duotone curve and the Duotone options boxes.
9.
Save the file. Note – this file can now be used as a masking file in InDesign or other design software.
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IridesseTM Design Guidelines
Creating with Silver and Gold using Adobe InDesign With the Fuji Xerox Iridesse Production Press, multiple speciality effect spot colour can be used together. This example below shows how to set up with InDesign applying Metallic Colours to text as an Overlay whilst a Metalic effect is applied to a bitmap image. For this exercise we will use the 4 colour bitmap image and the Monotone mask image created previously on page 14. The example below uses Gold text in the overlay position and silver as an underlay for the Monotone image. 1.
2.
Open the document in InDesign.
5.
Copy CMYK image and Paste in Place on the Silver Layer.
6.
Select the image and Relink the file to your monotone image prepared in previous section.
7.
Depending on the desired effect, you may choose to Multiply the overlay objects so the two image blend each other. Select image of CMYK layer, choose Blending Mode to “Multiply”(Window>Effects> Multiply).
Ensure you have Gold & Silver swatches created. See page 9. Change the text colour to Gold
3. Create new layers for Gold and Silver. Arrange the layers so that the top layer is the overlay colour (Gold) & the bottom layer is the underlay colour (Silver). The middle layer will contain any 4 colour elements such as text, photo’s etc.
4.
Multiply not needed with Gold Text if you want Gold Dry ink to knock out the other inks and print as pure, on the media.
Select & Cut all text, then select your Gold overlay layer. Select Paste In Place to get the objects exactly where you want them on the layer.
8.
Before you create a PDF, it is a good idea to turn layers off one at a time to make sure each contains the correct objects.
9.
Save Indesign file and Export file as PDF. Final check can be done using Output preview.
IridesseTM Design Guidelines
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Setting up your file for printing with White Dry Ink using Adobe Photoshop and Illustrator White Dry Ink can be used as an underlay to a CMYK image to create unique colour images on dark media. By masking selected areas, coloured media can be allowed to feature whilst maintaining the vibrancy of the CMYK images. The example below shows how to apply White Dry Ink as an underlay to images using Adobe Photoshop and Illustrator.
1.
4.
Go to the Paths Palette and click the “Make work path” from Paths drop down menu.
5.
Go to File Menu and Export the path.
Open your image in Photoshop.
(File>Export>Paths to illustrator)
2.
3.
Choose the Magic Wand Tool and Set tolerance to 3 then select each White areas around image.
6.
Select Work Path and click OK and save the file into the link folder
7.
Open saved file in Illustrator.
8.
Change the page view to Outline. (Go to View > Outline)
9.
Create a New Swatch and name it as White Ink, set values to CMYK = 100/0/0/0
Inverse the selection to select image only. (Go to Select >Inverse) Then set Contract to 1 Pixel.(Select >Modify >Contract)
Note –
16
IridesseTM Design Guidelines
Do not use the name “White” as Illustrator already uses “White” name for no Colour (0,0,0,0))
10.
Select All Paths (Command\Control+A).
15.
Adjust position for both White and CMYK image.
11 .
Fill with the White Ink Spot Colour then change page view back to Preview on CPU to check Fill Colour.
16.
Select Multiply the overlay objects so the two image blend with each other. Select image of CMYK layer, choose Blending Mode to “Multiply” (Window>Transparency>Multiply).
12.
Go to Pathfinder and use Minus Front. (Window>Path) This creates compound path and knocking out white areas if there is any.
13.
Renamed layer1 to White Dry Ink then Add new layer named CMYK Layer
14.
Import image file inside CMYK Layer.
17.
Save Illustrator File.
18.
Save as PDF (see following page)
IridesseTM Design Guidelines
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Exporting as a high-res PDF from Indesign It’s important to choose the correct settings when saving a PDF for printing with Speciality Dry Inks. There are two main methods of creating and processing a PDF. First method, convevrsion to PostScript and second method maintains the native PDF throughout. Follow the steps below to create a PDF preset for saving high-res PDFs right out of InDesign®. 1.
Monochrome Images >Do Not Downsample
From the main menu in InDesign, select: File>Export
Compression>CCITT Group 4
2.
Select your desired location, name your file and set the format to Adobe PDF (Print)
6. 7.
3.
Click Save.
4.
In the General attributes select Compatibility> and choose Acrobat 8/9(PDF 1.7).
Set up Marks and Bleed as desired In the Compression attributes, select: Colour>No Conversion Profile Inclusion Policy>Include All RGB and Tagged Source CMYK Profiles
Select View PDF after ExportingOptions, check: Create Acrobat Layers.
5.
In the Compression attributes, select:
8.
In the Ink Manager attributes Uncheck All Spots to Process Click OK
9.
Click Save Preset and name your preset – Adobe PDF HQ
10.
Export your PDF
Color Images > Do Not Downsample Compression >JPEG Image Quality >Maximum Grayscale Images – as above
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IridesseTM Design Guidelines
Check PDF before sending to printer PDF files can be quickly checked using the output preview tool in Adobe Acrobat Pro. The properties of your page elements can be inspected to find the Colour Space, Resolution, Graphics, Ink Levels etc. 1.
Open your PDF in Adobe® Acrobat Pro DC.
•
Simulation Profile: Allows you to preview with your chosen colour profile.
•
Simulate Overprinting: Preview the blending of colours that are set to overprint.
•
Show: Allows objects to be shown in isolation.
•
Seperations: Shows Process and Spot plates. Toggle on/off for output preview
2.
Select Tools>Print Production>Output Preview.
•
Object Inspector: Provides a detailed inspection of properties within the file. Click on areas in your image to enable.
•
Total Area Coverage: Allows user to inspect areas of total ink coverage. Set the value according to the chart below.
Note – Areas exceeding the machine capabilities will be automatically adjusted by the RIP.
Total Ink Limits: CMYK – Total Ink limit is 240% 3.
Check the selection for Simulate Overprinting.
However the pointer over the preview image to check ink levels. If the file is set up correctly, all areas designated as Speciality Colours will appear under the Spot Plate. See details below for options of Output Preview.
CMYK + Spot Clear – Total Ink limit is 260% CMYK + 1 Special (Silver, Gold ) - Ink limit is 360% CMYK + 2 Specials (Silver, Gold) - Ink limit is 360% CMYK + Metallic Colour with Embossed Enhancement enabled - Ink limit is 440%
IridesseTM Design Guidelines
19
Be More Creative with the Fuji Xerox IridesseTM Production Press Iridescence (ìr désns) e
Various colour tones such as those of seashells and dragonfly wings that change with the light variance, the sight direction, and the viewing point— Rainbow colour.
For more information or detailed product specification, please call or visit us at
FUJIFILM Business Innovation Australia Pty. Ltd. 8 Khartoum Road MACQUARIE PARK NSW 2113 Australia Tel. 13 14 12
FUJIFILM and FUJIFILM logo are registered trademarks or trademarks of FUJIFILM Corporation. This document includes Fuji Xerox product(s), licensed from Xerox Corporation. The distributor of the product(s) is FUJIFILM Business Innovation Corp. Xerox, Xerox and Design, Fuji Xerox Design, as well as CentreWare, DocuTech, DocuShare, DocuPrint, FreeFlow, Global Print Driver, iGen, Iridesse, PersonalEffect, Phaser, Primelink, UCHART, UDIRECT, UIMAGE, USTORE, Versant, VIPP, Nuvera, and XMPIE are registered trademarks or trademarks of Xerox Corporation in Japan and/or other countries. The information is as of April, 2021.
PIC-0158 A (2010)
