VERSION 8.

0
REFERENCE MANUAL
 I. Introduction

I.1. Copyrights I.3.2. Fonts

Copyright © 1992-2005, Artwork Systems N.V. All rights re- ArtPro works with the active Adobe Type One and TrueType
served. fonts installed on your Macintosh.
Artwork Systems, ArtPro, ArtFlow, Artworker, ArtView and Art- There are several ways to activate fonts on OS X. It is advisable
Printer are trademarks of Artwork Systems N.V. to use the folder System / Library / fonts only for fonts needed
This manual may not, in whole or in part, be reproduced in any by the system. The folder Users / username / library / fonts can
form, by print, photocopy, microfilm or any other means with- be used, but fonts placed in that folder will only be available for
out prior written consent of Artwork Systems N.V. that one user. The best way to use fonts in OSX, is either put
them in the folder Library / Fonts, or use e.g. Extensis Suitcase,
as ATM is not available for OSX. Of course, newly added fonts
I.2. Trademarks will only be available after using the Reload Fonts function, or
PANTONE® is a registered trademark of Pantone, Inc. restarting ArtPro. PS-fonts, TrueTypes and OpenTypes can be
PANTONE®* Computer Video simulations used in this product used. For PS-fonts, both the screen fonts and the printer fonts
may not match PANTONE-identified solid color standards. Use have to be present.
current PANTONE Color Reference Manuals for accurate col-
I.3.3. Language
or. *Pantone, Inc.’s check-standard trademark for color.
“PANTONE Color Computer Graphics” © Pantone, Inc. 1986, ArtPro 8.0 will al-
2000. ways run in the lan-
Pantone, Inc. is the copyright owner of PANTONE Color Com- guage defined in
puter Graphics and Software which are licensed to Artwork the system prefer-
Systems to distribute for use only in combination with ArtPro. ences. In order to
PANTONE Color Computer Graphics and Software shall not select a difference
be copied onto another diskette or into memory unless as part language, open the
of the execution of ArtPro. Info on the applica-
All other trademarks and brands are the property of their re- tion package (Get
spective owners. Info), select the lan-
guage tab and se-
lect a language.
I.3. General
I.3.1. Files & Folders
When installing ArtPro, a bundle containing all files will be cre-
ated.
I.4. Download & Installation
When ArtPro is started, it will check for 3 folders, and create
I.4.1. Download
them if they are not present next to the application bundle :
Color Management (by default containing the 5 default pro- In order to obtain a Mac OS 9 version, a Mac OS X Personal-
files), Plug-ins (by default containing the 4 default plug-ins), and ized build, an Intel License File or an ArtPro Dongle Code, you
Color Guides (the color and ink books). There will also be an need to log in on the Download Pages of the Artwork Systems
ArtPro folder, containing the preferences file, a jobsizes file etc. website : http://download.artwork-systems.com
under Users / username / Library / Preferences.
The ArtPro dongle has to be installed on your Macintosh for
ArtPro to run. As the licence is date sensitive, it is not allowed
to set the date forward or back, it has to be correct.

Manual ArtPro 8.0 Chapter I : Introduction — p. I —

 • Download Center Log in been compressed with gzip (.gz) Normally Internet Explorer
will automatically unzip the archive leaving you with two files
on the desktop : the .dmg.gz file, and the .dmg file which you
can mount by double clicking it (if Internet Explorer doesn't
mount it automatically).
If Internet Explorer doesn't automatically unzip the down-
loaded file or doesn't recognize it, just save it to your desktop
and drop it on Stuffit Expander.
When downloading an OS X version on a station in another
When arriving on the download pages, a username and
Operating system (e.g. OS 9 or Intel), save the .gz file to disk,
password is asked. If you do not know your customer code
move it to the OS X station, and unzip the disk image there.
and/or password, please contact your local dealer.
By clicking the Home button, you go back to the AWS home • Previous Builds
page : www.artwork-systems.com.
By entering your username and password, you arrive at the
Download Center, where the following options become avail-
able. Customized Builds can be seen and downloaded from the
Previous Builds list for 48 hours after building. These builds
can be downloaded by clicking the link. Next to every link,
• Create Personalized build the Version, the dongle and its encoding, the creation date
and time, and the time before purging is shown.

• License File (Intel)

By entering a Hardware Key number (the number of the don- By entering the dongle number of the Intel Dongle (for Nexus
gle), you can create a build specific for this dongle. This build BackEnd), a licence file can be created.
can run on both OS X and OS 9, but has to be downloaded
• Dongle Viewer
on an OS X station. After entering the Hardware Key number,
a new page is loaded, where you can select the build you
want to create.
Next to the Hardware Key #, the current encoding of the
dongle is shown. In case the encoding is not correct, it can
be entered manually.

The Dongle Viewer is a small OSX application, allowing to

see the Dongle Nr and Encoding for every dongle attached
to the Mac. Clicking the Refresh button will update the list.
This allows to check encodings without having to startup Art-
Pro, or if no ArtPro application is available.
The email address (found from our dbase) to which an e-mail
The Search Hasp4Net dongle option allows to search for
will be sent, is shown below. If the e-mail address is incor-
Network Dongles.
rect, or if the e-mail should be send to another address, you
The “Reset Dongle” option in the window menu should only
can define the e-mail address in the input field. The creation
be used when asked by ArtWork Systems support or Li-
of the build takes about 1.5 minutes. Once the build is creat-
cense department !
ed, it will be shown in the Download Center, and an e-mail
will be sent. This e-mail will contain the URL where the build • Feature List
can be downloaded. Clicking the Feature List button brings you to a page contain-
When downloading in Mac OS X, make sure you are running ing a very brief explanation on the download and installation
your browser in native OSX mode, and not in the Classic En- procedure, and with some notes on the latest revision.
vironment. You will download a disk image (.dmg) that has

— p. II — Chapter I : Introduction Manual ArtPro 8.0

I.4.2. Installation I.4.3. Shortcuts
The installation of ArtPro is done through an installer on the • Menu Commands
mounted volume. The installer takes several steps. q-A Select All
• Introduction q-x-A Deselect All
When starting the installation process, the user is asked to q-z-A Select Inverse
enter Administrator User Name and Password. Administrator q-B Box Dialog
Privileges are necessary. After that, an introduction is shown, q-z-B Box Tool
stating what software and version is about to be installed. q-x-B Bar Codes Dialog
q-C Copy text or objects to clipboard
• Read me
q-D Measure Tool and dialog
In the Read Me part, some installation info is given.
q-E Ellipse dialog
• License q-z-E Ellipse tool
The user has to agree to the shown Software License Agree- q-x-E Edit Path Tool
ment before the installation is continued. q-F View - Fit in Window
q-x-F View - Fit selection in window
q-z-F View - Tile views Panes
q-G Make Compound
• Destination q-x-G Make Group
In the Destination window, the Destination Disk (top) and q-I Paint Style / Object Parameters
folder can be chosen. q-x-I Separation Dialog
q-J Join Paths
q-x-J Job Size Dialog
q-K Preferences Dialog
q-L Transform Dialog
q-x-L Layers Dialog
q-z-L Align Dialog
q-z-x-L View - Fit selection in window
q-M Previous View
q-x-M Move
q-N New Document
q-O Open
q-z-O Open without preferences
q-P Print Dialog / Export PDF
q-x-P More Print Settings
q-z-P Import PostScript Dialog
q-Q Quit
q-R Activate/Deactivate Ruler
• Installation / Finish up
q-x-R Undo Ruler
Once all settings are made, the installation (or upgrading) can
q-z-R Ruler Tool
be started. All files will be copied to the defined folder.
q-S Save
q-x-S Save as
q-T Text Style Dialog
q-z-T Selected paths to All Transparent
q-x-T Stroke Dialog
q-U Release Compound
q-x-U Release Group
q-V Paste in job or input field
q-z-V New view of active Job
q-W Close Window

Manual ArtPro 8.0 Chapter I : Introduction — p. III —

 q-z-W Close all windows • Scale (only when scale tool active)
q-x-W Close Job Window z during Drag Make copy while scaling
q-z-x-W Close all Job Windows x during Drag Scale proportional
q-X Cut text or objects to clipboard • Rotate (only when rotate tool active)
q-Y Preview on / off z during Drag Make copy while rotating
q-x-Y Show Separations x during Drag Rotate multiples of constr. angle
q-Z Undo Spacebar Rotate 90 degrees clockwise
q-x-Z Redo (with Move or Move Area Tool)
q-/ Retrace Other Way or
• Editing Splines
Trap Other Part
x during Drag Drag points magnetic to ruler
q-= Zoom In
or magnetic objects, or rotation
q-- Zoom Out
is constrained to constr. angle
q-, Repaint
Spacebar Switch between the 4
Backward DELETE Delete Selected
drawing modes
• Menu Commands
• Text : selection
q-0 Interactive Trapping Dialog
1 click Cursor positioning in text box
q-1 Spread
2 clicks Word selection
q-2 Choke
3 clicks Line selection
q-3 Hide
4 clicks Paragraph selection
q-4 Show All
5 clicks Complete text box selection
q-5 Bring to Front
click & drag Drag selection to other position
q-6 Send to back
z click & drag Copy selection to other position
q-7 Lock
q-8 Unlock All • Text : editing keys
q-9 Automatic Trapping Dialog Backward DELETE Delete
q-A Select complete text box
• Select (always accessible)
q-X Cut
q Click/Drag Group Selection
q-C Copy
q-z Click/Drag Path Selection
q-V Paste
q - Ctrl Click/Drag Compound Selection
q -z- Ctrl Click Area Selection • Text : Cursor Keys
q -z- Ctrl Drag Lasso Selection q-
Previous word
x Click/Drag Adds to the selection / deselects q- Next word
q- Beginning of paragraph
• View (always accessible)
q- End of paragraph
Ctrl Click Zoom In
q-z-
Beginning of line
Ctrl - z Click Zoom Out
q-z- End of line
Ctrl Drag Zoom Rectangle
q-z- Beginning of text
z Click Pan : position to center
q-z- End of text
z Drag Pan : move
• Move Ruler (only when ruler tool active)

 Move Ruler over preset distance
x -
 Move Ruler magnetically
z Drag Create Guideline
• Move (only when move tool active)

 Move over preset distance
x -
 Move magnetically to ruler
z during Drag Make copy while moving
x during Drag Move magnetic,
depending on Grid menu

— p. IV — Chapter I : Introduction Manual ArtPro 8.0

 II. Table of Contents

1. Introduction 3.23 PS Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

3.24 Step & Repeat Interactive ... . . . . . . . . . . . . . 42
1.1 Copyrights . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 3.25 Step & Repeat Tabular... . . . . . . . . . . . . . . . . 46
1.2 Trademarks . . . . . . . . . . . . . . . . . . . . . . . . . . . I 3.26 Step & Repeat Nested... . . . . . . . . . . . . . . . . 48
1.3 General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 3.27 Step & Repeat Seamless... . . . . . . . . . . . . . . 51
1.4 Download & Installation . . . . . . . . . . . . . . . . . . I 3.28 Step & Repeat Grid... . . . . . . . . . . . . . . . . . . . 52
3.29 Step & Repeat Automatic... . . . . . . . . . . . . . . 54
2. ArtPro Menu 3.30 Step & Repeat 3D View... . . . . . . . . . . . . . . . 58
3.31 Nexus Parameters . . . . . . . . . . . . . . . . . . . . . 61
2.1 Quit ArtPro . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
3.32 Print : General Settings . . . . . . . . . . . . . . . . . 62
2.2 Preferences... . . . . . . . . . . . . . . . . . . . . . . . . . 1
3.33 Print : More settings... . . . . . . . . . . . . . . . . . . 67
2.3 Color management . . . . . . . . . . . . . . . . . . . . . 8
3.34 Print : Device Types . . . . . . . . . . . . . . . . . . . . 77
2.4 Certified ArtPro . . . . . . . . . . . . . . . . . . . . . . . 12
3.35 Export Gravure JobTicket... . . . . . . . . . . . . . . 81
3.36 Export Gravure Tiff... . . . . . . . . . . . . . . . . . . . 81
3. FILE 3.37 Export Picture List . . . . . . . . . . . . . . . . . . . . . 84
3.1 New... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 3.38 Export Mount-O-Matic . . . . . . . . . . . . . . . . . . 84
3.2 Open... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 3.39 Export Macroflex . . . . . . . . . . . . . . . . . . . . . . 85
3.3 Open From Mnemo . . . . . . . . . . . . . . . . . . . 17 3.40 Export Illustrator . . . . . . . . . . . . . . . . . . . . . . . 85
3.4 Open Recent . . . . . . . . . . . . . . . . . . . . . . . . 18 3.41 Export PDF . . . . . . . . . . . . . . . . . . . . . . . . . . 86
3.5 Template... . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3.42 Export Differences . . . . . . . . . . . . . . . . . . . . . 89
3.6 Insert ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3.43 Export CIP3 . . . . . . . . . . . . . . . . . . . . . . . . . . 90
3.7 Open Read-Only... . . . . . . . . . . . . . . . . . . . . 18 3.44 Export Thumbnail / Printcheck . . . . . . . . . . . . 90
3.8 Cruise Controls... (ArtCruise) . . . . . . . . . . . . . 19 3.45 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
3.9 Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
3.10 Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 4. EDIT
3.11 Save as... . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.1 Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.12 Revert to Saved . . . . . . . . . . . . . . . . . . . . . . 21
4.2 Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.13 Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
4.3 Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.14 Job Size... . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.4 Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.15 Job Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
4.5 Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.16 Vectorization... . . . . . . . . . . . . . . . . . . . . . . . 25
4.6 Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.17 Import Postscript/PDF... . . . . . . . . . . . . . . . . 27
4.7 Undelete . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
3.18 Import... Illustrator 3.0 . . . . . . . . . . . . . . . . . 39
4.8 Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
3.19 Import... Picture List . . . . . . . . . . . . . . . . . . . 39
4.9 Undo Ruler . . . . . . . . . . . . . . . . . . . . . . . . . . 92
3.20 Import... CAD ... . . . . . . . . . . . . . . . . . . . . . . 40
4.10 Set Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
3.21 Import... HPGL... . . . . . . . . . . . . . . . . . . . . . 41
4.11 Transform tools / align . . . . . . . . . . . . . . . . . . 92
3.22 Import Marks... . . . . . . . . . . . . . . . . . . . . . . . 41
4.12 Interactive Transform . . . . . . . . . . . . . . . . . . . 99

Manual ArtPro 8.0 Table of Contents — p. V —

 4.13 Select All . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 6.10 Reload Fonts . . . . . . . . . . . . . . . . . . . . . . . 131
4.14 Deselect All . . . . . . . . . . . . . . . . . . . . . . . . . 100 6.11 Used Fonts... . . . . . . . . . . . . . . . . . . . . . . . 131
4.15 Select Inverse . . . . . . . . . . . . . . . . . . . . . . . 100 6.12 Disk Fonts... . . . . . . . . . . . . . . . . . . . . . . . . 131
4.16 Selector... . . . . . . . . . . . . . . . . . . . . . . . . . . 100 6.13 Put Text on Path . . . . . . . . . . . . . . . . . . . . 131
4.17 Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 6.14 ...Other Way . . . . . . . . . . . . . . . . . . . . . . . . 132
4.18 Path Warp... . . . . . . . . . . . . . . . . . . . . . . . . 103 6.15 Put Text in Path . . . . . . . . . . . . . . . . . . . . . 132
4.19 Grid warp . . . . . . . . . . . . . . . . . . . . . . . . . . 104 6.16 Release Path . . . . . . . . . . . . . . . . . . . . . . . 132
6.17 Reflow Text . . . . . . . . . . . . . . . . . . . . . . . . 132
5. DRAW 6.18 Convert to Paths . . . . . . . . . . . . . . . . . . . . 132
6.19 Reset Transforms . . . . . . . . . . . . . . . . . . . . 132
5.1 Parameters... (ArtLink) . . . . . . . . . . . . . . . . . 105
6.20 Outline Check . . . . . . . . . . . . . . . . . . . . . . . 132
5.2 Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
5.3 Draw tools: general concepts . . . . . . . . . . . 108
5.4 Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
7. CONTONE
5.5 Box with special corners . . . . . . . . . . . . . . . 109 7.1 Conventions . . . . . . . . . . . . . . . . . . . . . . . . 135
5.6 Ellipse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 7.2 What is ArtColor? . . . . . . . . . . . . . . . . . . . . 135
5.7 Polygon / Star . . . . . . . . . . . . . . . . . . . . . . . 109 7.3 Hardware Requirements . . . . . . . . . . . . . . . 135
5.8 Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 7.4 RAM Caching . . . . . . . . . . . . . . . . . . . . . . . 135
5.9 Arrow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 7.5 Saving ArtColor files . . . . . . . . . . . . . . . . . . 135
5.10 Edit Path . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 7.6 Saving preferences . . . . . . . . . . . . . . . . . . . 136
5.11 Retrace Path . . . . . . . . . . . . . . . . . . . . . . . . 114 7.7 Create Contone... . . . . . . . . . . . . . . . . . . . . 136
5.12 ...Other Way . . . . . . . . . . . . . . . . . . . . . . . . 114 7.8 Insert Contone... . . . . . . . . . . . . . . . . . . . . . 136
5.13 Split Path . . . . . . . . . . . . . . . . . . . . . . . . . . 114 7.9 Create Shadow... . . . . . . . . . . . . . . . . . . . . 137
5.14 Distort Path . . . . . . . . . . . . . . . . . . . . . . . . . 115 7.10 Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
5.15 Cut Path . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 7.11 Deselect . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
5.16 Intersect Paths . . . . . . . . . . . . . . . . . . . . . . 115 7.12 Export TIFF... . . . . . . . . . . . . . . . . . . . . . . . 138
5.17 Join Paths . . . . . . . . . . . . . . . . . . . . . . . . . . 116 7.13 Channel Mapping . . . . . . . . . . . . . . . . . . . . 138
5.18 Bar Codes . . . . . . . . . . . . . . . . . . . . . . . . . . 116 7.14 Channel Tools . . . . . . . . . . . . . . . . . . . . . . 139
5.19 Stroke... . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 7.15 Mask Tools . . . . . . . . . . . . . . . . . . . . . . . . . 144
5.20 Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 7.16 Gradation . . . . . . . . . . . . . . . . . . . . . . . . . . 147
7.17 Density Correction . . . . . . . . . . . . . . . . . . . 148
6. TEXT 7.18 Color Removal . . . . . . . . . . . . . . . . . . . . . . 149
7.19 Channel Remix . . . . . . . . . . . . . . . . . . . . . . 150
6.1 Missing Fonts . . . . . . . . . . . . . . . . . . . . . . . 125
7.20 Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
6.2 Text Box... . . . . . . . . . . . . . . . . . . . . . . . . . 125
7.21 Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
6.3 Paragraph... . . . . . . . . . . . . . . . . . . . . . . . . 126
7.22 Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
6.4 Character... . . . . . . . . . . . . . . . . . . . . . . . . . 127
7.23 Memory Usage . . . . . . . . . . . . . . . . . . . . . . 154
6.5 Text Style... . . . . . . . . . . . . . . . . . . . . . . . . . 128
7.24 General Remarks . . . . . . . . . . . . . . . . . . . . 156
6.6 Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
6.7 Select All Text . . . . . . . . . . . . . . . . . . . . . . . 130
6.8 Search/Replace . . . . . . . . . . . . . . . . . . . . . . 130
6.9 Import Text... . . . . . . . . . . . . . . . . . . . . . . . . 131

— p. VI — Table of Contents Manual ArtPro 8.0

8. VIEW 9.14 Unite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
9.15 Intersect . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
8.1 New View . . . . . . . . . . . . . . . . . . . . . . . . . . 159 9.16 Exclude . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
8.2 Windows . . . . . . . . . . . . . . . . . . . . . . . . . . 159 9.17 Back minus Front . . . . . . . . . . . . . . . . . . . . . 182
8.3 Tile Views . . . . . . . . . . . . . . . . . . . . . . . . . . 159 9.18 Front minus Back . . . . . . . . . . . . . . . . . . . . . 182
8.4 Undo View . . . . . . . . . . . . . . . . . . . . . . . . . 159 9.19 Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
8.5 Fit in Window . . . . . . . . . . . . . . . . . . . . . . . 159 9.20 Trim... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
8.6 Actual Size . . . . . . . . . . . . . . . . . . . . . . . . . 159 9.21 Crop... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
8.7 Zoom In . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 9.22 Optimize . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
8.8 Zoom Out . . . . . . . . . . . . . . . . . . . . . . . . . . 160 9.23 Flatten Transparencies . . . . . . . . . . . . . . . . . 183
8.9 Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 9.24 Convert To CT... . . . . . . . . . . . . . . . . . . . . . 185
8.10 Zoom Rectangle . . . . . . . . . . . . . . . . . . . . . 160
8.11 Repaint . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
10. PAINT
8.12 Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
8.13 View Options . . . . . . . . . . . . . . . . . . . . . . . 161 10.1 Paint Style... . . . . . . . . . . . . . . . . . . . . . . . . . 187
8.14 Layers... . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 10.2 Modify Color . . . . . . . . . . . . . . . . . . . . . . . . 194
8.15 Magnetism... . . . . . . . . . . . . . . . . . . . . . . . 163 10.3 Make Opacity Mask . . . . . . . . . . . . . . . . . . . 194
8.16 Object Parameters . . . . . . . . . . . . . . . . . . . 164 10.4 Select by Paint . . . . . . . . . . . . . . . . . . . . . . . 194
8.17 Screening . . . . . . . . . . . . . . . . . . . . . . . . . . 165 10.5 Select by screen . . . . . . . . . . . . . . . . . . . . . 194
8.18 Transparency . . . . . . . . . . . . . . . . . . . . . . . 171 10.6 Select Traps . . . . . . . . . . . . . . . . . . . . . . . . 195
8.19 Group Parameters . . . . . . . . . . . . . . . . . . . 175 10.7 Deselect Even Areas . . . . . . . . . . . . . . . . . . 195
8.20 Show Toolbar . . . . . . . . . . . . . . . . . . . . . . . 177 10.8 Move Paint . . . . . . . . . . . . . . . . . . . . . . . . . . 195
8.21 Navigation window . . . . . . . . . . . . . . . . . . . 177 10.9 Draw Gradation . . . . . . . . . . . . . . . . . . . . . . 195
8.22 Show Sessions . . . . . . . . . . . . . . . . . . . . . . 177 10.10 Place Picture... . . . . . . . . . . . . . . . . . . . . . . . 195
8.23 View Session Comments . . . . . . . . . . . . . . 177 10.11 Apply Picture . . . . . . . . . . . . . . . . . . . . . . . . 196
8.24 Scrolling . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 10.12 Map Pictures . . . . . . . . . . . . . . . . . . . . . . . . 196
10.13 Replace Pictures . . . . . . . . . . . . . . . . . . . . . 196

9. ARRANGE 10.14 Used Pictures . . . . . . . . . . . . . . . . . . . . . . . 196

10.15 Separations... . . . . . . . . . . . . . . . . . . . . . . . 198
9.1 Make Compound . . . . . . . . . . . . . . . . . . . . 179 10.16 Ink Coverage . . . . . . . . . . . . . . . . . . . . . . . . 200
9.2 Release Compound . . . . . . . . . . . . . . . . . . 179 10.17 Interactive Trapping... . . . . . . . . . . . . . . . . . 201
9.3 Make Group . . . . . . . . . . . . . . . . . . . . . . . . 180 10.18 Automatic Trapping . . . . . . . . . . . . . . . . . . . 203
9.4 Release Group . . . . . . . . . . . . . . . . . . . . . . 180
9.5 Hide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
9.6 Show All . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
9.7 Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
9.8 Unlock All . . . . . . . . . . . . . . . . . . . . . . . . . . 180
9.9 Bring to Front . . . . . . . . . . . . . . . . . . . . . . . 180
9.10 Send to Back . . . . . . . . . . . . . . . . . . . . . . . 181
9.11 Move Forward . . . . . . . . . . . . . . . . . . . . . . 181
9.12 Move Backward . . . . . . . . . . . . . . . . . . . . . 181
9.13 Restore Natural Order . . . . . . . . . . . . . . . . . 181

Manual ArtPro 8.0 Table of Contents — p. VII —

— p. VIII — Table of Contents Manual ArtPro 8.0
 1. ArtPro Menu

1.1. Quit ArtPro 1.2.1. File

Clicking on the Quit function quits the ArtPro program.
If any unsaved ArtPro files are open and modified, ArtPro will
ask to save first. See 2.11. Save as... on page 21.
Shortcut: q - Q, Quit
• Remark:
If something goes wrong in ArtPro, you might get an internal
error box with an error message in it. The internal error boxes
have the possibility to Continue or Quit.
When you choose Continue, there is no guarantee that you
will be able to continue working. The error might have mixed
up the system or your file. Sometimes the damage results in
a system error or unexpected quit shortly after this internal
error box.
When you choose Quit, you will have the possibility to Save
or Don’t Save while quitting. This gives you at least the
chance to try to save the job which is on your screen at that
moment, and to rescue as much as possible.

1.2. Preferences... • Keep Backup Copy

In ArtPro 8.0, there are 2 kinds of preferences that are saved. By removing the check next to Keep Backup Copy, you de-
When launching ArtPro, all preferences are loaded. activate the automatic backup system ArtPro has. When you
save a document, you can never be 100% certain that noth-
• User Preferences
ing went wrong during the save. Therefore, ArtPro keeps the
The User Preferences contains all settings of the Preference
older version as a backup file.
dialog, except for Color Management. Open dialogs are also
This backup copy has the characters “BU” appended to its
saved in these preferences. Also the Certified ArtPro param-
filename and is stored in the same folder as the original file.
eters from Import and Export PDF, and the PDF Export fla-
It contains the file as it was before you opened it. A backup
vours are saved in the Preferences.
copy is only created once after opening a document, i.e. dur-
The Preferences are saved as “ArtPro 8.0 Preferences” in the
ing the first save. Afterwards, when the document is saved,
User folder, in Library/Preferences/ArtPro. This implicates
it is not updated.
that every user can have his own preferences saved.
To make backup files, ArtPro uses the “Safe-save” strategy
• Job Preferences described in Inside Macintosh vol. 6 on page 25-9. This is
All other preferences are Job Preferences, and saved in the based on the PBExchangeFiles function described on page
ArtPro file, and will overwrite the current settings upon load- 25-43. On some file servers, this system call is not supported
ing the file. Dialogs that were open when saving the ArtPro and results in an error (-50) when saving. On these file serv-
file, will also reappear. If the dialog is already open, it will re- ers you can only use Save As... Please contact your local
main at the same position. support office when this happens.
The result is that opening a file (from another station) will not
• Use File Swap when saving
change any of the User Preferences. For example, if the User
The File Swap option can cause problems when saving Art-
Preferences set “units” to be inch, this will not change when
Pro files directly from MacOS 10.3.x onto a Unix/Linux server
opening a file that was set in mm.
running netatalk. In that case, switch the option off. In all oth-
er cases, leave it enabled.

Manual ArtPro 8.0 Chapter 1 : General — p. 1 —

 • Ignore Blank Separations • Preview Resolution
The Ignore Blank Separations option, makes ArtPro to ignore Determines the resolution for the ArtPro preview files, saved
blank lines in the separation dialog, when placing an ArtPro with Preview in the File menu. In this way it is possible to vi-
file, e.g. when creating a Step and Repeat. Do not confuse sualize a Step&Repeat job more accurately on the screen
this option with “Remove unused separations” and to proof a higher resolution with Bitmap Proofer. Note
that a higher preview resolution makes the ArtPro file bigger
• Load Preferences and slower to preview in e.g. a S&R job.
Allows you to open a file with all its preferred settings. These
settings are the Job Preferences, but also open windows. By • Import opens New Job
default this option is enabled. When the option is on (default), a new job is created for any
When you switch it off, a file will be opened with active pref- Import function (PostScript/PDF, Illustrator 3.0, CFF2, HPGL
erences. and Vectorization) or S&R. When the toggle is switched off,
the file is imported in the current file. This option can also be
Shortcut: q - O, opens file with its preferences controlled separately from the Vectorization, PostScript Im-
Shortcut: q - z - O, opens file without its preferences port and S&R dialogs with the toggle Make New Job.

• Open only One Window • Accept all File Types

This option makes it possible to open a job fitted in one win- When importing a PS/PDF file, the file selector shows only
dow only, even if the file was saved with multiple open win- PS and PDF files. By switching this toggle on, all file types will
dows. By default the toggle is switched off, so opening a job be displayed.
will display the file with all the windows that were open at the This option also works for Open ArtPro File, Place Picture,
moment it was saved. (see also 7.1. New View on page 159) etc.
This will be useful, for files that are transmitted from another
• Merge Layers with Same Name computer system. Sometimes they do not have the correct
This option will, when opening/inserting or saving an existing file type. In recent Mac OSX, you also have this option to en-
ArtPro file, merge those layers with the same name into one able all types in the file selector.
layer (useful for e.g. die lines ....).
Keep in mind that this might change the order of the Layers, • HandShake LW Strictly Standard
and thus the final result of the job. Files transmitted from a Scitex system are not always the
correct file type. ArtPro will ignore this on Import if the Hand-
• Text checking shake LW strictly standard toggle is checked.
There is a popup to control when text outline checking
should be done: always / never / old files (”old files” means • Fast TIFF/IT to PS conversion
files created with any Artpro before 7.5 revision 4). Next to If a Tiff/IT file is placed in ArtPro, this Tiff/IT data has to be
the popup is an editable field with the tolerance level. The converted into PostScript compatible data. If the Fast Tiff/IT
higher this value, the more forgiving the outline checker will to PS conversion option is off, ArtPro will recode the com-
be.Converting live text to outlines frequently suffers from plete Tiff/IT file into PostScript data. If the option is switched
small rounding errors (like most conversions), so the toler- on, the Tiff/IT data will be copied into the PS file, and a PS
ance should not be set smaller than 25 internal units (0.05 conversion procedure will be placed in front. This means the
mm). Otherwise a lot of text will be marked as incorrect while PS file will be created by ArtPro much faster, but as the RIP
there is nothing wrong with it. will have to do the conversion, the RIP will slow down a lot.
For more info on Text Outline Checking, see 5.20. Outline
Check on page 132.

— p. 2 — Chapter 1 : General Manual ArtPro 8.0

1.2.2. Edit points horizontally, when respectively the move tool or one of
the edit path tool is active, by using the right or left arrow key.
• Constrain Angle
Using the SHIFT key while rotating forces the rotation angle
to multiples of the Constrain Angle. Default are multiples of
15°. Drawing paths with straight lines using the shift key will
force the drawn paths to take the defined angle (or multiples).
This magnetism to the Constrain Angle works in the Edit
Path, Retrace Path and Split Path function.
• Select Compound Paths Entirely
Selecting or deselecting an element of a compound, normal-
ly causes the entire compound to be selected or deselected.
If you want to select one or more paths of a compound sep-
arately, remove the check next to Select Compound Paths
Entirely. By default you always select or deselect a com-
pound completely.
Pressing OPTION during a Select function inverts the Select
Compound Paths Entirely flag, i.e. if Select Compound Paths
• Units Entirely is on, and you press the option key, a part of a com-
The different units you can choose from are inch, mil, pica pound will be selected and the rest of the compound will not.
pt., PS point, Q, Bai, cm, mm and int. units (internal units). This selection is the same as the arrow minus selection, or
Changing the units in this field, changes the units in the com- path selection explained earlier in this chapter.
plete program, except for the text parameters, where most Beware: pressing option before the Select activates the hand
units by default are in pica point, and where text units can be tool. You have to press option after you start dragging, or
set separately. press both command and option at the same time.
1 inch=25.4 mm
1 mil=1/1000 inch • Select Groups Entirely
1 pica point=0.166 inch = 1/72.289... inch Selecting or deselecting an element of a group, normally
1 PostScript point=1/72 inch causes the entire group to be selected or deselected. If you
1 Q=0.25 mm (Japanese unit for character pointsize) want to select one or more paths or compounds out of a
1 Bai=2.24 mm (Japanese unit for character pointsize) group separately, remove the check next to Select Groups
1 internal unit=1/12000 inch Entirely.
The internal unit of an ArtPro file is 12.000 dpi. All anchor Once this option is OFF, you get the compound selection (=
points snap to this internal grid. arrow plus). See also 3.17.2. Group, compound (object) and
path selection on page 101.
• Move Ruler Active
Activates or deactivates the additional Move Ruler function- • Undo Levels
ality while working with the transform functions. (See 3.11. For path manipulations, ArtPro can have several Undo levels
Transform tools / align on page 92) (up to 64,000). The default number is set at 10. Keep in mind
that a high number for Undo is memory consuming and will
• Select Active slow down the display speed.
Activates or deactivates the additional Select functionality
while working with the transform functions. (See 3.11. Trans- • Insert New Objects Where?
form tools / align on page 92) This pop-up allows you to specify the position of newly cre-
ated objects.
• Vert. Cursor Key Step • Add on Top: by default all new objects are created on the top
The step used to move selected paths or selected anchor level in the active layer of the file.
points vertically, when the move tool or one of the edit path • Insert in Front of Selected Objects: the path will be created
tools is active, by using the up or down arrow key. in the level just above the level of the selected objects. If
• Hor. Cursor Key Step paths in different layers are selected, the new path is put in
The step used to move selected paths or selected anchor the topmost layer.

Manual ArtPro 8.0 Chapter 1 : General — p. 3 —

1.2.3. Pictures • Place Single-Separation ArtPro file in Single Sep.
When placing an ArtPro file containing only one separation,
objects with 100% paint are considered to be “registration
color” (100% of all inks). Thus placing them in another file
(e.g. S&R) will cause these objects to get 100% of all sepa-
rations. By switching on the option Place Single-Separation
ArtPro File in Single Separation, this will be avoided, and all
objects will have only the original separation.
• Use external clipping path for TIFF/EPS
When placing a Photoshop Tiff or EPS file containing a clip-
ping path, the clipping path is converted to ArtPro line art,
with the TIFF or EPS file inside it. During this process, all
splines are kept as splines.
Do keep in mind that, when placing an EPS with a clipping
path, the clipping path will be editable, but the picture inside
that path is still the EPS with clipping path. Therefore it is not
• Put Eps in First Four Separations Only possible to extend the clipping path further, as the EPS does
ArtPro can separate EPS files that contain CMYK colors, not contain info outside its clipping path.
grays and custom colors. As a consequence, contones will • Recognize Tiff Opacity Channels
mask out PANTONE® colors and Photoshop™ duotones When Tiff pictures are to be placed (either by the Place Pic-
will appear in the correct separations. ture function or when Importing a PS or PDF file, ArtPro will
In PostScript, by default, contones mask out underlying lay- try to recognize any spot colors if the Recognize Tiff Chan-
ers. ArtPro, however, provides a workaround to generate nels is switched on.
transparency from CMYK contones to a spot color back- A Tiff file can contain channels indicating masked areas
ground. (type1), channels indicating selected areas (type2) and chan-
In practice: nels indicating spot colors (type3)
• When Put EPS in First Four Separations Only is active, the Channels of type 1 and 2 are treated as alpha channels, thus
CMYK EPS will generate transparency in all underlying ele- put into the opacity channel. If the Tiff contains more than
ments, except for CMYK itself. Transparency within one ink one alpha channel, only the first is used, and all others are ig-
cannot be generated. nored, though the separation are generated based on the
• When Put EPS in First Four Separations Only is deactivated, channel names present in the Tiff. These separations have
the EPS will mask out all underlying elements. CMYK value 0, 0, 0, 100, and only reflect the number of
channels in the Tiff.
Remarks: If spot color channels are found, a separation will be created
• The checkbox for Put EPS in First Fours Separations Only with the same name as the Tiff file channel.
works on all placed EPS files in the job. The color definition (CMYK representation) for this spot color
• If you have a monochrome EPS in a spot color (e.g. in a PAN- will first be searched in the ink book. If the spot color is not
TONE® ink), or any EPS file containing spot color separa- found in the ink book, or if no ink book is loaded, ArtPro will
tions (e.g. duotones), you cannot activate Put EPS in First extract the color information from the Tiff file. Since this color
Four Separations Only, or the monochrome EPS will not be definition is normally given in RGB or HSB, conversion to
exposed. cmyk will usually yield a deviation from what is expected.
• The Put EPS in First Four Separations Only option is only Therefor, a warning is generated.
read at the moment you calculate the PostScript file (= Print). If ArtPro encounters an unknown color space, a new sepa-
• DCS files are not influenced by this option. DCS files never ration will be created with the channel name, and with cmyk
mask out the background. Therefore you need to put a mask representation 0, 0, 0, 100.
layer underneath the DCS. This path should be zero to knock If a tiff contains no extra channels, or if the Tiff contains at
out the inks underneath, or transparent for overprinting the least one spot color, the file will be placed as a mapped pic-
inks underneath. ture. If the Tiff contains an alpha channel, the file will be im-
ported as a Internal image.

— p. 4 — Chapter 1 : General Manual ArtPro 8.0

 • Contone Cache 1.2.4. Display
Contone Cache is the part of the ArtPro RAM memory which
will be reserved specifically for tiled ArtColor images. This is
the same setting as the Contone cache in the Memory Us-
age section. See 6.23. Memory Usage on page 154.
• Show warning when exceeding BleedBox
This option is used for all step and repeat options. When ask-
ing to apply bleed that exceeds the size that was defined in
the bleedbox, there will be a warning. When you don't want
this, e.g. when you didn't define your bleedbox, this option
can be switched off.
• Place picture using
This setting defines which job size needs to be used to place
an ArtPro or PDF file as a picture. ArtPro will generate a new
object on the size of that box and place the complete picture
inside it. This setting could be useful for S&R.
• Align placed pictures on
When a picture is placed in ArtPro, it is always positioned in
the bottom right quadrant of the ruler. When placing an Art-
Pro or PDF file, containing different job sizes, we can use this
setting to define which one of the sizes needs to be aligned
to the bottom right of the ruler.
• Color Profiles • Display Colors:
Clicking the Color Profiles button will open the Color Man- for Selection..., for Deleted Ob-
agement dialog, directly at the Placed Pictures tab. See jects..., for Magnetic Objects...,
1.3.3. Place Picture tab on page 9. ...
Pressing one of these buttons
will allow you to choose the dis-
play color for selections, delet-
ed objects, magnetic objects
(paths, grid and ruler, see 7.15.
Magnetism... on page 163), and
job borders on the Color Selec-
tion extensions installed on the
Mac.
• Display Profile
Clicking the Display Profile but-
ton will open the Color Manage-
ment dialog at the Display tab.
• During contone editing: Show/dim/hide Others
• Show others: all ArtPro objects remain visible as normal,
when the contone mode is activated.
• Dim Others: all ArtPro objects, other than the contone under
edit, are shown with a reduced density when the contone
mode is activated.
• Hide Others: only the contone which is being edited appears
on the screen, all the other ArtPro objects are hidden.

Manual ArtPro 8.0 Chapter 1 : General — p. 5 —

 • Screen Reduction adapts its screen resolution when a new preview has to be
The Screen Reduction defines the display resolution of all calculated. Thus, change the display resolution, and force
iCTs in the ArtPro document. It is the ratio between the dis- the system to calculate a new preview. The easiest way to do
play resolution of an image and the actual high resolution. this is by repainting the preview with the shortcut q - ,.
The Screen Reduction is important for the calculation of the • For these reasons it is better to set your display resolution
LR tiles per separation and the RGB LR preview tiles. The before creating or opening a job.
lowres tiles use 1 pixel out of 2, 4, 8 or 16 pixels of the high • Steps for Gradations
res tiles, depending on how the Screen Reduction is set. In this field you can define in how many steps a vignette
The pixel used in the Screen reduction 1/4 should be represented on the screen. The default value is 24.
lowres images is the Keep in mind that a higher number of steps consumes more
most top left pixel (first memory. For jobs containing lots of gradations, it is advisable
pixel) of 2x2, 4x4, 8x8 or to reduce this parameter to get acceptable screen preview
16x16 pixels square. speeds. The preview is adjusted by repainting the preview.
Obviously previewing
• Text Preview
becomes a lot faster this
• Always: text is visualized correctly on the screen, in the right
way. In 1/16 mode, Art- LR
order with respect to other ArtPro objects. Since this display
Pro is only showing 1/ HR
uses the outline representation, problems can occur with
256 pixels. For more in-
protected fonts whereby the outline is not available. The error
fo, see 6.23.1. Screen Reduction on page 154.
message “No valid outline font found?” appears and the text
• Synchronize zoom set in such a font will not show. Try options Mixed or Never,
When the option is checked during contone editing, the dis- which may show the text contained in the job.
play of the pixels on the screen will synchronize with the real • Never: text will be displayed with its bitmap font, on top of
CT pixels, i.e. the screen pixels will correspond with (a multi- any other ArtPro object even if it lies underneath. Note that
ple of) the CT pixels. this does not mean the font will be correct on output. All
The view will thus be rounded (up or down) to the nearest ex- fonts, even protected ones, can be visualized in this way.
isting zoom factor. As a consequence, it is possible that Fit • Mixed: default option which combines the two previous
in Window shows the job larger on screen than the actual fit. ones. First an attempt is made to visualize the text with its
When the option is switched off (default), the preview will be outline font. If a text set with protected fonts is discovered,
calculated normally. This might result in odd-looking “irregu- the message “No valid outline font?” will appear and the pro-
lar” views, especially with e.g. checkerboard patterns or text gram will display that text with its bitmap font.
in the picture. Since the option is window dependent, it has If a single text box contains mixed fonts, text set in outline fonts
to be (de)activated for every window, if necessary. will appear but the text in the protected fonts will not show.
• Picture Display Resolution • 3D bitmap Pixel size
You can specify the preview resolution for picture display. When creating a 3D render (see 2.30. Step & Repeat 3D
The default value is set to 300 ppi. ArtPro divides the original View... on page 58), the ArtPro job is first rendered to a bit-
resolution of the TIFF image by two until the result becomes map. By default this is rendered to the system’s maximum
smaller than the value in the TIFF Display Resolution field. size (2048 x 2048 pixels in RGB). However, on some com-
E.g. If the Picture Display Resolution is +100 ppi and you puters (iMac, ibook, ...) this is more than the video card can
have an image of 300 ppi, then 300 ppi / 2 = 150, 150 ppi / handle, and the result will be all black. By lowering this value,
2 = 75 ppi < 100 ppi. The image will be displayed with a res- output will be correct.
olution of 75 ppi.
Keep in mind that increasing the resolution also increases 1.2.5. Certified
the internal memory needed to store pictures in ArtPro. The Certified Tab contains the basic settings for Certified
Remarks: mode. The complete usage of Certified ArtPro is described be-
• The display resolution for normal picture paints does not low in 1.4. Certified ArtPro on page 12
change. The only method of changing the file display resolu-
tion, is to close the file, define the new resolution and then re-
open the file.
• A mapped picture which is already present in the file, only

— p. 6 — Chapter 1 : General Manual ArtPro 8.0

1.2.6. Flattening 1.2.7. General

The Flatten Transparencies function replace all blend modes

and transparencies by “normal” objects, maintaining the look
of the final result, i.e. the blend will be calculated to whatever is • Color Management
underneath at that moment, and will be adepted in a lineart ob- Clicking the Color Management button opens the Color
ject (if possible) or an image. Management dialog. The complete Color Management op-
Flattening is done automatically when outputting PostScript, tions are discussed in 1.3. Color management on page 8
when saving in ArtPro 7.5 format, or when exporting PDF with
the “Enable Flattener” option on (creating PDF 1.3). Flattening • Dongle and encoding...
can also be done interactively, with the function in the Arrange The Dongle
menu. In any way, flattening is calculated for the complete job. and Encod-
The settings used when flattening (either interactive, or through ing window
the Print, Save As or Export PDF function), can be set in the shows the
Flatten Transparencies tab of the Preferences. current en-
• Resolution coding and
The Resolution (in l/inch or l/cm) defines the resolution of the dongle num-
images to be created. This is used if gradation or multistep ber of the ArtPro Dongle. You need this dongle nr and en-
gradations have to be flattened. coding in order to build and download a new version of
• Noise for Gradations ArtPro.
This determines how much noise has to be applied on the DO NOT USE THE RESET BUTTON unless you are told to
objects that are flattened. The default value is 0%. Noise is do so by Artwork Systems’ Support or Dongle department.
applied to make vignettes smoother and thus to avoid band- • The Encoding is different for each dongle and changes each
ing. time. A specific Code can be used for the corresponding
For more information on noise : see 2.33. Print : More set- dongle only once.
tings... on page 67. • The dongle is checked about every five minutes while work-
ing with ArtPro. It is not possible to use one dongle to run the
• No Noise from / To
program on several machines at the same time.
This allows to define a range in which no noise should be ap-
• It is possible to have more than one ArtPro dongle on one
plied to gradations. This is useful e.g. for autoblend screen-
machine., e.g. an ArtPro basic licence and a PowerLayout.
ing.
• ArtPro will not allow you to set the clock back. Thus, an at-
• Images tempt to set the date back will be detected by the dongle
When using the interactive flattener, you will be asked to de- and will cause the dongle to malfunction.
fine the name and location for the images that will be gener- • When your dongle expires, the Dongle Programming dialog
ated. All these images will be external images, and will be will appear when ArtPro launches, and will give two weeks
mapped. For Flattening during PDF1.3, PS or ArtPro7.5 out- notice before the dongle expiry date. If so, contact your Don-
put, temporary files will be created on the hard disk in the gle Administration. Building another version from the Down-
system temporary folder. The image resolution will be adapt- load Center solves nothing. Please do not wait until the last
ed automatically : it will use the highest resolution of all imag- day, to avoid having to wait for a version.
es at the specific position. E.g. when a 200 dpi image is • If the Dongle dialog appears when ArtPro launches, there
blended on top of a 300 dpi image, the resulting flattened im- may be an error message, if so, please fax this along with the
age will be 300 dpi. relevant numbers so that we can help you.

Manual ArtPro 8.0 Chapter 1 : General — p. 7 —

 • Extra Cutback Curves 1.3. Color management
The Extra Cutback Curves can be used in the Screening
menu, in the Extra Cutback dropdown in the Extended Nex- ColorSync is fully implemented in ArtPro. The color profiling
us tab. See 7.17.22. Nexus Extended: Extra Cutbacks on has been implemented on 4 different levels:
page 170. • profiling of the display (screen calibration)
In the Extra Cutback • profiling of the imported pictures
Curves, you see a list of • profiling of the output (proofer)
the already defined Ex- • profiling of the imported PostScript files
tra Cutback Curves. Currently there are three different colorspaces supported in
You can add a curve by ArtPro: CMYK, RGB, Grayscale (and inverted grayscale).
clicking the Add button, All the color management settings have been ordered in one
and browse to the tabbed dialog, but they can also be accessed by the related
Curve you want to add. ArtPro dialogs.
By clicking the Add 1.3.1. General tab
Folder button, you can
The general tab contains the settings that affect the overall be-
select a folder, and all
havior of the color management in ArtPro.
file names from that
folder will be added. All files in subfolders will be added as
well, so do not select a folder (or HD) containing hundreds of
files ! Select only a dedicated folder containing curves.
By selecting a curve in the list, and clicking the “Delete” but-
ton you can remove a curve from the list. By clicking the De-
lete All button, all curves will be removed from the list.
When changing the Extra Cutback Curves list while the
Screen dialog is open will not change the dropdown menu
immediately. Just close the Screen Dialog and open it again
to see the Curves in the Dropdown. • Enable Color management:
The text file containing the names of the Extra Cutback Color management will only be used if this box is checked.
Curves is saved in the System Preferences folder of ArtPro. When ArtPro can't find the necessary system libraries for col-
If needed, this text file can be adjusted manually. or management, this box will be disabled. So this means, if
ColorSync is not installed or when it has been disabled, you
• Save Preferences won't be able to use color management.
The Save Preferences saves all Preferences and settings (in- When this checkbox is disabled or unchecked, all the con-
cluding the Job Preferences). The User Preferences are the trols in the color management dialog will be disabled, and the
preferences to be loaded when launching ArtPro. The User color conversion will be performed as in ArtPro 6.0.
Preferences contains all settings of the Preference dialog,
except for Color Management. Open dialogs are also saved Keep in mind that Color Management calculation on images
in these preferences. Also the Certified ArtPro parameters using blend modes does not make any sense. Therefore, all
from Import and Export PDF, and the PDF Export flavours Color Management calculations will make ArtPro to flatten
are saved in the Preferences. the job first.
The Preferences are saved as “ArtPro 8.0 Preferences” in the
User folder, in Library/Preferences/ArtPro. This implicates
that every user can have his own preferences saved. • CMYK Working Space Profile:
The CMYK working space profile is the profile that is used for
working in ArtPro. Everything that is imported in ArtPro or ex-
ported from ArtPro passes through this colorspace. If no
profile is selected, the system default CMYK profile will be
used. There are always three generic profiles shipped with
ArtPro, in case the system default can't be retrieved. An easy
way to see if an embedded profile is used or a profile from

— p. 8 — Chapter 1 : General Manual ArtPro 8.0

 disk, is the naming of the profile. If the embedded profile is • Processing
used, only the name of the profile will be visible in the field. If The Processing part is divided into 4 parts : CMYK Images,
a profile from disk is used, the complete path is visible. CMYK lineart, RGB images and RGB lineart. For each of
When you select a CMYK Working Space profile, either by these parts, the user can define how ArtPro should process
browsing or by typing the path manually, ArtPro checks if this the colors.
profile really exists and if it maps to the correct colorspace. For CMYK Images and lineart, there are 4 options :
• Embed entire profiles in ArtPro file: No conversion means that the CMYK colors are left un-
When saving an ArtPro job using color management, with changed.
this option active, all the profiles used in the job will be saved Use Default Profile makes ArtPro to use the profile defined
completely in the job. This is useful when this job is meant to above.
be opened on another workstation. When the other worksta- Use Embedded Profile means an embedded profile will be
tion doesn't have the same color profile saved in the Color used. If no embedded profile is found, there will be no con-
Profiles folder, ArtPro will extract the embedded profile and version.
use this for color conversion. The only disadvantage is that Use Embedded or Default Profile means the embedded pro-
these profiles take up quite some space in the file (this can file will be used when present, otherwise the default profile
be up to 1 MB in size). will be used.
When you don't embed the profiles in the ArtPro file, only a For RGB images and lineart, no conversion is not available.
reference to that file will be stored. So when you open this job An option specific for RGB is Use Postscript Conversion,
on a system on which the profile isn't stored, the profile will meaning the conversion information stored in the PostScript
be discarded File should be used. The Use Default Profile and Use Embed-
ded or Default Profile options as for CMYK are also available.
• New Job Uses Default Settings
If this checkbox is on, the Default settings as saved in the • CMYK Lineart
preferences will be used when creating a new ArtPro file. If In this section, some specific settings can be made on how
the setting is off, the settings as they are at the moment of to treat CMYK lineart.
creating the file, will be used. The settings can be made for three kinds of CMYK lineart :
The setting of the “New Job uses default settings” checkbox Blacks (colors only containing black), Single Separation (col-
is a User Preference and not a Job Preference. This means ors that consist of only one separation) or Mixed Colors (col-
it will not be ors consisting of more than one separation).
Opening an ArtPro file will open the Color Management set- For each of these, you can choose to apply the profile, to
tings as saved in the file. preserve solids (leave the 100% values unchanged), or to
preserve all (leave everything unchanged).
1.3.2. Import PS tab
1.3.3. Place Picture tab

1.3.4. Images in Working Space Profile

• Input • Conversion
On input, a color profile can be selected for RGB and for When a picture is placed in the ArtPro Job, and color man-
CMYK. This profile will be referred to as default profile. agement is enabled, ArtPro will use the original image and its
profile, to convert it once and saved to disk. This means that

Manual ArtPro 8.0 Chapter 1 : General — p. 9 —

 CM does not have to be calculated for display, for output, 1.3.5. Output tab
etc. Another consequence, is that for every image that needs
Color Management, another, adjusted image is saved to
disk.
When a picture is being placed, either by Place Picture, or
when importing a PS or PDF file, the image will be converted
to the working space. A browse window will open, asking
where the converted files need to be stored. By cancelling,
the picture can be placed “as is”, without any adjustment.

When an ArtPro 6.5 or 7.0 file is opened, color-managed im-

ages will be converted in the same way. If Color Manage-
ment is disabled, it will be enabled and the current working
space is used. If no working space is available, the defaults
When a job is exported, it is possible that you want to add a
will be used. Therefor, it is advisable to select the correct
color profile in order to get the correct colors on the final out-
working space profile in advance.
put. Especially when printing to a proofer, it can be interesting
• Links to use the press's color profile in order to get an accurate
The result will be that not the original image is placed, but the proof. The same is true for soft proofing on screen.
converted image. However, the link to the original image and Applying Color Management on images on which Blend
its profile, is also saved in the ArtPro file. Modes or Transparency is applied, doesn’t make any sense,
These links can be seen and changed in the Used Picture di- and would in fact give wrong results.
alog. See 9.14.7. Job Info : Color Management on page 197 Therefor, Color Management is applied when flattening, on the
• Profiles used for placing pictures: flattened job. The settings are the same as for the export.
When a picture containing no color profile is placed in ArtPro, • Use Working space profile for press profile
one of the three defined color profiles will be assigned, de- If a job is meant to be printed on only one press, the profile
pending on the colorspace of the picture. for this press will typically be used as the internal working
• When the picture has an embedded profile: space profile. Therefore you can check the button Use work-
If a color profile is embedded in the picture that is placed, it ing space profile for press profile. This will disable the profile
depends on the setting of the radio buttons in the Place Pic- for the press, and it will display the message: <Using Work-
ture tab. ing Space Profile>.
Use the embedded profile: • Proofer Color Profile
When this option is on, ArtPro will import the embedded pro- You can also specify the color profile for the proofer, as this
file and add it to the internal profile list. This can be checked is also taken into consideration for the softproofing and used
in the 'Used Pictures' dialog. for converting the colors when printing the actual proof.
Override embedded profile: When there is no proofer profile selected, there will be no soft
With this option active, ArtPro will act as if no embedded pro- proofing nor output conversion performed on the colors.
file was found.
• Rendering Intent
When this is the case, or if there is really no embedded pro-
The Rendering Intent defines the way the colors will be trans-
file, two possible color profiles can be added to the picture:
formed through the colorspaces of the output devices. For
• If there is no color profile support, an empty profile is tied to
this you should take in account the purpose of output.
the picture and color conversion happens according the Art-
• default: use the default way defined in the color profile itself
Pro standards.
• perceptual: this option tries to preserve the visual relationship
• If the user turned color profiles off, or selected no profile, the
between colors in a way that is perceived as natural to the
standard system color profile for that colorspace will be
human eye, although the color values themselves may
used. This is the generic CMYK profile that is installed by de-
change. This rendering intent is most suitable for photo-
fault in your system folder
graphic images
• relative colorimetric: this rendering intent is identical to abso-
lute colorimetric except for the following difference: relative

— p. 10 — Chapter 1 : General Manual ArtPro 8.0

 colorimetric compares the white point of the source color- 1.3.7. Save/Restore tab
space to that of the destination colorspace and shifts all the
colors accordingly. Although the perceptual rendering intent
as traditionally been the most common choice for photo-
graphic imagery, relative colorimetric can be a better choice
for preserving color relationships without sacrificing color ac-
curacy.
• saturation: saturation aims to create vivid color at the ex-
pense of accurate color. It scales the source gamut to the
destination gamut, but preserves relative saturation instead
This tab makes it possible to save and restore all the settings
of hue. So when you scale to a smaller color gamut, the hues
in the color management dialog to/from a binary file.
may shift. This rendering intent is suitable for business graph-
Each setting has a name that is displayed in the Edit field. This
ics, where the exact relationship between colors is not as im-
name can only be modified when the Edit button is pressed.
portant as having bright saturated colors.
Once this field is edited, it becomes disabled again.
• absolute colorimetric: leaves colors that fall inside the desti-
In order to save the settings a name must
nation gamut unchanged. This rendering intent aims to main-
be entered into the field. The file is from the
tain color accuracy at the expense of preserving
AWCS (ArtWork Color Settings) format, and
relationships between colors.
is represented by a rainbow colored ArtPro
When translating to a smaller gamut, two colors that are dif-
icon (see picture on the right). In this color
ferent in the source space may be translated into the same
settings file all the settings are stored and all the used color
color in the destination space. Absolute Colorimetric can be
profiles are completely embedded. This means that if you want
more accurate if the image's color profile contains correct
to restore the settings on another workstation, only the color
white point information.
settings file is needed. The only requirement is that ColorSync
• Processing is installed on the Macintosh.
The Processing section allows to set what needs to be pro- The only profile that isn't included in this file, is the display pro-
cessed. file. This is normal, as this profile differs from user to user, and
For Images, you can set to apply all profiles, or to do no con- it shouldn't change once the correct calibrated profile has been
versions. set.
For Line Art (Black, Single Separation and Mixed color Line It is possible to see the used color management setting on the
art), the choice can be made to apply the profile, to preserve output. Therefor a new regmark is created that will add the
solids or to preserve all. name of the current color setting between brackets to the print
output.
1.3.6. Display tab:
If no color setting is loaded, nothing will be displayed on the
output.

1.3.8. Separation conversion

When we convert a color from one colorspace to another, we
always start with a list of all the separations and their presence
• Soft Proof on Screen (in %) in the current color. This list must be converted to a new
The soft proof option will refresh the data and recalculate a list with the same separations, or to another colorspace alto-
new screen by mapping the colors through the press and gether.
proofer profile before mapping to the display profile. As an example a conversion from CMYK (working space) to

Note that the RGB Preview Profile as defined on your Mac

will be used.

Manual ArtPro 8.0 Chapter 1 : General — p. 11 —

 RGB for display purposes. 1.4. Certified ArtPro
“Certified Artpro” allows to integrate the Certified PDF Work-
flow functionality into Artpro. The aim is to provide functionality
to import Certified PDF, edit and then export as Certified PDF
with information about edits and changes to the document.
Certified ArtPro can be divided in 3 parts : Input, Output and
Certified ArtPro sessions.
With color management the conversion will happen as follows:
1.4.1. Certified Artpro sessions.
Artpro can work in Certified Artpro Mode, by switching it on in
the Certified ArtPro dialog. This setting, together with the User
Info, can be found in the Preferences, in the “Certified” tab.
• User information data

In other words, the 4 separations marked as CMYK are con-

verted in one chunk. In ArtPro the separations must have the
CMYK-flag in order to be considered as one of these four inks.
When they don't have the flag, they are treated as spot colors.
When converting to another colorspace, all the spot colors are
converted using color management. In the other cases the
spot colors are exported as spot colors and their color value is
untouched.

User name, Short user name, etc. - provides the information

about the user who is editing the PDF document. That infor-
mation will be stored in Certified PDF each time when a new
session is started (see earlier).
If you enable Certified Mode, the filed “User name” is man-
datory. So before switching on Certified Mode, a User Name
should be specified. Otherwise, switching to Certified Mode
will not be allowed and a message box will appear:

If you change the User information when working in Certified

— p. 12 — Chapter 1 : General Manual ArtPro 8.0

 ArtPro Mode, a dialog will pop up, asking if you want to start 1.4.2. Input : Import PS/PDF
a new session or not. If you click yes, the active session will The Import PostScript/PDF dialog will show the type of select-
close, and a new session will be started, using the changed ed PDF file in “Type” field. If it’s a Certified PDF file, it will display
User info. If you click No, the User info in the active session “Composite Certified PDF”. If it is not certified PDF, it will dis-
will be overwritten by the new User info. play “Composite PDF”. The Certified tab in the Import PS/PDF
When opening or importing a document without any User in- dialog, contains some settings on input, and the browse but-
formation (without Certified ArtPro switched on), a session ton to select the input profile to be used. To clear the input pro-
will be recorded anyhow. At the moment the user information file, you can shift-click the browse button.
is entered in the Certified ArtPro dialog, this User information
will be used for the active session. In that case, the popup to
decide if a new session has to be started, will not appear.

Session and User information is saved with the ArtPro file if

“Include Certified PDF information” in ArtPro’s Save As pa-
rameters is enabled. If the parameter for including certified
PDF info is enabled or disabled in the Save As dialog, all sub-
sequent Saves will use the same settings.
• Sessions.
Working Certified Mode in ArtPro, affects the way it works for
all open/save operations. Whatever the Certified options
states are, Artpro is now recording the history of changes
• Importing files other than PDF
made by the user and saves them with the Artpro files. From
When importing any other file type than PDF, the Sessions
version 8.0, all Artpro files have the possibility to be exported
log will indicate that no input profile was applied, and the ses-
to Certified PDF and all the history of changes will be record-
sion will begin AFTER the import.
ed. Those changes are recorded as sessions. An Artpro ses-
sion is a track of changes from beginning of the session to • Importing non-Certified PDF
the end of the session. When importing a non-Certified PDF file, and Certified Import
A session starts when: is enabled, ArtPro will Certify the PDF file and import the Cer-
• A file is created or opened that doesn’t contain a session tified PDF instead of the original. Unless “Overwrite input file
yet. This can be : opening an ArtPro file from version lower on re-preflight” is on, a new, certified PDF will be saved, and
than 8.0, importing a PDF (Certified or not) or importing any this certified PDF will be imported. This will be saved as a
other file format. separate session.
• An ArtPro 8.0 is opened, changed and saved. The active If you click “Cancel” in the dialog to define name and location
session is closed, and a new session is opened of the Certified PDF file, the uncertified PDF is imported any-
• Certified PDF file is exported and Certified mode is on (ex- how, and the session will start AFTER the import.
plained later). In that case, the old sessions are recorded to • Re-Preflight if profile does not match : ON
PDF file and a new session is opened. If the profiles are not identical, the option “Re-preflight if pro-
The session is not begun when: files do not match” will be consulted. If the option is on, the
• An Artpro file is saved without any changes, or modifica- job will be re-preflighted if the input profile and the embed-
tions were not saved. ded profile don’t match. If they match, the session log will in-
• Certified PDF file is exported and Certified mode is off. The dicate both profiles are identical.
active session will be continued. When comparing 2 profiles, their content is checked, and not
just the name.

Manual ArtPro 8.0 Chapter 1 : General — p. 13 —

 • Re-Preflight if profile does not match : OFF • Session times
If the option “Re-preflight....” is off, the Certified PDF will be start/end time of the session.
imported without re-preflighting it. The Session window will
indicate the profile it was originally certified by.
• Re-preflight
When Re-preflighting, ArtPro will create a new session, pre-
flight the file and close the session. ArtPro will prompt for the
filename for the new Certified PDF file (if the Overwrite option
is off). An additional session will start in ArtPro.
• Overwrite Input File
If the “Overwrite Input file on Re-preflight” option is on, there
will be no new PDF file created by ArtPro. Instead, ArtPro will
replace the original PDF file with the certified PDF.
• Get all bounding boxes for preflight report
This option forces Artpro to obtain bounding boxes for the
last preflight report. If activated, Artpro will get full information
for every report item along with bounding box of the area
where the error/warning occurred. This will cause an addi-
tional preflight of the input document and consume addition-
al time, but will allow you to double-click on the preflight
problems and warnings, and zoom in on the correct areas

1.4.3. Session Info

The Session information can be opened by clicking • Profile
the Certified Session button. If the file is not Certi- information about Preflight profile used for that session. If the
fied or has preflight errors, this button will show a session was preflighted, it shows the status of preflight (pre-
red cross. flighted OK or with errors) and profile name.
If the file is Certified with no preflight errors, it will be • Report
represented as a green ok mark. Report will be shown only for the last history session (which
If Certified is not switched on in the Preferences, is one before the “Active session”), but only if that session
the Certified Session toolbar button will be disabled. was preflighted. If the option “Always get bounding boxes for
• PDF Document Status preflight info” is off, the report will contain only error/warning
The PDF document status will indicate if the last Certified messages and number of occurrences without bounding
PDF file was preflighted, and by what profile. boxes of the area where the error/warning occurred. If the
This will be the original PDF coming from Importing, the Cer- option is on, each report entry, if available, will contain an ad-
tified PDF when re-preflighting during import, or the last ex- ditional set of bounding boxes of the areas where the error/
ported PDF with Certified enabled. warning occurred. Double Clicking on such an entry will
zoom in on the area.
• ArtPro Document
Report is marked by a red spot for errors and orange for
The ArtPro Document status indicates whether or not the
warnings.
current ArtPro Document is fully certified. This will only be the
case after a Certified Import without errors, or after a Certi- • Edit Log
fied Export PDF. gives a list of edits that has been done for the session along
As soon as the user starts editing the document, the status with the short name of the product by which the change was
changes to Red. done. For Artpro edits it will be “ARTP”. Additionally, if avail-
able, each edit log will be accompanied by a set of clickable
• Personal Info
bounding box items where the edit had effect. Clicking a log
User info on the specified session. For ArtPro sessions, this
item will highlight it in the file, double-clicking it will zoom in
information comes from the Certified Preferences.
on it.

— p. 14 — Chapter 1 : General Manual ArtPro 8.0

 Zooming in is always using the location of the object at the To keep both the PDF as the ArtPro file in a certified (“green”)
time of editing. If the object was moved later on, the zoom state, it is necessary to save the ArtPro file after the Certified
will not show the object. PDF Export.
• Session Comment
Session Comment is a text that can be entered whenever a
session is ended (e.g. save the file)

The Comments entered for the session will be shown in the

session info.
• General
The “Sessions” dialog will show only non-empty information.
There will be always one “Active session” which is the current
session. “Edit Log” for this session incorporates the current
changes being made to the document.

1.4.4. Export

The “Export PDF” operation (with Certified enabled) will close

the session, add “edit log” information and optionally preflight
the document. The standard “Export PDF” dialog window has
now an additional tab “Certified PDF”:
If the “Output profile” file is selected then PDF file is preflighted
after being exported. The Output profile can be cleared by
shift-clicking the Browse button. If “Certified PDF Enabled” is
unchecked, then regular non-certified PDF file is saved and no
new session is started.
The “Incremental save” option will work only if the last Certified
PDF (i.e. the imported Certified PDF or the last Exported PDF)
is still available. The option means that the previous Certified
PDF file’s contents will be merged with the exported PDF, so
that “rollback” the PDF document to the previous session will
be possible. Using this option can result in a large PDF file.

Manual ArtPro 8.0 Chapter 1 : General — p. 15 —

— p. 16 — Chapter 1 : General Manual ArtPro 8.0
 2. FILE

2.1. New... one document (see also 7.1. New View on page 159)
Shortcut: q - N : File New
The New... function
creates a new file.
When selecting 2.2. Open...
New..., a dialog box With Open... you can open an existing ArtPro file, using the
appears to set the Mac OS Navigation services.
name for your new When an ArtPro file is saved with the ...With Preview option on
file. The default file- (2.11.2. Include Preview on page 21), this preview will be avail-
name is “Untitled 1”. able in the File open dialog. The navigation services also allow
You also have the the use of Favorites and Recently opened files, show mounted
possibility to change servers, sorting files by name, date,... ArtPro can open several
the job size, if ne- files at a time. Use shift to add files to the selection.
cessary. After clicking the OK button, ArtPro will open an emp- All Job Preferences are saved in the ArtPro file, and will be
ty document with the 4 process colors (CMYK) as predefined opened upon loading the file. Dialogs that were open when
separations. saving the ArtPro file, will also reappear. If the dialog was al-
Right after starting up the application, the default job size will ready open, it will remain at the same position. For an indication
be 297mm x 210 mm if units are set to mm or cm, or 8” x 11” of Job Preferences and User Preferences : see 1.2. Preferenc-
if units are set to any other unit. If a job was opened before, the es... on page 1.
default job size will be equal to the job size of the last active job. When opening an ArtPro file, you can open it with or without its
Using the size pull-down menu, the dimensions for the job can preferences (see Preferences : 1.2. Preferences... Load Prefer-
be selected from a number of predefined paper sizes. These ences on page 2).
sizes are either the defaults (see below), or the sizes found in a When opening a locked file, ArtPro will perform an Open read
text file called JobSizes, in the User folder, in Preferences, in only instead.
the ArtPro folder. When opening an ArtPro file containing JPEG or TIFF files that
This is an example of a jobsizes file, containing ArtPro Default aren’t Mapped Pictures, ArtPro will offer the possibility to map
sizes : all pictures (see 9.1.8. Mapped Picture on page 190)
ArtPro Sizes File V1.0 Shortcut: q - O : open file with preferences
A4 210 297 mm Shortcut: q - z -O : open file without preferences.
A3 297 420 mm
US_Letter 11 8,5 inch
US_Legal 14 8,5 inch 2.3. Open From Mnemo
Tabloid 17 11 inch The Open From Mnemo option, allows to open ArtPro files di-
Tabloid_Extra 17 12 inch rectly from a Mnemo 1.0 dbase. When selecting the option in
The paper size name, vertical size, horizontal size and units are the file menu, a Mnemo Browser window will open, with a Lo-
divided by a space or tab. This means the name should not gin, a cancel and an OK button. If in the browser window an
contain any spaces or tabs. An underscore in the name will be ArtPro file is selected, the “OK” button will open the selected
converted to a space. When selecting a paper size, its units (ei- ArtPro file, if the file is accessible (file server is mounted)
ther mm or inch) will be activated in the Preferences dialog (1.2.
Preferences... on page 1). 2.3.1. Login
The Job sizes file will not work if the text file name is not exactly When clicking the Login button, the same Login dialog as in
‘jobsizes’, if the title in the text is not exactly ‘ArtPro Sizes File Mnemo Client is opened. In the Choose Server sections, all
V1.0’ or if the text file is not at the appropriate place. In ArtPro published Mnemo servers that can be found, are shown. When
it is possible to have a total of 9 job windows open at the same selecting one, the corresponding IP adress is shown under-
time, windows of different documents or multiple windows of neath. The publishing of servers uses Apple’s Rendez-Vous. If

Manual ArtPro 8.0 Chapter 2 : File — p. 17 —

 Rendez-Vous isn’t working properly, no servers will be shown. 2.5. Template...
By choosing “Enter IP”, you can manually enter the IP of the
server you want to connect to, allowing to connect over the in- With Template you can create a new document, starting from
ternet. an existing ArtPro file. By choosing the Template function, Art-
Pro opens the active template as a new ‘untitled’ document. If
no template file is selected yet, the system will ask to select an
ArtPro file first. This way things like separations, marks, guides,
preferences, paths, colors, screening... can be predefined and
used to start a new job on.
The template file can be any existing ArtPro file, but it is usually
a specially created file with a predefined job size, ink separa-
tions, marks and guides. It is wise to lock specially defined
template files in the Mac OS (see your Macintosh User’s
Guide). A locked file can only be saved under another name
(with Save as...).
Once a template file is chosen, the system will always open this
file with the Template command. When you want to change the
template file, choose Template while holding down the option
key and a dialog box will appear to activate a new template file.

2.6. Insert ...

It is possible to insert an ArtPro file in an already opened ArtPro
file. By choosing the Insert... function you will get a dialog box
to select the ArtPro file you want to insert.
Enter the Username and Password to connect to the Mnemo
The inserted file will appear selected on the bottom right quad-
Server. If Remember Password is checked, the password will
rant of your ruler. The trimbox of the original job is aligned on
be remembered for the next time you use Open from Mnemo
the ruler. If anything was selected in the window before insert-
2.3.2. Browse / Search ing the file, it will now be deselected and only the inserted paths
will be selected.
There are 2 ways to select a file from a mnemo server : either
If separations from the inserted file are not in the open file, Art-
by selecting it in a browse window, or by using a Search com-
Pro adds these separations in the separation table. One ArtPro
mand. For more information on the Browse window and the
job is limited to 64 separations. If the separation table exceeds
Search command, we refer to the Mnemo documentation
the maximum number of separations, the message “separation
2.3.3. Import PS / PDF table full” will appear. Paths in overflow separations will be-
In the Import PS / PDF dialog, it is possible to select a Post- come white. All the layers in the inserted file will be generated
Script or PDF file from Mnemo as well. When control-clicking in the opened ArtPro job. In 1.2. Preferences... you can switch
the “Select File” button, a Mnemo dialog will open, identical to the toggle Merge Layers with Same Name on page 2 on, to
the “Open From Mnemo” dialog, allowing to select a PDF or keep ArtPro from creating double layers.
PostScript file.
2.7. Open Read-Only...
2.4. Open Recent With this function you can open an existing ArtPro file for read
In the Open Recent menu, the 20 most recently opened ArtPro only. A message will appear that you will not be able to save
files can be chosen and opened. any changes. To the original file name “(read only)” is appended
The list of Recent Files is stored in a text file “ArtPro Recent in the title bar, allowing you to still make changes and save the
Files” in the User Folder, in Library, in Preferences, in the ArtPro file with this new name, or any other name.Opening a file for
folder. read only is especially useful to copy and paste from one job
into another. Open read only is the only way to open a locked
file, or a file from a CD or any other locked volume.

— p. 18 — Chapter 2 : File Manual ArtPro 8.0

2.8. Cruise Controls... (ArtCruise) blend modes or transparencies. In that case, the PS Import
should Error (so always put on Red Alert)
ArtCruise, the checking and reporting utility, allows you to set
a number of criteria to which a PostScript or PDF is checked • Color Controls
during import. The criteria set in Cruise Controls will result in a * Overprint: Overprint defined in the imported file is detected.
Report file. The cruising, or preflighting, happens during PS or Overprints in a document could indicate that the file may al-
PDF Import. To define controls, go to the File menu, Cruise ready contain some trapping.
Controls and select them from the list. The Cruise Controls can * Custom Colors: Using this control, you can be notified
also be accessed from the PS/PDF Import dialog box (see when and where a custom color is used in the imported file.
2.17. Import Postscript/PDF... on page 27). The Cruise Con- * Ink Coverage: Ink coverage can be checked not to exceed
trols are set in advance and if errors are found, a report will be a given percentage, e.g. 300%. This is used to find a com-
available after import. ArtCruise controls can be set up and mon error, like the use of registration color, where simple
saved in the Preferences, so they don’t need to be redefined black was needed.
every time. Just close all jobs, define the controls, go to the • Object Controls
Preferences dialog and click Save Preferences. To know more Object controls offer the possibility to point out objects
about the preferences, see Save Preferences on page 8. smaller or bigger than a given value, e.g. to avoid hair lines or
small text printed in flexography.
2.8.1. Defined Controls * Text: text smaller or bigger than 12pt, 6pt or any entered
Cruise Controls are split up into six categories: Text Controls, value can be looked up and reported.
Image Controls, Object Controls, Color Controls, Info and Pre- * Strokes: strokes can be checked for size to be bigger or
flight Report. All these categories contain criteria to eliminate smaller than 2 mm, 1 mm, 0.5 mm or a user defined value.
common errors in an early stage of the production process. • Image Controls
• Info Controls : This category contains all controls to avoid most common
errors in images.
* Resolution: if the resolution of all images used in the import-
ed file is bigger or smaller than 72, 300, 1000 ppi or a freely
entered value, a warning will be generated. This can point out
low res images, or images with an excessive resolution. Very
important to know here is that ArtPro takes the scale factor
of an image into account. The real resolution is the scan res-
olution divided by the scale factor in % and multiplied by 100.
The real resolution of a 300 dpi image scaled to 200% is
150dpi.
The real resolution of a 72 dpi image scaled to 20% is
360dpi.
* Color: Images in the specified color space (RGB, CMYK,
LAB, Separated or Grayscales) can be found. This could also
be very useful, because ArtPro does not support any RGB
images.
* Links : With the Link settings, OPI or EPS comments can
With this settings, info about the imported file can be found : be checked:
Filename : The original name of the imported file OPI Comments: indicates if OPI comments were encoun-
Format : What file format the imported file has (as found in tered in the imported file
the header of the file) OPI Recognized: indicates if the found OPI comments were
Title : Title of the document of which the imported file was used
created EPS Linked: indicates if linked EPS files were encountered in
Creator : Application in which the imported file was created the imported file
Date : Date on which the imported file was created EPS Imported: indicates if these found EPS files were im-
Type : the type of file imported (Composite / Separated) ported (i.o. being placed)
PDF 1.4 : Indicates if the imported file contains PDF 1.4

Manual ArtPro 8.0 Chapter 2 : File — p. 19 —

 • Text Controls make manual changes in the ArtPro file afterwards, ‘red errors’
Text controls contains 3 criteria for font control: don’t stop PS/PDF Import in ArtPro. After import, the Cruise
* Font Missing: A criteria can be set to search for missing Report shows the errors and warnings that are encountered in
fonts during import. ArtPro will report if no font information the file. By clicking the color buttons at the bottom of the dia-
was found at all, meaning the printer as well as screen fonts log, you can filter the error list.
were missing. By double-clicking a line in the Report, ArtPro will zoom in and
* Font Name: If a font, used in the imported PS or PDF file select the element where the error was found. The report will
matches the name entered here, there will be a warning. This be ordered by type of error. Click on the button on the left of
way, the system can notify the operator when for instance, a the error to see a list of all the errors of one kind.
courier is used in a file, for this is often a replacement font. The Report can be saved in a text file by clicking the Save Re-
In the definition of the font name, a wild card can be used. If port button. Clear Report to erase the cruise report.
you enter Cour*, all font names starting with cour will be The report can, besides being saved as text file, also be export-
found, including courier bold, courier italic, etc. The name is ed to PDF. The resulting PDF file contains Job name, date of
not case sensitive. cruising, a preview of the job, and all errors, warnings and
To add controls to the list, double click on the control, or se- notes encountered in the imported file. This report file, as text
lect it and click on the button with the arrow to the right. To file or as PDF, can be used to be send to the customer.
remove controls from the list, select it and click on the button
with the arrow to the left.
* TrueType: checks if TrueType fonts were used in the im-
2.9. Close
ported file. This function closes the active job window. The shortcut for
closing a job window is q - x - W. q - W closes the last ac-
• Preflight Report
tivated dialog box. When all dialog boxes are closed, finally it
The Preflight Reports allow to get info from the PDF Preflight
closes the active job window. With q - z - W all menus and
Reports. This of course only applies on importing PDFs that
dialogs will be closed except for the job windows and the tool-
were preflighted.The Cruise Controls that can be used, are
bar. q - z - x - W closes all active job windows at the same
the 3 levels of Preflight report : fixes, warnings and errors.
time.
Keep in mind that Bounding Boxes for preflight entries will
When closing a document that contains changes compared to
only be available if the file was preflighted or re-preflighted
the previously saved version, ArtPro will ask if you want to
during import, with the “Get All BoundingBoxes” option on
Save, Don’t save or Cancel.
(see later)
• Don’t save: will close the active ArtPro document without
2.8.2. Report saving any changes.
• Save: will save the ArtPro document under the active name.
If your document has not been saved yet, a dialog box will
appear to define a name.
• Cancel: does not close the job window and returns to your
active job.

Dialog Boxes containing a button, such as Create, Apply, mod-

ify, etc. can be closed by holding down the Option key while
clicking (and executing) the button.
E.g. if you fill in the box menu, and hold the option key while
clicking Create, the box will be created and the Box menu will
close.
Shortcut: q - W, close active dialog box
Shortcut: q - z-W, close all dialog boxes
The controls explained above, can be set green, yellow or red.
Shortcut: q - x-W, close current job
A green control will generate a comment line, a yellow or red
Shortcut: q - z-x-W, close all jobs
control will generate a warning. Red errors are only used for
Nexus, Artwork Systems’ workflow system. When a ‘red error’
is found, PS/PDF Import is stopped. Because it is possible to

— p. 20 — Chapter 2 : File Manual ArtPro 8.0

2.10. Save 2.11.2. Include Preview
With the Save command, you can save the changes on your As a preview in ArtPro 8.0 will always be a separated preview,
ArtPro document and its preferences. Save only works if you you have the possibility to choose between no preview or sep-
have made some modifications in the job. Otherwise Save will arated preview.
be grayed out. When saving as 7.5 document, you still have the option to in-
When you save a document that has not been saved before, clude only the “standard” RGB preview. Choices then are
the shortcut for save actually activates the Save as... function none, Standard Preview or Separated Preview.
(see below). 2.11.3. Certified PDF information
When you save a document that already has a name, ArtPro
The checkbox allows to define if Certified PDF information
automatically updates the file with the same name. Many Art-
should be included in the ArtPro file. If the checkbox is on, the
Pro users will put an extension ‘.ap’ behind the file name. Al-
information will be included in the file, even when saving as Art-
though this is not compulsory, it is advised, to be able to
Pro 7.5 file. Of course if you open that file in ArtPro 7.5, that info
recognize the files easier.
will be ignored.
When saving a file for the first time after opening it, a backup
More info on Certified PDF can be found in 1.4. Certified ArtPro
copy can be created of the original (see 1.2. Preferences...
on page 12
Keep Backup Copy on page 1). Save regularly and save often.
This way if something goes wrong, you still can recall the last 2.11.4. Compress files
saved version.
If this checkbox is switched on, instead of writing an ArtPro file,
If Certified ArtPro is on, a dialog allowing to enter Session
a stuffit compressed file will be created, containing the ArtPro
Comments will open when saving a file. For more info on Cer-
file and ArtPro CT file. This file needs to be unstuffed before be-
tified, see 1.4. Certified ArtPro on page 12.
ing able to open it in ArtPro again. The file name entered will be
Shortcut: q - S, saves the active file
the name for both the archive as for the included AP file.

2.11. Save as... q - x-S, saves the active file under a new name
The Save as... com-
mand allows you to 2.12. Revert to Saved
store the active ArtPro
With Revert to Saved it is possible to return to the last saved
job under a new
version of your ArtPro file.
name. Save as... can
Revert to Saved asks for confirmation and then replaces the
be used to make a
version on the screen by the last one you have saved.
copy of the active file
by storing it under an-
other name. When se- 2.13. Archive
lecting “Save As”, or The Archive function allows to collect all files relevant to the
when saving a new file open ArtPro file, and copy them in a selected Output folder.
for the first time, the
Save As parameters are opened. Whenever saving an ArtPro 2.13.1. Collect From Job
document using the Save command, the same settings are Opens, or updates the list of archivable files
used.
2.13.2. Copy ...
2.11.1. Compatibility When clicking the Copy... button, you will be asked to choose
The Compatibility allows to choose to save the document as an output folder. All the files shown in the Archive list are copied
ArtPro 8.0 or as ArtPro 7.5 / 7.0 / 6.5 file, or as ArtPro 6.0 file. into the selected folder. The Copy button will only be available
An ArtPro document saved in an earlier file format, will not con- if the file is unchanged since the last time it was saved. When
tain version-specific information. E.g. an 8.0 document saved changes are made, the file should be saved first, before it can
as ArtPro 7.5 document will not contain blend modes. The file be archived.
will be flattened before saving. See 7.18. Transparency on
page 171 for more information on blend modes and flattening.

Manual ArtPro 8.0 Chapter 2 : File — p. 21 —

2.13.3. Archive List 2.14. Job Size...
• ArtPro files The Job Size... dialog is used to
the active ArtPro file check and modify the different
and all placed ArtPro dimensions of the file. 5 different
files job sizes can be defined: media-
• CT file box, cropbox, bleedbox, trimbox
the CT file of the Art- and artbox. When a PDF file is
Pro file exported from ArtPro, it will also
• Color Profiles include the box information for
other systems. This information
• Imported Files can then be used when placing
all EPS, PDF, CF2, ... the PDF or ArtPro file again, e.g.
files that were import- for step & repeat. The units are in
ed in the file mm by default.
• Pictures Changing the units must be done in the Preferences dialog box
all placed or mapped (1.2. Preferences... Units on page 3).
pictures shortcut: q - x- J, Job sizes
In the Job size menu, a list is shown, containing the 5 different
Clicking the √ next to a category on or off, lets you decide if the borders that can be defined in ArtPro. Next to every border
files from that category should be archived or not. type, its dimensions are shown, or the other border that is used
When selecting a specific file in the list, it's path will be shown (under Default).
under the list.
The picture on the
2.13.4. Exclude right helps to ex-
Removes the selected file from the Archive function. Using the plain which is
Exclude, you can exclude one specific file rather than the whole which:
category (see above) • Mediabox: this is
the page format
2.13.5. Error Log
• Bleedbox: de-
Should an error occur during the output, ArtPro will generate a fines the trimmed
log file, containing an explanation on the nature of the error, page plus the
and a warning will appear, stating that errors were encoun- bleed.
tered, and an error log file is created in the output folder. • Trimbox: this is
Errors can be : being unable to copy, files in the output folder the net document
with same names as the ones to be copied, etc. format.
• Artbox: the Art-
box can be used to specify any section of the page.
• Cropbox: includes the Bleed box and all cropmarks.
The different sizes are saved in the ArtPro file, (e.g. for step &
repeat), but also when exporting a PDF, for use on other sys-
tems
Clicking on one of the borders, will highlight it, make it visible in
the job, and its dimensions can be changed (see below).

2.14.1. Changing the size

• Set to
With Set to, the selected border can be set to the same size
and position as any of the other borders. When changing the
border, this size will be shown in the V. and H. fields. Each

— p. 22 — Chapter 2 : File Manual ArtPro 8.0

 border has a different color, set in 1.2. Preferences... Display 2.15. Job Info
Colors: on page 5.
• Change size for the selected border 2.15.1. General
A new job size can be entered in the vertical and horizontal in the General tab of the Job Info, the version number is shown.
job size fields. These fields can be filled in manually or by This version is a number kept with the ArtPro file, that increases
choosing a predefined size from the Size drop menu (see by one every time the file is saved.
2.1. New... on page 17). The values are applied, when hitting
the Apply button. 2.15.2. S & R
The square buttons will define in what direction the job size In the S & R tab, info concerning station number and trim and
will be modified. E.g. the top left button indicates that the top bleed can be attached to the single file. When creating the
left corner of the job size will be unmodified, and all changes nested Step & Repeat, the option Get from Single File can be
will be made to the bottom and right side. By default the cen- used to retrieve the info attached to the single file.
ter button is selected, indicating that horizontal changes will The Station Number buttons: using the Pick button you can
be equally divided over left and right side, and vertical chang- click on any text object in the single file. Its position, font and
es over top and bottom. This is the same situation as in ear- text size will be saved, in order to use it in the S&R file. After
lier versions of ArtPro. using Pick, the Show button can be used to zoom in on the
Clicking on the dialog’s Resize button, adds 2 additional op- previously selected text item. How to use it in the S&R menu,
tions to change the Job size: Dv and Dh. These values allow is explained in S&R Nested (2.26. Step & Repeat Nested... on
the user to enter the change (vertical and horizontal) that has page 48). The values entered in Trim & Bleed are also kept with
to be made to the job size. the single file, in order to use them when making the S&R File.
• Fit • Interactive Trim & Bleed
By using the Fit button, it is possible to fit the job size around As is the case with station numbers and automatic trim &
the shown paths in the ArtPro job. This allows you to reduce bleed, interactive trim & bleed information may also be add-
the job size to the minimum needed to include all displayed ed to the single file. For more information on Interactive Trim
job elements. If you want to exclude elements for the adjust- see • Interactive Trim on page 49.
ment of the job size (e.g. bleed, registration marks etc.) you When performing an interactive trim in either ArtPro or Nex-
can hide those elements (see 8.5. Hide on page 180). This us, this information will be used to determine which flaps may
change is executed immediately. be trimmed and which must be bled.
• Undo Size
Undo Size cancels the last job size change.
• Clipping
The Clip function in the job size window is comparable to the
clip function in the arrange menu. This function will clip the
job on the active job border. It is not necessary to select any
elements first. Live text will be vectorised if it has to be
clipped.
• Copy To All
When hitting the Copy To All button, the dimensions of the
selected Job Border will be applied for all job borders.

2.14.2. Contextual menu

The Job Size dialog now contains a contextual menu : when
control-clicking one of the borders in the list, you can choose
to “Fit on all” or “Fit on selections”
Fit on all will fit the selected border to all visible objects. This is
the same as selecting the border and clicking the “Fit” button.
Fit on Selections will fit the selected border to whatever is se-
lected. If nothing is selected, the border will not change.

Manual ArtPro 8.0 Chapter 2 : File — p. 23 —

 Adding interactive trim information is done in the S&R tab of Overlapping flap resolution will then use the flap information
the Job Information dialog. The first step is to specify which in the single file to automatically trim the correct flap. If there
areas of the job are flaps. is a conflict in the flap information, i.e. two overlapping flaps
Pressing the ‘Specify…’ button will change the cursor in a must both be bled, then the user will be prompted and must
flap drawing cursor (cross). Use this cursor to draw boxes interactively select the flap that should be on top (see • Re-
over the edges of all the flaps that may touch other flaps in solving overlaps on page 49).
the CAD layout.
These ‘flaps’ must not be exactly aligned or have the proper Both in Interactive as in Automatic trim, entering a value for
dimensions, they are merely an indication of the location of a Bleed (other than 0) will overrule the bleed setting of the sin-
flap. Since ‘flaps’ are ordinary ArtPro objects, they can be gle file.
positioned or scaled with the normal tools (rotation is forbid- • Using interactive trim information in Nexus
den however). The Trim & Bleed activity of NexusProcessor can also take
the flap information from the single file into account. As in Art-
There are two kinds of flaps: flaps that must be bled and Pro, the ‘Get From Single File’ checkbox and the ‘Interactive’
flaps that may be trimmed. The ‘Type’ radio buttons can be radio button must be set. Note that interactive trim will only
used to change the type of all selected ‘flaps’. When the work if the ‘Get From Single File’ checkbox is set.
‘Highlight Flaps’ checkbox is on, all ‘flaps’ will be highlighted
in the Mac OS selection color. The type of flap is indicated by
an arrow: outward pointing arrows are bleeding flaps, where-
as inward pointing arrows indicate trimmable flaps.

Overlap resolution works the same as in ArtPro, except that

when there is a conflict, neither flap will be trimmed and a
warning will be added to the activity log.

Both in Interactive as in Automatic trim, entering a value for

Bleed (other than 0) will overrule the bleed setting of the sin-
gle file.

• Using interactive trim information in ArtPro • Printing and link files

To use the flap information from the single file in an interactive Since ‘flap’ objects are transparent, they will not show up
trim, the ‘Get From Single File’ checkbox in the Nested S&R when printing the single file. When printing to Nexus howev-
dialog must be set, together with the ‘Interactive’ radio but- er, the flap information will be saved as XML in the resulting
ton. PostScript file (as was already the case with station numbers
and automatic trim & bleed). Link files created from this Post-
Script will thus also contain the flap information, making
them equally well suited for Nested S&R and interactive trim-
ming.

• Using automatic trim information

Older files that do not contain interactive trim information but
instead have automatic trim information can still be used in
an interactive trim, both in ArtPro and NexusProcessor. In-

— p. 24 — Chapter 2 : File Manual ArtPro 8.0

 teractive trim flaps will automatically be added to all four 2.16.2. Make new job
sides of the job. If the automatic trim value for a certain side If there is no file open at the time, ArtPro will open a file with the
was positive, the corresponding flap will be trimmable. Oth- same size as the TIFF and vectorise it within that file. If an Art-
erwise, a bleeding flap will be added. Pro file is open and the option Make New Job is not checked,
This means, the easiest way to set up workflows, is using ArtPro will vectorise to the bottom right of the ruler. So you can
Get from single file in combination with Interactive. That way, position the ruler before importing the tiff file. When the option
single files containing interactive trim as well as those con- is activated (default), a new job is created for any vectorization.
taining automatic trim, will be processed correctly. When the toggle is switched off, the file is vectorized in the cur-
For less complex single files, it might be easier to define trims rent job. This option goes along with the Import Opens New
using automatic trim, and still get the result as wanted. Job toggle in the Preferences dialog (1.2. Preferences... - File
on page 1).
2.16. Vectorization... 2.16.3. Grayscale Threshold
Vectorization In order to vectorise non black-and-white TIFFs, the colors are
is used to first converted to grayscales. The threshold determines which
convert im- values of the grayscale will be converted to black or white. The
ages into lin- default value for the threshold is 50%.
eart. When a Gray values darker than the threshold value will be considered
TIFF file is im- as image and values lighter than the threshold value will not be
ported, it is considered as image. So if the threshold is higher, more gray
directly con- areas will become white. You will notice that in this case, the
verted into higher the threshold, the more white the image will be.
the internal
ArtPro format
which is a
vector for-
mat. The
TIFF files can
be any TIFF format (B/W, Gray, CMYK, RGB,...) ArtPro sup-
ports files compressed by CCITT (on bitmap TIFFs), LZW and
PackBits.
During vectorization of the TIFF file, the cursor changes into a
rotating ArtPro icon. All imported objects will be colored white
initially, so when the preview is on (q - Y), the picture seems to
disappear. Use paint style to restore the original colors (see
9.7. Deselect Even Areas on page 195).
The quality of vectorization is dependent on the quality and res-
olution of the original scan. Therefore, to get a good quality
scan, make sure to scan at a high resolution (1200 - 2400dpi
for bitmap linework). You can abort the vectorization by typing 2.16.4. Import HandShake LW...
command-period (q - .) By importing a Scitex HandShake LineWork file, the Hand-
shake format is converted to internal ArtPro vectors. By choos-
2.16.1. Import tiff... ing Import HandShake LW..., a dialog box appears to select
By choosing Import TIFF... a dialog box appears to select the the Handshake LW file. One color is imported at a time. ArtPro
TIFF file you want to vectorise. The picture is imported imme- only supports the old LW format, not the new.
diately after clicking OK, so first the settings have to be defined,
then the image is selected. A picture can also be vectorized by 2.16.5. HandShake LW Color:
dragging a tiff file on the vectorization window from the finder. By default ArtPro vectorises color number 2 of the Scitex LW
file. In a black and white job, black is color number 2. To import
other colors, this value will have to be changed each time.

Manual ArtPro 8.0 Chapter 2 : File — p. 25 —

2.16.6. Vectorization Parameters • Dirt Margin:
The Vectorization is controlled by three parameters: Default value = 2 scan pixels
This function is used to eliminate scanned dirt. A Dirt Margin
• Precision: fine / normal / coarse of 2 scan pixels means that all black or white areas on the
For the three parameters, there are three standard sets of original smaller than 2 by 2 scan pixels will be filtered away
values: fine, normal and coarse. You can choose a standard by vectorization. Obviously the dirt can also be removed after
in the Precision field. Fine is the smallest filter: the resulting vectorization, using the Select dirt function (see further). This
vectors will be very close to the original paths. Fine can be way of working is safer, as the operator has more visual con-
used to import scanned originals with a lot of details or with trol on the result.
parts of fine text on them. Normal and coarse have each time
higher values which result in larger filters. The choice be- 2.16.7. Smoothen Paths
tween these three sets of filters depends totally on the quality When you import a TIFF or a Handshake LW file, the values in
of the scanned original (TIFF-file) and the desired result. You the vectorization parameters are calculated for the complete
need to look for the best compromise between all values and file.
parameters. After vectorization, it is still possible to modify parts of the file
• Reduction Factor: by selecting those parts and choosing the Smoothen Paths
The Reduction Factor makes the function. Smoothen Paths applies the Reduction Factor and
paths smoother. Higher values fil- the Straighten Margin value on the selected paths.Smoothen
ter out more sharp edges and Paths is controlled by the same parameters as vectorization:
noise resulting in smoother curves. Scan Resolution, Reduction Factor and Straighten Margin.
Very large values may result in too Each time you apply Smoothen Paths, the values are calculat-
few points to form a smooth out- ed on the selected path, which makes it possible to smoothen
put. To prevent this, smoothen several times with the same value. Clicking on Smoothen Paths
several times with a smaller value. too many times will result in loss of detail.
Reduction Factor 0 turns filtering
off, only straightening is done. 2.16.8. Scan Resolution
• Straighten Margin: Scan Resolution reflects the original scan resolution of the im-
Straighten Margin reduces the ported TIFF or Scitex Handshake LW file. The straighten mar-
noise on the paths by replacing gin and dirt margin are resolution dependent and may be
them with straighter parts. It spec- adapted slightly during import.
ifies the maximum deviation al- This field only has an informative function. Changing this field
lowed between the output path has no effect on the vectorization result.
and the filtered points. A larger val- 2.16.9. Select Dirt
ue results in fewer points and
Select Dirt allows to clear out scanned dirt that was not elimi-
therefore speeds up all subse-
nated by the Dirt Margin. When choosing the Select Dirt func-
quent operations.
tion, the cursor changes to a small cross, by which you can
Straighten Margin 0 turns all
define the largest area to be filtered away, by dragging a rect-
straightening off, only filtering is
angle in the window. All paths in the job smaller than this area
done. This produces the smooth-
will be selected. Once selected, these areas can be deleted by
est paths. When both straighten
using the Delete button or the Clear function.
margin and reduction factor are 0,
Practically, this means that the rectangle should always be
every single pixel of the original pic-
made smaller than the smallest detail to be kept on the original.
ture is vectorized. For B/W images,
(In many cases, the smallest detail is the dot on the i in text). All
this means there is no loss of qual-
paths smaller than the rectangle will then be selected. After
ity at all, but the paths will contain
checking these selections, the selected areas can be deleted.
a lot of anchorpoints.
Once the Select Dirt function is active, it stays active until an-
The example above shows the result with 1. Precision :Fine,
other tool is activated. So every time a rectangle is drawn, all
2. with a High reduction and straighten margin set to 0, and
elements smaller than the rectangle will be selected.
3. with reduction factor set to 0 and a high straighten margin.

— p. 26 — Chapter 2 : File Manual ArtPro 8.0

2.17. Import Postscript/PDF... of the PS/PDF Import dialog box. The file name, job title, cre-
ator, date, number of pages and the preview, are always
Import PostScript/PDF... allows you to import a PostScript/ shown on top when available.
PDF file into ArtPro. ArtPro is compatible with PS files up to ver- If a Certified PDF is selected, this will be shown next to the
sion 3 and PDF files up to version 1.5. This means you can im- Type. If Certified is off, ArtPro will suggest to switch on Cer-
port QuarkXPress, Adobe Illustrator, Macromedia Freehand, tified Mode. See 1.4. Certified ArtPro on page 12
Adobe PageMaker, Corel Draw,... if saved in PostScript or PDF • Next to Pages the number of pages is shown, and, between
format. ArtPro accepts PostScript and PDF files from both Mac brackets, all available page labels. For composite PS, and for
and PC. Separated PS without Import separated file as Multipage,
The PostScript or PDF files are completely converted into Art- these labels correspond with the page labels in the PS file,
Pro internal format. We would like to draw your attention to the which corresponds with the labels from within the original
fact that the file is converted into another format. Not all con- application. These page labels can be numbers, but can
versions are 100% accurate (e.g. some complex shadings are contain other characters as well, e.g. a page nr. prefix, ro-
converted to image), so it is recommended to check the con- man figures, etc. When importing a separated file, with the
verted file thoroughly. Import Separated File as multipage option on, these labels
When a file is imported, usually we choose to make all ele- simply represent the available separations as a range; start-
ments editable, this means paths are converted into internal ing at one, ending at the total number of separations.
ArtPro paths, text remains text. All text, logo’s and pictures can • If you select a PDF file to be imported, a number of options
be modified, so it is no longer necessary to switch applications. will be gray, as not all options are relevant or implemented to
Shortcut: q - z - P, Import PS/PDF import PDF files. See the options below for more detail.
2.17.1. Steps for importing a PS or PDF file • Activate the necessary options. These options have been
split up into 9 sections : Page, Font, Color, Blends, Shadings
• Choose Import PostScript/PDF... from the File menu, an Im-
and Gradations, OPI, Links , Image, General and Certified
port PostScript dialog will appear.
settings.
• Click on the Select File... button, a dialog box appears to se-
• Click on the Import button
lect the PostScript or PDF file. It is also possible to drag and
drop PostScript or PDF files from the finder onto the dialog 2.17.2. Page Settings
box. By control-clicking the “Select File” button, you can When opening the Import Postscript Dialog, the Page button is
open a PDF or PostScript file from Mnemo. See 2.3. Open selected.
From Mnemo on page 17.
• Import Page
This setting defines, if a multiple page PS or PDF document
has to be imported, what pages should be imported. If Im-
port Page is inactive, all pages of the PS or PDF file will be
imported. The positioning of the individual pages depend on
the setting of the Multiple Page offset checkbox (see below).
If Import Page is active, only one page out of the multipage
document will be imported. The page that has to be import-
ed can be entered in the Import Page field. The Import Page
field can take a string input (a page label) as well as a numeric
input (a page number). When the exact page labels are
shown (see above), the exact page label (e.g. “p.4”) can be
entered. Also an array can be entered, e.g. 4-6.
When importing a Separated PostScript with the Import
Separated File as Multipage option off, a number has to be
entered, defining what separation of which page has to be
imported. As this requires knowledge of the number and se-
quence of separations in the file, this is not very re-
When a file is selected, ArtPro reads the PS / PDF header commended. The other dialogs, such as Color and Fonts
and all the relevant information is filled into the different tabs Settings, will adjust to the selected page.

Manual ArtPro 8.0 Chapter 2 : File — p. 27 —

 • Ruler at top left
By default a PostScript or PDF file will be imported placing Import Separated File as Multipage on

the PostScript origin (= 0,0) on the center of the ruler. If you

switch the option Ruler at top left on, the top left of the page
will be placed in the center of the ruler, placing the file in the CMYK CMYK CMYK CMYK
lower right section. The origin in the PS file is in most cases
the bottom-left corner of the page, although this is not a gen-
eral rule. E.g. in EPS files from Adobe Illustrator, the PS origin
is the same as the origin of the ruler in the Illustrator file. Import Separated File as Multipage off :
Separations merged

• Multiple Page Offset

When importing a PostScript or PDF file, ArtPro puts all pag- CMYK
es with the 0,0 point in the center of the ruler. This results in
multipage documents being placed on top of each other. If
you use the Multiple Page Offset, all pages are put next to
each other. • Make New Job
• Import Separated File as Multipage When the option is activated (default), a new job is created
This option relates to importing a separated file, e.g. files us- for any Import PostScript/PDF. When the toggle is switched
ing the %PLATECOLOR command to identify the separation off, the file is imported in the current job. This option goes
name or PSsetter files from Barco Graphics. along with the Import Opens New Job toggle in the Prefer-
With the Import Separation File as Multipage on, all the ele- ences dialog (1.2. Preferences... - File on page 1).
ments of a separated file will come in as grayscale, and the 2.17.3. Font Settings
different separations will be treated as individual pages, so
they will be placed on top of each other, unless the Multiple Click on the
Page Offset is on. Fonts... but-
When importing a separated file with the Import Separated ton to open
File as Multipage option off, the Separated PostScript file the font set-
converted to one (composite) ArtPro file with all the separa- tings tab, in
tions. Most separated PS/PDF files do not contain any pan- which can be
tone color definition, so after import, not all PANTONE® defined how
separations will display correctly on the screen. If an Ink to handle
Book is loaded, ArtPro will try to look up the name of the Fonts used in
used separation in the Ink Book, and if found, this Pantone the file.
color will be used. The separations that are not found in the Clicking on
Ink Book, will be displayed in black. Therefore, redefine the the Display
Pantone inks in the Separations dialog by choosing them in Fonts button
the Ink Book, or type in color values for the print and display will show a
colors. list of all fonts
The individual paths coming from the different separations, used in the
will be merged together into a path with the combined color file, and if the
information, based on the Merge Equal Paths option (see lat- fonts are
er). Images will be recombined into one mapped picture. In available in the file or on the system. This makes it possible to
the case this recombination is not done properly, e.g. if there see what fonts are needed, so they can be activated before im-
are unmergable items in between the separations of the im- porting.
age, you can recombine the individual grayscales manually • Use Replacement Font i.o. included Fonts
to a mapped picture (see 9.1.8. Mapped Picture on page This allows you to define if ArtPro has to replace used fonts
190). by the font installed on the system.
If this option is off, ArtPro will look for fonts in the PostScript
file first, and will use the system fonts if the fonts are not in

— p. 28 — Chapter 2 : File Manual ArtPro 8.0

 the PS file. This means that : be treated the same way as fonts embedded in the PS file,
• if a font is embedded in the file, this outline information is so all text will be converted to outlines. The font folder can be
used, so the text is converted to paths used for Type 1 fonts and Truetype.
• if a font is not embedded, the Replace by font will be used. To add font folders, go to the Font folder..., click Add. A di-
If this field is empty, the corresponding font is searched on alog appears to select a folder. Click on the correct folder
the system, and if not available, the Default font will be used. and hit Choose. The font folder is added immediately and
If the option Use Replacement Font i.o. included fonts is on, ArtPro searches the folder and all subfolders for printer fonts.
ArtPro will try to replace the embedded fonts by the fonts in- A font folder is shown with its complete path. If fonts are
stalled on the system. This means that : found, they will be displayed in the font folder list. To stop us-
• if a replacement font is entered, this font will be used. ing a font folder, simply select it from the list and delete it. The
• if the Replace by field is empty, and the font is available on Reset button, will delete all the font folders from the list.
the system, this system font will be used The PS default fonts toggle will make ArtPro use a set of de-
• if the Replace by field is empty, and the font is not available fault fonts, like Helvetica, Courier, Times, Symbol,... They are
on the system, the embedded outline information is used. If stored in a folder called PS Fonts, that should be on your
this is not available, the default font is used. hard disk alongside the ArtPro application file. This set can
• Use Replacement Font i.o. CID fonts not be modified. ArtPro will try to use the system fonts first
The CID-keyed font file format is the ideal format for fonts and then the font folders, if Use replacement fonts i.o. includ-
with large character sets such as Japanese, Chinese, and ed fonts is on. If not, it tries to use the embedded fonts first
Korean. This format is an extension of the Type 1 font format, and then the font folders.
and it is designed to provide optimum flexibility and perfor- • Display fonts
mance for use with Adobe Type Manager software, as well The Font list shows you which fonts are used in the file,
as PostScript printers and imagesetters. whether these fonts are available in the PostScript Files or on
A CID-font consists of a large font file that contains all the the system, and which replacement font will be used.
character outlines and a small CMap file that contains a list A font in the list was embedded in the PostScript file, if an “X”
of characters, encodings, and character identifiers. appears in the PS column. It is installed on the system if an
With the option Use replacement fonts i.o. CID-fonts active, “X” appears under SYS. If the font is not available a dash ap-
the Japanese encoded CID fonts will be replaced by the sys- pears.
tem-fonts, and text will stay editable. The golden rule is to
switch “Use Replacement Font i.o. Included fonts” and “Use
Replacement Fonts i.o. CID fonts” both on or both off.
• Fail if missing font
When this option is activated, Import PS/PDF will error when
text is imported with a missing font. A “missing font” means
“not available on the system” and not embedded in the PS/
PDF file and not found in any font folder. In the Import PS/ The pop-up next to the font name allows you to define the
PDF log you will see the message: Failed on font: (name of replacement font. In this pop-up all the fonts installed on the
the missing font). system are available.
• Fail if Courier Using an embedded font means text will be vectorized. Us-
Because the Courier font is used regularly as a replacement ing an installed font results in editable text.
font in PostScript files, you can ask to error when this font is A font is available on the system, if it is in the system font fold-
used. In the Import PS/PDF log you will see the message: er, or activated in your font manager. After the installation of
Failed on font: Courier. a new font, applying the Reload fonts function (see 5.10. Re-
load Fonts on page 131) makes the fonts available in the ap-
• Font folders...
plication. For PS/PDF Import, after reloading fonts, the file
It is possible to select multiple Font folders, in which ArtPro
needs to be reselected to see the correct font information.
will look for fonts that are not installed on the system nor em-
Keep in mind that this information is not always accurate, as
bedded in the PS file.
the information inside the PS/PDF is not always available,
This allows importing a file with the fonts in a separate folder,
and depends on the original application.
without activating the fonts. Keep in mind that these fonts will

Manual ArtPro 8.0 Chapter 2 : File — p. 29 —

2.17.4. Color Settings eral settings) is on, objects with equal paths will be merged,
In the Color combining the paint style of both objects.
Settings, you Obviously this double burn principle can be used with other
can define separations as well.
how to han- • Force Black Overprint
dle colors and If Force Black Overprint is checked, 100% black in the PS or
separations PDF file is converted to all transparent + 100% black in the
defined in the ArtPro file.
PS or PDF If Force Black Overprint is not checked (default), all 100%
file. Black in the PostScript or PDF file is treated as any other col-
Most PS files or, meaning that the result depends on the Ignore all Over-
include sepa- prints flag.
ration infor- • Ignore All Overprints
mation. When If Ignore All Overprints is not checked (default), overprint in
se-lecting a the PostScript or PDF file is converted to transparent in the
PS or PDF ArtPro file. If Ignore All Overprints is checked, overprint in the
file, ArtPro is PostScript or PDF file is translated to 0% in the ArtPro file.
scanning the This option can be used to take out the trapping. The trap-
file header ping can be remade in ArtPro. Note that this option is not re-
and looks if special separations (other than CMYK) are used. moving the transparent strokes, but only taking off
The list of the custom colors can be seen by clicking the Dis- overprints.
play Custom Colors... button. If both Force black overprints and Ignore all overprints are
• Single Separation / remove separation switched off, the file will be unchanged and can then still be
In ArtPro, all functionality is built in to support multiple version modified afterwards.
or multiple language handling, the so-called Double Burn • Keep screening
principle. This option will keep the screening definitions, if they were
available in the PostScript file. ArtPro will create a custom
Example: screening set (see 7.17. screening on page 165) in the Art-
A brochure needs to be made in two languages, English and Pro file. This way the screening (ruling, angles and custom
Spanish (cmyk). Both languages are made up separately in, dot code) doesn’t have to be defined manually again.
for example XPress. Usually the first document is made up
• Convert C/CV/CVC/CVU/CVP to...
and the text of the second language is copied and pasted
All the separations in the custom color list, that only have a
into it. In doing so, it is not unknown for designers to move a
different extension, will automatically be converted to the one
picture or a logo to make it all fit. But this means that on the
extension defined in this menu. So if there is a Pantone 300
press, the language plate can not simply be replaced, be-
CVU, Pantone 300 CVC and Pantone 300 CV, they can all
cause these logo’s and pictures won’t fit the cmy of the first
be converted to e.g. Pantone 300 CVC, automatically.
language. ArtPro simulates what is done on the press. You
can check if everything fits and if it doesn’t, corrections can • Remove unused separations
be made. This option does the same thing as Delete all unused in the
Single Separation allows the import of only the specified sep- Separations dialog (see 9.15.13. Delete All Unused on page
aration out of the selected PS file, and place it over the open 200). After import, all the inks that are not used in the file, will
file. At the same time, the original separation is made trans- automatically be removed. This function will not work with
parent with Remove separation. placed images, unless they are mapped pictures. So the op-
So the English version is imported and saved. Then the black tion Map images in the Image settings, should also be
of the Spanish can be imported on top of the English. Switch switched on. This option is mainly used in NexusImport.
both Single separation (Black) and Remove separation on
and switch make new job (Page settings) of. With this new
import, the newly imported objects will be placed transparent
on top of all existing objects, and if Merge equal paths (Gen-

— p. 30 — Chapter 2 : File Manual ArtPro 8.0

 • Ink Book • Convert all custom colors to CMYK / Others
The Ink Book will only be used when importing Separated With this option on, automatically all inks are converted back
PostScript. In separated imports, no separation color infor- to process colors, according to the cmyk translation from the
mation is given in the file, so we then use the ink book to find PostScript or PDf file.
a CMYK value for those separations. This functionality re- The option Others is used for separations that are in the
mains and does not change from previous versions. PostScript file, but are not defined in the PS header. This
For more information on Ink Books, see 9.15.7. Ink Book... does not occur in a well constructed PostScript or PDF file,
on page 199 like those from standard DTP applications. With this option,
• Color Book we choose to keep them as pantones (off) or convert them
We have the possibility to define a color book for import. The to CMYK as well (on).
color book for import is the same (and uses the same UI) as • Color Management
the ArtPro color book. We can now define custom colors in You can now define different profiles for importing CMYK,
import to be converted into the color book inks. This means RGB or grayscale files through Import PS. Clicking the Color
e.g. convert them into hexachrome values, if a hexachrome Management button will open the Import PS tab in the Color
color book was selected. Management dialog. For more information, see 1.3. Color
The selected Color book will be shown next to the Color management, Import PS tab on page 9
book button, and a checkbox is provided to turn it on or off. • Remark on Custom Color Conversion
• Color Conversion Keep in mind that Color conversion will not work properly on
objects with overprints and transparencies, and therefor can
generate wrong results. You should check your job carefully
after converting custom colors to cmyk.
An example on where the result can be different :

In the original file, the pentagon is Pantone239, and over-

If a color is found in the list, and “cmyk” is entered in the Re- printing to cyan.
name list, it will always be converted to cmyk. After conversion, the color is set to 11%C and 79%M, so the
If a color is found in the list, and the Convert checkbox is on, overprint is lost.
the color will be searched in the list. If there is a separation
name in the “Rename to” list, this color will be searched, oth-
erwise the original name is searched.
If the color is found in the Color book, these values and sep-
arations will be used. If the color is not found, it will be con-
verted to cmyk.
If a color is found in the list and the convert checkbox is off,
a separation will be generated, by the name of the Rename
value, or, if this is empty, by the original separation name.
If a color is not found in the list, the setting of the “Others”
checkbox is taken into account. When switched off, a sepa-
ration will be generated. If the “others” checkbox is on, the
color will be converted using the color book. If the color is not
found in the color book, or no color book is loaded, it will be
converted to cmyk.

Manual ArtPro 8.0 Chapter 2 : File — p. 31 —

2.17.5. Blends, Shadings and Gradations comes very difficult. Therefore, usually blends are flattened
Go to this dialog to define how gradients, blends and shadings into images, with one single path and one single paint style
should be handled on PS or PDF import. With this option on, blends will even be converted to internal
ArtPro CT’s automatically. This means the pictures will be
embedded in the ArtPro document in a ‘.ct’ file. The resolu-
tion for these images can be set and the unit can be changed
from dots per inch to dots per cm.
• Resolution for shadings
This option is for shadings that cannot be converted to Art-
Pro gradations (e.g. mesh gradations). All these gradations
are automatically converted and extracted as a tiff image on
disk. The resolution for those tiffs can be set here. Shading
conversion to images is a very time consuming calculation.
Therefor, the default resolution is set to 50dpi, but a higher
resolution is recommended in some cases, depending on
the shape of the object. Check the objects carefully.
Images generated during PS/PDF import will always gener-
ate a mapped image.
• Interpolate Shadings to 300dpi
When working certified, or use Cruise Controls, it is very likely
that lowres images will generate a warning or error. This
• Recognize gradations (PS Only) would also happen for images generated when converting a
In a PostScript file, gradations can be described by a large shading.
number of paths, or by a tiff. In most cases, ArtPro can rec- To avoid this, the Resolution for Shadings can be set to a
ognize these paths and replace them by ArtPro gradations, higher resolution (300dpi), but the sampling of shadings at a
if the option is checked (default). high resolution is very slow and time consuming.
With this option, gradations from Freehand and Illustrator are The option Interpolate Shadings to 300dpi Minimum will al-
automatically converted into ArtPro gradations or multistep low to sample at a low resolution, and create a higher reso-
gradations. Freehand and Illustrator vignettes which are not lution image from it. The lowres images will be interpolated to
linear, are converted into multistep vignettes with midpoints a resolution higher than 300dpi. The resolution will always be
(see 9.1.5. Multistep Gradation on page 188). Gradations a multiple of the sample resolution, e.g. if the sample resolu-
from QuarkXPress are converted into ArtPro linear or multi- tion is 70dpi, the image after interpolation will be 70 x 5 = 350
step gradations. dpi. This results in a high resolution image, generated at
If the option is not checked, depending on how the gradation higher speed.
was defined in the PostScript file, it will be imported as a se-
ries of paths, or will be converted to a TIFF image.
This option will be grayed out when a PDF file is selected, as
it only works for PostScript files.
• Convert Shadings into Gradations
PostScript Level 3 and PDF 1.3 and above often use the
shading command to define gradations. With this option,
ArtPro will try to convert most shadings into AP gradations or
Multistep gradations. If this option is switched off, ArtPro will
generate an image.
• Convert blends into CT at
When blends are used in a document, they normally come in
as a series of paths, with changing paint styles. These blends
are very difficult to select, modify,... Especially trapping be-

— p. 32 — Chapter 2 : File Manual ArtPro 8.0

2.17.6. Links •EPS lineart: If an eps lineart file, e.g. a logo, is placed in Art-
In this tab we define how ArtPro should handle images used in Pro it can be transformed (rotated, scaled,...) but not edited.
the PS or PDF files during import. By importing it, it’s converted to ArtPro paths and text be-
comes editable. The text can be modified, the colors can be
changed and most important, the logo can be trapped prop-
erly. Another common problem with placed eps logos, which
doesn’t occur when they are imported, is that Pantone col-
ors can not be modified or deleted in the Separations dialog.
-> Import

•EPS duotones (+ monotones, tritones and quadtones): Can

be placed or imported. An imported duotone will be correctly
converted to a mapped picture. The condition here is that
they were created with Adobe Photoshop 5 or later and that
PS level 3 is used. Duotones from older versions of Photo-
shop are extracted as cmyk images when imported, so they
should be placed instead.
-> Import

•DCS: A DCS is in fact a preseparated eps. So the same

rules apply. Importing will make it a tiff, which allows us to
map, preview, trap,... but a DCS cannot be imported directly
(selected directly in PS import) in ArtPro. It has to be used in
• Placing or importing a PS or PDF file. In other words, if the DCS is placed in a (Il-
The different pictures that could be used in the original doc- lustrator, XPress,...) document that is saved as a PS or PDF.
ument are tiff (with or without clipping path), dcs, jpg, pdf, Also the DCS has to be a multifile (-> image.dcs, image.c,
eps lineart, regular eps image (with or without clipping path), image.m, image.y, image.k, image.p300).
eps duotone, tritones,... , LoRes or HiRes images from OPI -> Import
systems,... Most of these images can be brought into ArtPro
in different ways: Most of them can either be placed or im- •OPI images (Open Prepress Interface): When OPI images
ported. Depending on the kind of image and the desired re- are used in a document that needs to be imported in ArtPro,
sult, we will do one or the other. the images always have to be placed. If they are imported,
E.g. When eps images are imported, ArtPro converts the eps ArtPro creates complete new images that will not be recog-
into a tiff on disk and the tiff is placed in the ArtPro file. The nized and replaced by the OPI server, resulting in a low res-
big advantage is that the tiff image can be mapped, which olution output.
gives us benefit for trapping, previewing, ink swapping, ink -> Place
coverage,... (see 9.1.8. Mapped Picture on page 190).
Therefore in ArtPro it is recommended to work with mapped So depending on the type of image, the operator can decide
images (tiff or jpg) all the time: to place or import. In many cases importing is more useful,
because we simply get more functionality. However, this
•TIFF: A tiff image can only be placed, not imported. A does not mean that ArtPro can’t handle placed images.
placed tiff file can be mapped and trapped automatically. • Omit/Embed
-> Place There are three ways to put an image in a PS or PDf file.
•‘OPI’: The image is omitted (tiff, eps, dcs,...). This means
•EPS: An eps image can be placed or imported. A placed the original picture is not included in the PS file, only the link
eps can not be mapped. When it is imported, the pixels are is available. The link is a path, indicating the place where the
converted to tiff data. If the image has a clipping path, it can image can be found on the hard disk, or anywhere else in the
be converted to an ArtPro path with the image inside. network (e.g. on the file server). These PS/PDF files are ob-
-> Import viously very small. They are quick to write and copy.

Manual ArtPro 8.0 Chapter 2 : File — p. 33 —

 In the links dialog of PS/PDF Import, they will respond to the eps.duotone/dcs it is imported and converted to a tiff. In all
settings under Omit. In the picture list, under display links, other cases it is placed. Last this option is used for eps, ei-
these images will have ‘OPI:’ in front of the name. ther if they are omitted from the PS file, or if they were em-
bedded and the original has been modified since.
•‘EPS’: The image is embedded. The complete original pic- 3. Ignore all links
ture as well as the link is included in the PS file. This means The link is ignored, and only the embedded information (if
in ArtPro we can choose which we will use. These are usually present) is used. This embedded information will be import-
eps’. They will respond to the settings under Embed. These ed, converting lineart to ArtPro native lineart, and extracting
images can be recognized in the picture list, by the ‘EPS:’ in images to disk according to the settings in the Images set-
front of the name. Obviously these PS/PDF files will be larger tings. This setting is used for embedded (hires) eps and tiffs.
than in the first case. There is no difference in result whether you apply use link and
import or Ignore all links. However, if the links are ignored, we
• The image can be completely embedded without the link. don’t need to worry about ArtPro finding the original on disk
This is usually with tiff images. (Freehand is an exception. All (is the link correct?, does it need re-routing?,...).
tiffs are always embedded in the PS files, with the link) When importing a PS/PDf file, 1, 2 or 3 needs to be chosen
Because no link or name is available, ArtPro can not display for all ‘omitted’ images (the ones in the list with OPI in front
these images in the picture list. No link settings can be de- of the name) and also for all the embedded images (EPS).
fined. These images are usually extracted to tiffs on disk dur- When pressing the Display links button, a list of all the images
ing import. linked to this file will be shown.
Both the name and the location is shown. In the Image list,
• How to handle links on Import the links settings return. All images with ‘Def’ (default)
1. Use Link and place all tagged, will respond to the settings above. The exceptions
The original file referred to by the link will be searched, and can be tagged separately:
this file will be placed. The embedded information (if present) • Pl: Use link and place
will be ignored. The file will be searched at its original loca- • Ign: Ignore link
tion, unless the link is re-routed in the Display links... part of • Imp: Use link and import
the dialog, or if re-routing is defined in the OPI settings. If the • Extensions
image is not found, the embedded info is used. If it is not When image file name extensions are used in the PS/PDF
available, the result is an empty path. import dialog, they overwrite all general link settings (not the
This setting is mostly used for tiffs and jpgs, omitted from the ones from the picture list). This is mostly used for Nexus, but
file, lores OPI images, single file dcs or duotones from Pho- it could just as well be used with ArtPro. You need to make
toshop < version 5. sure all images are saved correctly with the right extension.
2. Use link and import EPS • Re-routing
The file referred to by the link will be searched, and this file The link to an image can be changed through OPI settings
will be used. The embedded information (if present) will be ig- (see below) or by clicking on the button with the three dots
nored. If the file referred to is an EPS/DCS, it will be imported, next to the link. In this second case, a dialog box appears to
converting lineart to ArtPro native lineart, and extracting im- select an other image. After this, the tag next to this image
ages to disk according to the settings in the Images settings. needs to be put on ‘Pl’ or ‘Imp’. ‘Def’ will ignore the new link.
If the file referred to is not an EPS or DCS (e.g. tiff), it will be There is no point in changing the link just to ignore it after-
placed. wards, so ‘Ign’ is not used in this case either.
The file will be searched at its original location, unless the link
• Into Opacity : B/W, Gray, 5th channel, invert
is re-routed in the Display links... part of the dialog, or if re-
With the Into Opacity checkboxes, you can define that linked
routing is defined in the OPI settings. If the image is not
tiffs in the Postscript file should be put into the opacity chan-
found, the embedded info is used. If it is not available, the re-
nel, and thus be made transparent. For more information on
sult is an empty path.
Opacity channel, see 6.13.5. Opacity Channel on page 138
This setting has to be used for dcs and duotones (if you want
B/W
them converted to mapped tiffs). It is also used if there is an
If the B/W checkbox is on, all black&white bitmaps referred
OPI swap. In general most opi images have the same format
to by link, will be put into opacity with a solid black image
(e.g. eps). ArtPro is rerouted to the hires. If that hires is an

— p. 34 — Chapter 2 : File Manual ArtPro 8.0

 channel, so all black pixels will remain black, and all white
pixels will be transparent. The images above show :
Gray Top, from left to right : The cmyk Image in photoshop, the al-
If the Gray checkbox is on, all grayscales, referred to by link, pha channel, and the complete photoshop image
will be put into opacity, with a solid black image channel. The Bottom, from left to right :The image as placed in InDesign,
resulting CT will be black for the percentage of the grayscale, the imported job in ArtPro, and a zoom on the soft edge.
and transparent for the remaining percentage. The Alpha channel is generated in Photoshop. When the pic-
5th channel / invert ture is placed in e.g. InDesign, it is displaying without its
If this checkbox is on, a 5 channel tiff referred to by link, will mask. When the file is imported in ArtPro, the mask can au-
result in a four channel internal CT, and the 5th channel will tomatically be converted to transparencies. The soft edges,
be used as opacity channel. The areas of the Photoshop al- as shown clearly in the last image, results in a much smooth-
pha channel that were 100% masked, result in 100% image er combination between lineart and images.
in ArtPro. The areas that were 0% masked, become com-
pletely transparent. Any value in between (e.g. soft edges on 2.17.7. OPI
the mask) result in a partial transparency (see pictures ). Click on the OPI button to define how links, defined in the Links
If the checkbox Invert is on, the opacity channel will be invert- settings, should be re-routed.
ed, using the Invert button in the Mapped Picture paint style. Re-routing is used to find missing images (e.g. because the
(see 9.1.8. Mapped Picture on page 190). This way, the al- eps was created on a different computer) or to perform OPI
pha channel can be made up in two ways, positive or nega- swaps. This means all the lores images in the make-up are re-
tive. placed by their hires equivalent, or the other way around.
With Into opacity it is also possible to work with extensions This re-routing can only be done when a link is used, i.e. in the
(see above): Example : B/W is off, Gray is on, extension = .gr case where Use Link and place all or Use Link and import EPS
This means all B/W will not be affected, and all grayscales is used.
with an extension .gr will be put into opacity. All other gray-
scales are not affected

• Perform OPI Swap

The checkbox Perform OPI Swap enables the re-routing de-
fined in the OPI dialog. If the checkbox is off, all settings un-
derneath will be grayed out, and the file will only be searched
at its original location.

Manual ArtPro 8.0 Chapter 2 : File — p. 35 —

 • Sample extension • Exclude Folders From Search
The Sample Extension and Hires Extension can be used to When searching through the Root Folder, folders with a
replace the extension of the linked file. This can for example name as entered in Exclude folders from search will not be
be used to place image.HR instead of image.LR described in searched.
the link. This can be used if all images can be found on the same vol-
Multiple extensions can be entered, separated by a space. ume, with the possibility to exclude all folders containing
If the extension of the file referred to in the link, matches an lores files.
extension entered in the Sample Extension field, the exten-
sion will be cut off, and, when present, be replaced by the 2.17.8. Image settings
extension entered in the Hires Ext. field at the same position.
Extensions that have to be cut off, should be at the end of
the list.
Example :
Sample Extension : .LR .low .LAY ( divided by a space)
Hires Extension : .HR .HIG
The result will be :
.LR will be replaced by .HR
.low will be replaced by .HIG
.LAY will be cut off
• Sample folder
The Sample and Hires Folder fields works exactly the same
as the Extension fields, but not only the file extension is
checked, but the complete path, including the file name. This
can be used to swap from one folder to another.

It is possible that one path is changed twice. An example :

Sample folder : LR CUSTOMER

Hires folder : HR • Vectorise Bitmaps : Always/Most/Never
When importing a PostScript or PDF file containing 1-bit im-
This means a file with as path ages, this setting will define how to handle those.
HD : : JOBNR : IMAGESCUSTOMER : LR : File When set to Never, the 1-bit images will be placed as imag-
es. When set to Always, 1-bit images will always be vec-
will result in using the file with as path torised.
HD : : JOBNR: IMAGES : HR : file When set to Most, the 1-bit images containing more than
5mio pixels will be placed, images smaller than 5mio pixels
• Root Folder will be vectorised. This option can be used to e.g. vectorise
If a linked file cannot be found at its original location, or after small logos, but leave large scans, such as copydot files, un-
re-routing, the file will be searched for in the folder or volume modified.
defined as Root Folder. ArtPro will search for the file in the When vectorizing a Bitmap, the precision can be set to Exact
Root folder and all subfolders. Obviously, first ArtPro tries to (no reduction factor and straighten margin is applied), Fine,
find the file on its original location. Normal and Coarse. For more info on these settings, see
The path for the active root folder is displayed under the Root 2.16.6. Vectorization Parameters on page 26 .
folder button. The root folder can be cancelled by clicking on If a bitmap is placed as an image, the bitmap will be convert-
the button again with the SHIFT key held down. ed into a Mapped Tiff with image channels and an opacity
Keep in mind that the more subfolders a Root folder con- channel. The image pixels will constitute the image and the
tains, the more time it will take to search through all these. white ones will be transparent to the background.
Setting a Hard Disk as root folder is therefor possible but not
advisable.

— p. 36 — Chapter 2 : File Manual ArtPro 8.0

 Both a vectorized tiff and a bitmap mapped tiff will be colored path. Unlike the Use external clipping path option in Prefer-
exactly like in the original document. When importing a PDF ences (see Use external clipping path for TIFF/EPS on page
file, the result will always be a grayscale TIFF. In most cases 4), this option only affects Tiff files. Clipping paths on eps im-
a vectorized bitmap will be smaller and quicker to handle ages are always used. Another difference is that during Im-
than a mapped tiff. port PS, all paths are imported as straight line vectors, while
• Make Images Internal when using the Use external clipping path option when plac-
On import, all TIFF and JPG pictures (placed in the Postscript ing a picture, the curves are kept as curves.
or PDF file, or extracted by ArtPro) are placed as mapped im- • Recognize Tiff Channels
ages. They can be automatically converted into Internal Im- When OPI linked pictures have to be placed, ArtPro will try to
ages in ArtPro, by activating the option Make Images recognize any spot colors when placing a Tiff file, and if the
Internal. It is only used in exceptional cases. For more infor- Recognize Tiff Channels is switched on.
mation on internal images, see 6. CONTONE on page 135. A Tiff file can contain channels indicating masked areas
• Extract included images (type1), channels indicating selected areas (type2) and chan-
If an image has to be extracted on disk during PS/PDF im- nels indicating spot colors (type3)
port (see also Links), a file will be saved with the resolution Channels of type 1 and 2 are treated as alpha channels, thus
set here. All the images are extracted at the same resolution, put into the opacity channel. If the Tiff contains more than
because this simply makes PS/PDF Import faster. If images one alpha channel, only the first is used, and all others are ig-
are imported with an original resolution different from the res- nored, though the separation are generated based on the
olution in this dialog, the scale factor will be adjusted. This channel names present in the Tiff. These separations have
means that the number of pixels horizontal and vertical re- CMYK value 0, 0, 0, 100, and only reflect the number of
mains exactly the same as before, only resolution and scaling channels in the Tiff.
are different. If spot color channels are found, a separation will be created
E.g. an image, 150 dpi, 1 inch x 1 inch, at 100% scaling. with the same name as the Tiff file channel.
The image is extracted at 300 dpi. Every pixel becomes half The color definition (CMYK representation) for this spot color
the size, to keep the same number of pixels. The image is will first be searched in the ink book. If the spot color is not
now half as big, so it will be scaled to 200% found in the ink book, or if no ink book is loaded, ArtPro will
E.g. An image is 150 dpi, the scale factor is 200%. On import extract the color information from the Tiff file. Since this color
the image is extracted at 300 dpi -> The new scale factor be- definition is normally given in RGB or HSB, conversion to
comes 400%. cmyk will usually yield a deviation from what is expected.
In order to be able to replace an image with another image Therefor, a warning is issued to urge the user to correct this
with the same size (e.g. LoRes - HiRes), the scaling should error.
stay the same as in the original file. Therefor the image reso-
lution should be set at the resolution of the originally placed
image, in the last example, 150dpi.
It is also possible to define the file type of the images that are
extracted: Tiff (no compression), High Quality JPEG, Medium
Quality JPEG and High Compression JPEG.
• Use original name
When an image is extracted from a file of which the original If ArtPro encounters an unknown color space, a new sepa-
file name is known, switching this option on will save the ex- ration will be created with the channel name, and with cmyk
tracted file with the same name as the original name. If this representation 0, 0, 0, 100.
option is off, or the original name is not known, the name will If a tiff contains no extra channels, the file will be placed un-
be prompted, but default it will be the name of the postscript mapped. If the Tiff contains at least one spot color, the file will
file followed by .# and a number. be placed as a mapped picture. If the Tiff contains an alpha
• Use Photoshop clipping path channel, the file will be imported as a Internal image.
If a PS file is imported, in which Photoshop Tiff files are
placed, containing a clipping path, this clipping path can be
converted to ArtPro line art, with the Tiff file placed inside it’s

Manual ArtPro 8.0 Chapter 2 : File — p. 37 —

2.17.9. General Settings • Ignore Page commands
In a normal PostScript file, the document size is defined at
two places: the bounding box, in the header of the file, and
page commands, later in the PostScript. In most cases, the
Page Commands are more exact than the bounding box. For
files coming from certain versions of Esko systems, the Page
Commands are rounded off, while the bounding box is ex-
act. In those cases, you can choose to Ignore Page com-
mands, and use the PS bounding box instead.
• Keep Strokes
If the option Keep Strokes is checked, all strokes found in the
PostScript or PDF file will be imported as ArtPro Strokes. If
the option is unchecked, the strokes will be converted to reg-
ular ArtPro paths. See also 4.19. Stroke... on page 122.
• Memory
This parameter indicates how much temporary memory is al-
located to the PS/PDF Import function, in order to store its
variables, key words, dictionaries, etc. Generally, 15000 kB
• Clip Text (default) is sufficient to perform the function. When the error
Text that was clipped in another application will be clipped in message Out of PS memory or Virtual Memory Error ap-
ArtPro as well after Import PostScript/PDF. In order to make pears, however, the value should be increased.
this possible, though, clipped text is vectorized in ArtPro and
2.17.10. Certified
thus no longer available as real text. Normal text (not clipped)
is not affected by this option, which is default on.
• Merge Equal Paths
If Merge equal paths is not checked, all paths are converted
to ArtPro in the normal way. With the option on, two or more
identical paths on top of each other are merged into one sin-
gle path with the combined color information. This option is
switched on automatically for separated files (See 2.17.2.
Page Settings on page 27).
• Recognize Layers / Merge equal layers
With this option on, all the original layers from imported Illus-
trator (<9) eps files, are recreated in ArtPro and all the ele-
ments are put back on the correct layers. All PDF files
containing PDF 1.5 layer information, will also generate the
correct layers in ArtPro. Make sure to generate PDF 1.5 out-
put from certain applications (e.g. Illustrator CS) to include all
layer information.
If the option is off, all vectors will be put on one single layer
called Postscript Import. This option can be used with or The Certified section can be used when working in Certified
without Merge Equal Layers. If ArtPro finds multiple layers mode. See 1.4. Certified ArtPro on page 12.
with the same name, those layers will be merged into one The Certified tab in the Import PS/PDF dialog, contains some
(e.g. An eps with a ‘Dielines’ layer is imported on an ArtPro settings on input, and the browse button to select the input
template with ‘Dielines’ in it). It is possible in ArtPro to have profile to be used. To clear the input profile, you can shift-click
several layers with the same name (See 7.14. Layers... on the browse button.
page 162).

— p. 38 — Chapter 2 : File Manual ArtPro 8.0

 • Importing files other than PDF 2.18. Import... Illustrator 3.0
When importing any other file type than PDF, the Sessions
log will indicate that no input profile was applied, and the ses- Import Illustrator 3.0 File... converts an Illustrator 3.0 file into
sion will begin AFTER the import. paths (vectors and splines) editable by ArtPro.
By clicking Import Illustrator, a dialog will appear, so you can
• Importing non-Certified PDF select the Illustrator file you want to import. If there is no file
When importing a non-Certified PDF file, and Certified Import open, or if the setting Import opens new job (See 1.2. Prefer-
is enabled, ArtPro will Certify the PDF file and import the Cer- ences... Import opens New Job on page 2) is on, the file will be
tified PDF instead of the original. Unless “Overwrite input file imported in a new Job. Otherwise, it will be imported in the ac-
on re-preflight” is on, a new, certified PDF will be saved, and tive Job window, with its origin in the center of the ruler. For
this certified PDF will be imported. This will be saved as a most Illustrator files, this means they will be placed in the upper
separate session. right quadrant of the ruler. Today, Import Illustrator 3.0 is only
If you click “Cancel” in the dialog to define name and location useful to import a separate clipping path from Photoshop (in
of the Certified PDF file, the uncertified PDF is imported any- Photoshop: File - Export - Paths to Illustrator).
how, and the session will start AFTER the import.
• Importing Certified PDF
2.19. Import... Picture List
• Re-Preflight if profile does not match : ON
With Import Picture List... it is possible to import an ASCII text
If the profiles are not identical, the option “Re-preflight if pro-
file containing information on name, position and size of the
files do not match” will be consulted. If the option is on, the
bounding box of placed pictures.
job will be re-preflighted if the input profile and the embed-
These Picture List files can be created in ArtPro, using the Ex-
ded profile don’t match. If they match, the session log will in-
port Picture List function (see 2.37. Export Picture List on page
dicate both profiles are identical.
84) or from any other application, if the ASCII text file has a con-
When comparing 2 profiles, their content is checked, and not
struction as shown in the example below.
just the name.
ArtPro Picture File V1.0
• Re-Preflight if profile does not match : OFF units mm
If the option “Re-preflight....” is off, the Certified PDF will be size 1005.72 826.63
imported without re-preflighting it. The Session window will Bambolina1 -1.99 -1.99 142.4 126.99 0
indicate the profile it was originally certified by. Bambolina1 -1.99 125 142.4 125 0
• Re-preflight Bambolina1 -1.99 250 142.4 125 0
When Re-preflighting, ArtPro will create a new session, pre- Bambolina1 -1.99 375 142.4 125 0
flight the file and close the session. ArtPro will prompt for the Bambolina1 -1.99 500 142.4 125 0
filename for the new Certified PDF file. An additional session Bambolina1 -1.99 625 142.4 126.99 0
will start in ArtPro. Bambolina1 140.41 -1.99 140.41 126.99 0
• Overwrite Input File Bambolina1 140.41 125 140.41 125 0
If the “Overwrite Input file on Re-preflight” option is on, there Bambolina1 140.41 250 140.41 125 0
will be no new PDF file created by ArtPro. Instead, ArtPro will Bambolina1 140.41 375 140.41 125 0
replace the original PDF file. Bambolina1 140.41 500 140.41 125 0
Bambolina1 140.41 625 140.41 126.99 0
• Get all bounding boxes for preflight report Bambolina1 280.83 -1.99 142.4 126.99 0
This option forces Artpro to obtain bounding boxes for the Bambolina1 280.83 125 142.4 125 0
last preflight report. If activated, Artpro will get full information Bambolina1 280.83 250 142.4 125 0
for every report item along with bounding box of the area Bambolina1 280.83 375 142.4 125 0
where the error/warning occurred. This will cause an addi- Flatten 421.23 0 292.24 413.32 0
tional preflight of the input document and consume addition- Flatten 421.23 413.32 292.24 413.32 0
al time. You will then be able to double click entries in the Flatten 713.47 0 292.24 413.32 0
Certified Report or in the Cruise Report.

Manual ArtPro 8.0 Chapter 2 : File — p. 39 —

 • Construction of a Picture List File Included text is converted to ArtPro text.
• ArtPro Picture File V1.0 •In CAD format, the text is monospaced. This means that all
• Units; this can be any extension supported by ArtPro characters have the same width. The text is converted to the
(see 1.2. Preferences... on page 1) Helvetica font. As Helvetica is not monospaced, the width for
• Size; the job size, in the unit set above. the converted text will not be the same as the original text.
• Filename; when importing a picture list, ArtPro will place the (Text which was positioned in the center might not appear in
pictures described in the Picture List file, if the files are in the the center anymore).
same folder as the picture list. If not, ArtPro will prompt for •The vertical size of the font in CAD files is defined by its cap-
the specific file. If the file is found in the folder or a file has ital height. In PostScript the character height is defined with
been selected by the user, the picture will be applied on the the white space above and underneath the capital. As all
path, placing its center on the center of the bounding box. fonts have different capital heights according to their Point-
• Position of the bounding box; the position of the top left cor- sizes, ArtPro estimates the pointsize of the imported charac-
ner of the bounding box is defined. The first value is the ver- ters, so it might not completely match.
tical distance from the top left corner of the job size, the
second is the horizontal distance.
• Size of the bounding box; the next two values define the ver- No Compound Compound Compound
tical and horizontal size of the bounding box. Stroke with Stroke with Stroke with
caps : butt caps : butt caps : rectangle
• Rotation; the rotation can be 0, 90, 180 or -90 degrees.

2.20. Import... CAD ...

With Import CAD ... it is possible to import CAD files in the
• Once imported:
Common File Format 2 (CFF2), in DDES2 format or VLM for-
The CAD paths react to the ArtPro functions like normal Art-
mat.
Pro paths. You might want to put them in a separate layer,
• How to import a CAD file: or you could make them magnetic.
•After choosing Import CAD... in the File menu, a dialog box You can join the open paths with the Join command (q - J.
will appear to select the CAD file you want to import. If there see 4.17. Join Paths on page 116). Complex CAD files might
is no file open, or if the setting Import opens new job (See exceed the number of points which can be joined. You can
1.2. Preferences... Import opens New Job on page 2) is on, also Stroke the open paths to give your die a line width. Still
the file will be imported in a new Job, in a layer named CAD. all open paths will be stroked separately.
Otherwise, it will be imported in the active Job, in the current More handy is making a compound of the CAD file first be-
layer, with its origin in the center of the ruler. For most CAD fore making a Stroke. By making the paths to a compound,
files, this means they will be placed in the lower right quad- the Stroke will automatically join the overlapping areas.
rant of the ruler. Stroke with a Round or Square cap which makes the corners
completely close up. (see picture above)
• ArtPro imports the paths as well as the text in the CAD file. For more info, see 4.19. Stroke... on page 122, and 8.1.
• All paths will be grouped. Make Compound on page 179.
• All CAD path information is translated into ArtPro paths,
which can be vectors or splines:
• CAD data consists of open paths.
• Arcs will be converted to splines.

•The CAD paths can have different line types (e.g. cut,
crease, etc.). ArtPro applies a different paint to these paths
so that a Select By Paint is possible, for instance to delete all
measurement lines. The paint applied to these paths is a
screen (%) of the first used separation in the ArtPro file.

— p. 40 — Chapter 2 : File Manual ArtPro 8.0

2.21. Import... HPGL... 2.22. Import Marks...
With Import HPGL... it is possible to import HPGL plotter files Import Marks allows you to create personalized marks. The
(Hewlett Packard Graphics Language). idea is to create one ArtPro file of the marks you need. When
• How to import a HPGL file: importing this job with Import Marks, the marks will automati-
•After choosing Import HPGL... in the File menu, a dialog cally position and the inks are adapted to any ArtPro file.
box will appear to select the HPGL file you want to import. If •Create and save an ArtPro file (e.g. 1 m x 1 m) with all the nec-
there is no file open, or if the setting Import opens new job essary marks at the correct distances from the job borders.
(See 1.2. Preferences... Import opens New Job on page 2) is •With Import Marks... this job can be inserted and will be
on, the file will be imported in a new Job, in a layer named stretched to fit on the current ArtPro job, keeping the marks at
HPGL. Otherwise, it will be imported in the active Job, in the the same distance from the borders.
current layer, with its origin in the center of the ruler. For most • How to build a regmark file:
HPGL files, this means they will be placed in the lower right •A regmark file is a normal ArtPro job.
quadrant of the ruler.
•ArtPro imports the paths from the HPGL file. •The job is divided into 3 parts in the vertical and horizontal
All HPGL path information is translated into ArtPro paths, direction. It is cut on 1/4 and 3/4 of the job size. (figure below)
which can be vectors or splines.
•HPGL data consists out of open paths. •The position of any path or object in the mark file is deter-
•Arcs will be converted to splines. mined by its distance to the jobsize corners and the center.
•The HPGL paths can have different line types (different
pens). ArtPro applies a different paint to these paths so that
a Select by Paint is possible, for instance to delete all mea-
surement lines. The paint applied to these paths is a screen
(%) of the first used separation in the ArtPro file.
• Once imported:
Imported HPGL can be treated in the same way as imported
CAD files (see 2.20. Import... CAD ... on page 40)

•When importing this file as a mark, the job is stretched to fit

the jobsize of the active ArtPro file. Actually ArtPro cuts the
job on 1/4 and 3/4 of the size, the 4 corner parts are posi-
tioned on the new corners, the 5 center parts are positioned
on the new centers.

Manual ArtPro 8.0 Chapter 2 : File — p. 41 —

 Figure 2: other, make the jobsize in the fixed direction bigger than 4
times the wanted dimension.
• Colors and Separations
If the marks file contains no separations, all paths will have
registration color (all 100% of all separations in the active job)
after Import Marks.
Separations used in the marks file will NEVER be added to
the active job. In fact, it doesn’t matter at all what separations
are used in the marks file, as the colors will be adapted to the
separations of the active job. E.g. a path with 100% of the
first separation of the marks file, will have 100% of the first
separation of the active job.
If the marks file contains more separations than the active
job, the extra separation will be ignored. This means paths
that are 100% of the extra separation, will be empty (0%).

If the marks file contains fewer separations than the active

job, only the paths with registration color will use the extra
separations of the active job.

The new job size is bigger than the marks files jobsize. 2.23. PS Marks
The gaps in between the corner parts and the center parts This function works in the same way as Import Marks, only it
are filled with space, or by straight joins of the cut path. uses PS files instead of ArtPro files.

Figure 3:
2.24. Step & Repeat Interactive ...
This module is optional. Please contact your dealer
for more information.
This module called PowerLayout is optional. PowerLayout in-
cludes S&R Interactive, S&R Seamless and S&R Grid. Please
contact your dealer for more information.
Step & Repeat Interactive is the most basic way of repeating a
file in ArtPro. It is mainly used to step up labels and flexible
packaging, or in general, easy shaped work. This functionality
allows you to create a repetition of one single file at a time,
based on either count or fill size. S&R in ArtPro works with all
the image types that can be placed in the application (ArtPro,
tiff, eps, dcs, jpg, tiff-it, Scitex LW, Scitex CT, Scitex Flyte, pdf).
Usually, we use ArtPro single files, that were saved with a bit-
map preview (see 2.11.2. Include Preview on page 21).
Demonstrates of what could happen when the new jobsize The S&R Interactive window exists out of 4 tabs: General, Pat-
is smaller than the regmark file, graphics could overlap. tern, Advanced and Group. The first three have the basic func-
Sometimes it is important how big the jobsize of the regmark tionality for creating an interactive S&R. The Group tab is used
file is, just to make sure that a particular item is never to modify the step and repeat blocks that are generated by
stretched. PowerOptimizer (see 2.29. Step & Repeat Automatic... on
The maximum size of an ArtPro file is 16 x 16 m. page 54).
Remark:
If you want marks that change in one direction but not in the

— p. 42 — Chapter 2 : File Manual ArtPro 8.0

2.24.1. Picture • Keep Bleeds
Allows you to select the file to be repeated. Just click on the When the Step distance is smaller than the bounding box of
Browse button and select the document, or select a file from the ArtPro file, the different labels will not overlap, but they
the finder and drag it onto the S&R Interactive dialog box. will be cut off. Keep Bleeds forces bleeds in the original file
When a Picture is selected, ArtPro displays its file name and its to be used, even if there is no place to put them. This func-
size. Its size will automatically be filled into the Step fields. tion can be useful to generate repeats of round labels (see
examples).
2.24.2. General • Angle
Using the buttons, you can define rotation for the labels. The
checkboxes next to the angle, allow you to set labels to
switch direction every other label, either vertical or horizon-
tally.
By clicking the resize button (in the title bar, next to the collapse
button), a number of extra options become available.
• Step Size
The Step size is the space used for every file. Unlike the Size
shown above, the step size takes rotation and bleed (margin)
into account.
• Margin
Margin is used to define the bleed between the labels. It is
the difference between the Step and the box size. The hori-
zontal and vertical margin can be set separately. If the bleed
of the single file exceeds the bleed applied on the repeat, the
jobs will be cut off in the middle.

• Count / Fill size • Gap / After

There are two ways to make a step and repeat in ArtPro: The Gap distance is the distance left in between labels. After
count, where the horizontal and vertical number of labels is defines after how many labels the gap should be entered. A
defined, or fill size, where the size of the paper is defined and value of 2 e.g., will result in two labels without gap, then the
ArtPro puts as many labels as possible in this area. gap, then again two labels without, etc.
When using the fill size, ArtPro will calculate the number of la- • Distort
bels and equally divide the remaining space around the S&R. The Distort value allows you to define a distortion for every
When count is used, ArtPro calculates the fill size. Every rep- repeat block separately.
etition in ArtPro, including all marks, is automatically
grouped. Use the compound selection (see 3.17.2. Group, 2.24.3. Pattern
compound (object) and path selection on page 101) to e.g. This option is used to make nested S&R. This means that the
select the marks separately. When a group of labels is select- second row or column is shifted each time and the step dis-
ed afterwards, all the used parameters will be displayed. tance can be decreased so the labels fit into one another.
• Bleed
The Bleed defines how much bleed is used to the outside of
the repetition. So there is a different setting for bleed in be-
tween jobs and around the repetition. It’s ignored if the Keep
Bleeds toggle is switched on. ArtPro will always check if
there is enough bleed in the selected file. The trimbox size is
substracted from the bleedbox and divided by two. This size
has to be bigger than the bleed, otherwise ArtPro will give an
error message. This can be switched off in the Preferences -
Show warning when exceeding BleedBox on page 5.

Manual ArtPro 8.0 Chapter 2 : File — p. 43 —

 • Pattern 2.24.4. Advanced
Using the Pattern buttons, you can define whether every
second column or every second row should be shifted.
The first button creates a rectangular pattern, with no stag-
gering. The second two create most basic staggering : every
second row or column will be shifted, and will contain 1 label
less than the first row or column. The next two buttons will
generate rows and columns with the same number of labels.
The buttons for round labels will shift round labels into each
other to save space.
• Stagger offset
The offset can either be half of the step size or any user de-
fined value. When using the Round Label pattern, the offset
is automatically derived from the size of the job and can no
be changed.
• Continuous Stagger
Without the Continuous Stagger option, all even rows or col-
umns will be shifted, the odd rows or columns will remain un-
• Box Size
changed. When using the Continuous Stagger option, every
Before stepping the selected file, it is possible to decide
row or column will be shifted in regard to the previous.
which box size needs to be used. Default, this value is set to
• Include Partial Labels/Do not clip partial labels TrimBox. When Use Box is modified, the values in step dis-
When using the Include Partial Labels option, the gaps cre- tance and size will automatically adapt.
ated by the shift of a row or a column, will be filled up with
• Separation
the part of the label as if the repeat was continued outside
Using Separation, one single separation from the selected
the jobsize. When setting the Do Not Clip Partial Labels op-
job can be stepped. This option can only be used to modify
tion on, these labels will be placed completely instead of just
a created S&R, not to make a new one. This will be useful
a part.
when manually optimizing the output, e.g. for flexo output.
Select the stepped job(s); when clicking on Separation, Art-
Pro displays a list of all separations used in that file. When
choosing one separation, ArtPro will show a colored gray-
scale sample of the preview. In front of the first separation in
the list, there is an empty space. Put separations on this
space to use all inks again.
• Set Grid / grid gap
Set Grid creates a grid, based on dimension and position of
the selection. If a Grid Gap is entered, the grid will be based
on the dimensions of the selection plus the grid gap value.
This can be useful when separating a repeat.
The Set Grid function also changes the Vertical and Horizon-
tal cursor Key step. This makes it easy to move around jobs
or separations using the arrow keys. To optimize a repetition,
the grid is set to the label size and the Move Area tool is used
to move labels (See 3.11.3. Move area tool on page 93).
• Separate
Separate will split a repetition into its separations. ArtPro will
show a colored grayscale preview of the files. The distance
between the separations is based on the dimension of the

— p. 44 — Chapter 2 : File Manual ArtPro 8.0

 repetition, and the value of the Grid Gap. After separating, all • Rectangle
separations can still be moved or altered, e.g. to give sepa- The Rectangle tool is an interactive way of generating a Fill
rate distortion factors, or to merge two separations, simply Size repeat: by clicking this button, the cursor changes to a
by putting them on top of each other. cross. By dragging a rectangle, you can define what area
In order to print these separations on the same film, the op- should be filled with the selected picture. This is useful to fill
tion All Pages on Same film, in More Print settings should be up gaps on the S&R plate.
checked. (2.33.1. More Settings: Page on page 67) • Reset
• Multifilm Sets all values back to initial values.
If the option Multifilm is checked when separating a repeti- • Marks / Generate Marks
tion, the separations will be placed next to one another, Besides the Cut Marks, other objects like registration marks
based on the job size of the active job, i.o. the selection size as well as job and separation identification can be added to
and Grid Gap. the file through Generate Marks. By clicking on the Generate
Obviously, the Set Grid option will also be based on the job Marks button, the active marks are applied. But through
size. Marks... those active settings can first be changed, before
2.24.5. Group applying the marks to the job.
Marks are always generated
In the Group tab, a number of settings for groups created by on the bounding box of the
the Step and Repeat Automatic function can be changed. For active selection or on the ac-
more info, see Step & Repeat Automatic tive job box, if nothing is se-
2.24.6. Generate lected.In the Marks dialog,
you can define which infor-
mation and marks should
come on your repetition.
There are six tags for informa-
tion which can be activated
separately:
• Make New Job •Job Name: puts the name of
This option defines if the repeat has to be created in the cur- the ArtPro file in the lower left
rent job, or in a new job. Since the repeat is always placed at corner in all 100% color.
the bottom right of the ruler, this can be used to combine the •Version Number: this is the
repeat of several files on the same sheet, with the option number that is shown in the
Make new job off, and by moving the ruler before repeating. job size dialog box. Every
time an ArtPro job is modified
To get the same repeat of two different labels, make the first, after saving, the version num-
then deselect the group, move the ruler, select the second ber is increased.
label and hit generate. This way, the exact same settings are • Date & Time puts the current
applied as on the first label (except bleed). date and time in the lower left
corner in all ink separations.
• Immediate
• Separation Names: puts the
If the Immediate checkbox is on, changing the number in
names of the defined separations on the separate films.
count, the dimension in Fill Size, marks, orientation, bleed,...
• Distortion: Puts the distortion from the Print dialog box in the
will automatically change the already generated S&R. If the
file. The value will be preceded by V or H, depending on the
option is off, you need to press the Generate button to create
direction of the distortion.
a new S&R.
• Dot Gain Filename: If a dotgain file is selected in the print di-
• Generate alog box and the dotgain compensation option is tagged, the
Generate will create a repeat as defined in the dialog box. If dotgain file name can be added to the comments.
the option Make new Job is on, a new job will be generated. • Color Setting Name: If a set of Color Management settings
Otherwise, the repeat will be generated inside the open doc- are loaded, the name of this set can be added too.
ument, in the bottom right quadrant of the ruler.

Manual ArtPro 8.0 Chapter 2 : File — p. 45 —

 All these parameters are put in this order in a text line on the 2.25. Step & Repeat Tabular...
bottom left side of the page with the following settings:
• Vectorise Text will convert all the text to paths, to avoid font This module is optional. Please contact your dealer
problems on the RIP. for more information.
• Use Text Size : to use the text size and font set in Text Style. Step & Repeat Tabular is a tool that comes with the PowerLay-
If the option Use Text Size is off, all Regmarks will be placed out module, which is optional. The Step & Repeat Tabular...
in a 10 pt. Helvetica function allows you to step and repeat one or more ArtPro
• Set Inside Borders : to set the text on the inside of the bor- jobs. Tiff, eps, dcs and pdf files are also supported.
ders i.o. outside the job borders. In the Step & Repeat Tabular dialog you can enter up to 200
different jobs. Hence, this functionality is also used for merging
Other marks are: purposes. Scroll bars on the right of the S&R menu allow you
• Crop Marks: the cut marks are put on the finished S&R job to scroll through the file list if there are more than four entries.
size, and also define where the labels will be cut in order to
separate.
• Registration Marks: appear in the four corners outside the
Step and Repeat job, or centered on the job when the option
centered is activated.
The width of the registration marks is 1/300 inch (about 0.08
mm) and the color is always registration.

The Box dropdown allows to define to what borders the

Marks should be applied.
The Adjust Cropbox setting modifies the CropBox after cre-
ation of the marks, so that the job and the Marks are com- 2.25.1. Select File
pletely inside the CropBox. If “Always Create CropBox” is on, By clicking the “...” button, a dialog opens allowing you to se-
a cropbox will be generated if it wasn’t defined yet. lect a file to be repeated. It is also possible to drag and drop
one or more files from the finder onto the dialog.
Standard / Plug-in When a file is selected, its dimensions will automatically be en-
A plug-in or extension for the Step & Repeat menu allows for tered in the Step fields.
customization of registration marks. They appear in the pop-
up window at the bottom of the dialog and can be selected 2.25.2. Job Border
there before Generating the marks. The default job border is the Trimbox. When changing to an-
• The Extensions have to be stored in the “Plugins” folder other Job Border, the difference between the old and the new
which should be in the same folder as ArtPro. job border dimensions is calculated, and the same change is
• ArtPro supports plug-ins on Power Macintosh only. done on the Step distances. E.g. if the Bleed size is 4mm big-
Extensions are based on the “Code Fragment Manager” of ger than the Trimbox, changing from Trimbox to Bleedbox will
Apple Computer. This is standard on all Power Macintoshes add 4mm to the Step distance.
and will be included as part of the “Open Doc” extension and
future system software on Quadra (680x0) Macintoshes. Un- 2.25.3. Angle
til then, ArtPro only supports plug-ins on Power Macintosh. By choosing one of the Angle buttons, you can rotate a job
• To build extensions, you need a software development envi- over 0, 90, 180 or -90 degrees.
ronment (e.g. ETO from Apple Computer) and a knowledge
2.25.4. Reference Point
of C++ and MacOS. Contact us for more information.
By selecting one of the three buttons, you can define the Ref-
• Cut Marks
erence Point for the positioning of the Repeat block.
If the Cut Marks option is on, cut marks will automatically be
If the first button is selected, the Reference point will be placed
generated around the repeat block. The cut marks are gen-
in the center of the ruler, independent of the previous repeat
erated on the used box size. When bleed is applied in be-
blocks. If the second button is selected, the Reference point
tween labels, double cut marks automatically appear. The
will be placed at the bottom left of the current column. This is
cut marks are filled with registration color.
the bottom left corner of the bounding box of all repeat blocks

— p. 46 — Chapter 2 : File Manual ArtPro 8.0

 in the same column. This way, the Repeat Block can be placed repeat of another file, but using the same values. Freeze Step
in the same column, under the previous block. does not influence the adjustment of the Step distance by
By selecting the third button, the Reference point will be placed changing the job border. As the S&R dialog is saved with the
at the top right of the current column. This is the top right cor- file, you can re-open it if you open the repeated file. Then you
ner of the bounding box of all repeat blocks in the column. This can replace the label with the new one, and with the Freeze
way, the Repeat Block can be placed at the top of the next col- Step checkbox on, the step distance will not be changed.
umn.The picture underneath shows the Reference Point for the
three different settings. 2.25.10. Bleed for Repeat Blocks
On the outside of Repeat blocks, as much bleed is added as
necessary to place all elements in the file. If there is not enough
room, e.g. in between Repeat Blocks, the available distance
will be equally divided over both Repeat Blocks. If one of the
Repeat blocks doesn't use this distance (when repeating a la-
bel without any bleed), the other Block will take up this space.

2.25.11. Make New Job

2.25.5. Offset If the Make New Job option is on, a new job will be generated,
The offset defines the placement of the top left corner of the re- in which the S&R is placed. If the option is off, the repeat will
peat block, calculated from the Reference point. Positive val- be placed in the open ArtPro Job. The reference point for the
ues work to the bottom right. first repeat block is always placed in the center of the ruler.
The setting of this option goes along with the setting of the Im-
2.25.6. Step port Opens New Job (see 1.2. Preferences... Import opens
The Step distance defines the distance from one job to anoth- New Job on page 2)
er. If the Step distance is smaller than the job size, the jobs will
be overlap. As placed ArtPro files are transparent on places 2.25.12. Cut Marks
where they are empty, this can be used to create nesting. If the If the Cut Marks option is on, cut marks will be generated on
Step size is equal to the job size, the jobs are placed adjacent, the repeat. Note that if the Step distance is bigger than the Job
without any bleed. If the Step size is bigger than the Job Size, size, double cut marks will appear.
the space in between will be divided equally, and filled with
bleed, if present in the single file.
2.25.13. Step & Repeat
The rectangles in which the jobs are placed, will never be big- Hitting the Step & Repeat will create the repetition, either in a
ger than needed to place the complete file, including elements new job, or in the open ArtPro job (see above). Note that
outside the job size. changing values after the repeat was created, does not affect
the created Step & Repeat. In order to see the changes, a new
2.25.7. Count repeat has to be generated.
The Count values define how many jobs should be placed in
the Repeat block.
2.25.14. Marks...
Using the Marks ... dialog and the Generate Marks button, you
2.25.8. Radio buttons can apply registration marks on the Repeat file. For more info,
The Radio buttons for File, Angle, Offset, Step and Count can see Marks / Generate Marks on page 45
be used to sort all entry lines by their file name (alphabetical),
their angle (left to right), Offset (increasing), Step (decreasing)
2.25.15. Keep Bleeds
or Count (decreasing). Keep in mind that changing the order If the Keep Bleed option is on, every job will be placed com-
can affect the repeat result if relative positioning is used, i.e. if pletely, including all elements (even outside the job size), even
any of the entries is set to have a reference point based on the if the Step distance is smaller than this size. This is likely to cre-
previous repeat block(s). ate overlaps : places where jobs lie on top of each other. As a
placed ArtPro job is transparent on places where no objects
2.25.9. Freeze Step are found, this can be used to nest Jobs into each other with-
If the Freeze Step option is on, selecting another file will not out loosing the bleed, e.g. for round labels.
change the Step values. This can be used to create a step and

Manual ArtPro 8.0 Chapter 2 : File — p. 47 —

2.26. Step & Repeat Nested... ever, some CAD/CAM systems create their main sections the
other way. If a CFF2 coming from such a CAD/CAM system is
This module is optional. Please contact your dealer analyzed, the result is not the same as the original on the CAD/
for more information. CAM system. By switching Interpret Bad CFF2 file on, the se-
S&R Nested is a module called PowerStepper, that can be quence of rotation and mirroring is altered, so these (bad) CFF2
added to the PowerLayout module. It is used to make S&R files get analyzed correctly.
based on CFF2 or DDES information.These are files generated
on a CAD/CAM system, to create diecuts. Through Power- 2.26.4. And Import
Stepper ArtPro can use the same digital information to create The option And Import will import the analyzed CFF2 file.
a step & repeat, so that the operator doesn’t have to calculate Besides the layer with the analyzed CFF2 file (closed paths,
positions, rotation and nesting. only die lines), there will be another layer added, named CFF2,
containing the result of an Import CAD (2.20. Import... CAD ...
on page 40). This allows for alignment of elements on a specific
part of the die in the S&R file.

2.26.5. Apply Graphics...

Select the necessary paths and Apply Graphics... to open the
corresponding ArtPro file to fill them with. In fact again you can
apply tiff, eps, dcs and pdf as well, but usually only ArtPro files
are used.
2.26.1. Procedure: You can apply different graphics in one job by selecting a few
paths, applying the graphics, selecting other paths and apply-
• Import the CAD/CAM file, with Analyze CAD File... The boxes
ing the graphics again. After analyzing a CAD file, all boxes are
described in the CAD/CAM file are imported in ArtPro and
filled with a picture paint style. When applying graphics, the se-
joined. They remain selected after import.
lected job is centered in the selected shapes using the box de-
• Remove the holes (if necessary).
fined in Center Graphics on. Make sure you don’t apply any
• Fill the boxes with the graphics. Click on Apply Graphics...
graphics in paths that already have bleed calculated on them.
and select e.g. an ArtPro document. PowerStepper fills, po-
Because the bleed distance is not always equal all around the
sitions and rotates all the selected objects with the selected
box, the center could have moved. Usually, the single CAD file
data, according to the information that was in the CAD file.
is imported in the single ArtPro, positioned and the trimbox is
• Generate bleed around the boxes. Use interactive and auto-
fitted to this size before saving.
matic trimming to clip parts of the boxes if necessary.
The preview of the ArtPro files are placed inside the die lines.
• Put station numbers and marks on the repetition.
The die lines can be seen as a clipping path for a picture or a
2.26.2. Analyze CAD File... window. If bleed was generated in the original file, it can be vi-
sualized here by making the clipping path or the picture win-
With Analyze CAD File... the data of the indicated CFF2 or
dow bigger.
DDES file is read and displayed on the screen as selected
paths. The closed paths are placed in a layer named Repeti- 2.26.6. Verso
tion. In a CFF2 or DDES file, different line types are defined (cut
The Verso button will mirror the ruler and the selected paths
lines, folding lines,...). They are all defined with a different type.
horizontally. It allows for creation of die-side up repetitions as
When analyzing the file, ArtPro filters out all the cut lines and
opposed to normal print-side up repetitions, and is thus mostly
joins them together per box. All other information is ignored.
performed on dies which do not have any color yet.
2.26.3. Interpret bad CFF2 file If the die does contain graphic files already, their paint will first
be mirrored horizontally over its own center and then it will be
The option Interpret Bad CFF2 file will import a CFF2 file, invert-
mirrored horizontally together with the die.
ing the order of rotation and mirroring. A CFF2 file consists of
subroutines, describing the single boxes, and the main section, 2.26.7. Marks...
describing what box should be placed where. According to the
Using the Marks ... dialog and the Generate Marks button, you
CFF2 specs, if a box in the main section is set to be rotated and
can apply registration marks on the Repeat file. For more info,
mirrored, the mirroring should be done after the rotation. How-
see Marks / Generate Marks on page 45

— p. 48 — Chapter 2 : File Manual ArtPro 8.0

2.26.8. Resize window Automatic trimming can only be
By clicking the Re- done on the flaps that touch the
size button on the bounding box of the selection
S&R Nested dia- (see picture, only the four flaps
log, a number of with the black areas can be auto-
additional options matically trimmed, all the others
and settings be- would have to be done interac-
come available. tively). Interactive trimming can
These are de- be done on any part of the box:
scribed below. • Get from Single File
The Get from single file option, allows to apply trim & bleed
2.26.9. Remove based on the info stored in the used single file.
Holes This information can be stored in the Job Info dialog (2.15.2.
Remove Holes will S & R on page 23).
delete internal When applying Trim & Bleed with the Get from single file op-
loops from the se- tion on, the values stored in the single file in the top left
lected paths. position, will be used to calculate the Trim & Bleed.
Loops can occur Note that the values of the applied Trim & Bleed, are NOT
depending on the shown in the Trim & Bleed menu.
design of the box • Interactive Trim
(see picture be-
low). Internal loops • Starting an interactive trim
can sometimes be An interactive trim is started by selecting the Interactive Trim
created when the die lines are joined wrongly. radio button, filling in the requested bleed, selecting the con-
tours on which the interactive trim has to be calculated, and
clicking the Trim & Bleed button.
• Resolving overlaps
Interactive Trim will
After determine where
Original Analyzed Remove outlines will overlap
CFF2 CFF2 Holes after bleeding. If an
overlap is found, a
2.26.10. Calculate Bleeds zoom view of the
Bleed is always calculated after applying the graphics! Of area is shown, and
course, to be able to give bleed, it is important that the original the overlap region is
ArtPro files are created with bleed. Bleed is the part of the Art- highlighted.
Pro job outside the trimbox. In the case of CAD step and re- The cursor changes to a cross. This tool can be used to point
peat, you can also say that the bleed is the zone outside the out what contour should be on top after bleeding. If neither
CAD path. Enter a value in the Bleed input field, select the nec- contour should be trimmed for a certain overlap, pressing the
essary paths and click Calculate Bleeds. When two boxes are Esc key will skip it and resume with the next overlap. All user
positioned against one another, a center bleed is created. If a decisions are remembered and are automatically applied
part of one job (a visible side of the box) needs to bleed over a when an identical overlap is encountered.
part of another job (e.g. glue flap, tuck-in flap), a gap is made Note that during overlap resolution, the job is in modal mode,
first, using interactive or automatic trimming. meaning that no other jobs, dialogs, buttons or menus are
active. Only after all overlaps are resolved will normal appli-
cation execution continue.
Interactive Trim can also be applied as defined in the Single
File: see 2.15.2. S & R on page 23

Manual ArtPro 8.0 Chapter 2 : File — p. 49 —

 • Automatic Trim • Position
Indicate a value in the Top-Bottom-Left-Right input fields and The squares next to the
Starting Top Left :
bleed, select the necessary paths and click Calculate Set All button define Vertical Horizontal
Bleeds. Immediately, the paths are clipped and then the where to begin: top or 1 4 7 1 2 3
bleed is calculated. bottom, left or right. Ver- 2 5 8 4 5 6
tical and horizontal de- 3 6 9 7 8 9
2.26.11. Station Number fine in what direction the
Snake Vertical Snake Horizontal
A unique number can be put on every repeated box in the rep- numbering has to be
1 6 7 1 2 3
etition. If there is an error on one of the boxes (diecut, colors, done. Snake defines if 2 5 8 6 5 4
position), all the cut out boxes with this particular number can the numbering has to be 3 4 9 7 8 9
be taken out. done snake-wise (see
• Indicate the required text parameters (font, point size, etc.) in example). Zigzag is an Zigzag off Zigzag on
the Text menu and the required color (e.g. All 100) in Paint option to solve the cases
Style.
1 5 9 1 5 9
where boxes are not ex-
actly on the same vertical 3 7 11 2 6 10
• Enter the number you want to start from in the input field next line, but staggered. See 2 6 10 3 7 11
to Set. also the example. 4 8 12 4 8 12
• Define the position by entering values for the Vertical and
Horizontal Offset (0,0 is centered on the die) or by clicking on 2.26.12. Conditions:
Set and then shift-clicking the position manually within the To be able to make the complete system work, there are some
job (die path). conditions which should be met : the original ArtPro files which
• To create the station numbers there are two ways: first click will be used in the S&R Nesting should be created correctly,
on Set and click on the different boxes one by one, to define and some rules should be respected regarding the CAD file.
an order. Second you define the parameters for the order • 1. ArtPro original jobs
and hit Set All. • the single ArtPro jobs should be made on the (one-up) CAD
The text will appear on the same position and with the correct files which are used in the nested CAD file. You can use “Im-
rotation on every box. Station numbers are editable text, but port CAD...” to import the single CAD file into the ArtPro job.
can be vectorized to avoid font problems on the RIP. Make sure you don’t use the die lines the designer put in the
file. In many cases, designers draw their own version of the
• Get from Single File dielines, that in the end might not match the CAD file.
The Get from single file option, allows to apply station num- • the trimbox (usually used in S&R) of the single ArtPro job
bers on the info stored in the used single files. This informa- should be centered on the CAD file. Fit the job size on the
tion can be stored in the Job Info dialog (2.15.2. S & R on single CAD die.
page 23). When applying station numbers (Set All) with the • the single ArtPro files should be saved with a Preview (see
Get from single file option on, the station numbers will be 2.11.2. Include Preview on page 21). When no preview is
placed and set (font, type, etc.) according to the info stored saved with the ArtPro job, you get a gray preview in the re-
in the specific single file. Unlike for Trim&Bleed, every single peated file (average ink for placed pictures is 30%C, 30%M,
file will be treated according to its job info. 30%Y, 15%K). When the original ArtPro files are saved with
Note that the original text, used to define text style and posi- a preview, it will be shown in the repetition. This preview is
tion of the Station Number, will not be visible in the preview, usually 72dpi (see Preview Resolution, p.134)
and will not be printed on the repeat, as this would interfere • 2. Nested CAD file conditions
with the automatically generated Station Numbers. Only • CAD files on which “Common Line Removal” has been ap-
when opening and printing the single file, this base text will plied are not usable. Their contour should consist of cut lines
show and print. and the cut lines should not be used for anything else. All
Also note that the values of the applied station numbers, are lines that have another line type are ignored.
NOT shown in the Station Numbers menu. • To be useful for step and repeat, a CAD file must be built up
according to certain rules. If that is not the case, no S&R in-
formation can be retrieved. The main section must contain
calls to individual boxes, which must have the correct orien-

— p. 50 — Chapter 2 : File Manual ArtPro 8.0

 tation. The following example shows two identical (triangular)
boxes, one upright and one upside down. Many different Wrong :
CFF2 files can describe this page, but only one of them is us- MAIN
able for S&R. On the next pages you will find some examples LINE 1 /\
of how to built a usable cad file. LINE 2 / \
Usable : LINE 3 —–—
MAIN LINE 4 —–—
CALL B at x1,y1 rotated 0 degrees LINE 5 \ /
CALL B at x2,y2 rotated 180 degrees LINE 6 \/
END END

SUB B You can inspect CFF2 files with any text editor (Simpletext,
LINE 1 /\ BBedit, MS Word,...). If the CAD vendor does not generate
LINE 2 / \ CFF2 files in a usable format, send him this description and
LINE 3 —–— explain the importance of being able to retrieve S&R informa-
END tion from the CAD system.

Wrong :
MAIN
2.27. Step & Repeat Seamless...
CALL B1 at x1,y1 rotated 0 degrees This module is optional. Please contact your dealer
CALL B2 at x2,y2 rotated 0 degrees for more information.
END In the Step & Repeat menu the Seamless functionality makes
it possible to create seamless joins for cylinders.
SUB B1
• Procedure:
LINE 1 /\
• Fill in the Vertical and
LINE 2 / \
Horizontal Job Size,
LINE 3 —–—
i.e. the cylinder circum-
END
ference and width.
• Set the checkboxes
SUB B2
next to the orientation
LINE 1 —–—
in which the Step & Re-
LINE 2 \ /
peat should join, i.e.
LINE 3 \/
Vertical or Horizontal,
END
never both.
• Enter a Bleed value, if
necessary. The default
Wrong :
is set to 2 mm. The
MAIN
bleed will be calculated
CALL B at x1,y1 rotated 0 degrees
on the outside of the
END
repetition.
• Indicate the inclination in Angle, if necessary. The default val-
SUB B
ue is set to 30 degrees. Values should be between -90 and
LINE 1 /\
90 degrees.
LINE 2 / \
• Open the ArtPro file to be repeated by clicking on Graphics
LINE 3 ——–
File... and indicating its name. To be able to visualize the
LINE 4 —–—
seamless S&R, the original ArtPro file has to be saved with a
LINE 5 \ /
preview (2.11.2. Include Preview on page 21).
LINE 6 \/
• Set the Step and Offset values. By default, the Step Down
END
and Right take the respective vertical and horizontal jobsize

Manual ArtPro 8.0 Chapter 2 : File — p. 51 —

 values, the Offset is half the horizontal jobsize. The Reset 2.28. Step & Repeat Grid...
button puts the Step and Offset back to 0 mm.
The offset value is the distance of the horizontal shift in a This module is optional. Please contact your dealer
brick-like pattern from a job in an uneven row to one in an for more information.
even row. Thus, with a 0˚ angle, offset=0 mm means that all The Step & Repeat Grid functionality allows you to create a
the jobs will come neatly underneath each other. The zero- repetition of different ArtPro files with the same size, all placed
point is the bottom left corner. See figure on the right. in the same folder, with or without the use of a layout file.
• To perform the rep-
etition, click on 2.28.1. S&R Grid without a layout file
Generate Pattern. • First of all you need
• Afterwards, you to have the original
can add registra- ArtPro files, all
tion marks as set in placed in a specific
the Reg. Marks folder, called the
menu (see • Marks job folder. To be
/ Generate Marks able to visualize the
on page 45) grid Step & Repeat,
you’ll need to save
• Tips & tricks :
the original ArtPro
• Repetitions with a 0˚ angle can be made to join both vertically
files with a preview
and horizontally.
(2.11.2. Include
Enter in the necessary values as described above. Activate
Preview on page
both the Vertical and the Horizontal Join button and press
21).
Generate Pattern.
• Enter a Horizontal
• Note that in most cases ArtPro needs to round off the Step
and Vertical Step
values to make a join possible.
distance. The Step
distance is the dis-
tance in between
the different ArtPro
Jobs. If no distance
is entered, the trim-
box size will be
used, so no bleed
will be added to the ArtPro Jobs.
• Enter a Horizontal and Vertical count. The Count is the num-
ber of ArtPro jobs to be placed in vertical or horizontal direc-
tion. If the total number of jobs to be placed is larger than the
number of ArtPro jobs in the selected job folder (see below),
ArtPro will restart at the top of the list (see example 3 later
on).
• Set the order to be followed. The Starting Top Left :
Horizontal
squares under Order define Vertical 1 4 7 1 2 3
where to begin : top or bottom, 2 5 8 4 5 6
left or right. Vertical and horizon- 3 6 9 7 8 9

tal define in what direction the Snake Vertical Snake Horizontal

jobs have to be placed. Snake 1 6 7 1 2 3
defines if the positioning has to 2 5 8 6 5 4
3 4 9 7 8 9
be done snake-wise (see exam-
ples on right).

— p. 52 — Chapter 2 : File Manual ArtPro 8.0

 • Set the desired Angle. Angle allows you to define if the jobs Example 3:
have to be placed upright (0º) or rotated over 90º, 180º In this example the
(=clockwise) or -90º (= counterclockwise) vertical count is set
• Select a Job Folder. Selecting a folder as Job Folder will dis- to 3, the horizontal
play all files in the folder in the list on the right side. In this list, to 5. This gives a
the order can be changed by clicking and dragging. A file can total of 15 jobs,
be removed from the list by selecting it and clicking Remove. while the job folder
This list shows in what order the specified jobs will be used contains only 8
in the repetition. The jobs in the list can also be duplicated or jobs.
removed. Simply select a job from the list, choose how many When filling every
times to repeat it and press Repeat. This repeats one job at job from the folder
the time. To remove, just select the job(s) and press Remove. in the grid once,
• Click Execute to create the S&R. ArtPro continues
• After executing, marks can be added, using the Mark and from the top of the
Generate Marks buttons. list again. In the ex-
• Examples ample you can see
Example 1: that after Job 8.ap, Job 1.ap is placed again, followed by Job
2.ap etc. ArtPro started in the top left corner and repeated
the jobs horizontal and snake.

2.28.2. S&R Grid with a layout file

• First of all you need to have the original ArtPro files, all placed
in a specific folder, the job folder. To be able to visualize the
In this Example, 8 different ArtPro jobs, placed in the GRID Step & Repeat, you’ll need to save the original ArtPro files
folder, were repeated with a vertical count of 2 and a horizon- with a preview.
tal count of 4. All ArtPro Jobs are placed once, starting with • Enter a Horizontal and Vertical Step distance. The Step dis-
the first job in the top left corner. tance is the distance in between the different ArtPro Jobs. If
No bleed has been added. no distance is entered, the trimbox size will be used, so no
bleed will be added to the ArtPro Jobs. Other settings, like
Example 2: rotation, direction,... will not have effect on a grid repetition
The same job folder, con- with a layout file.
taining the same jobs as in • Select a Job Folder. Selecting a folder as Job Folder will dis-
example 1, was used. play all files in the folder in the list on the right side. In this list,
In this example, the count the order can be changed by clicking and dragging. A file can
starts in the bottom left be removed from the list by selecting it and clicking Remove.
corner and the jobs were This list shows in what order the specified jobs will be used
set to be rotated over 90º. in the repetition. The jobs in the list can also be duplicated or
Note that entering a rota- removed. Simply select a job from the list, choose how many
tion angle, adjusts the verti- times to repeat it and press Repeat. This repeats one job at
cal and horizontal step the time. To remove, just select the job(s) and press Remove.
distance. Even though the jobs are rotated, the first job is still • Select a Layout file. A Layout file is a text file, containing com-
placed at the top left corner of the repetition. ma separated values, indicating where all job should be
placed.
• Click Execute to create the S&R.
• After executing, marks can be added, using the Marks and
Generate Marks

• Example layout file

• A Layout file should be comma separated values (csv), which

Manual ArtPro 8.0 Chapter 2 : File — p. 53 —

 means the individual values are separated by a comma. 2.29. Step & Repeat Automatic...
• The first line should be ‘ArtPro Grid Layout file V1.0’
• Placing a number means that the job with that number in the This module is optional. Please contact your dealer
list will be placed at that position. Entering a minus in front of for more information.
the number will rotate it over 90º. Exact names can be used Step & Repeat Automatic, calculates the repeat based on the
as well, in combination with the option Filenames must dimensions of the layout, the dimensions and settings for every
Match. In that case, ArtPro will place the file with the name individual file and the total number of labels needed. Based on
as entered in the layout file, i.o. using the order in the list. these values, ArtPro will search for the repeat with the lowest
• The repetition will be based on the outer rectangle of all en- print run, to achieve the most economic combination of the in-
tered values. Empty spaces in the layout file will cause holes dividual labels. There is an interaction with Step and Repeat In-
in the Step & Repeat file. teractive : after creating the repetition with PowerOptimizer, the
Below, there are two examples of a Grid repetition that was parameters of each block can be adjusted in the S&R Interac-
created with layout files. tive menu.

2.29.1. General settings

• Templates
Templates allow you to store all data from the Automatic
Step & Repeat dialog in a text file. This way you can setup
templates for page and plate sizes, including the margins
and alignments of e.g. paper to plate; but you can also save
the completely filled dialog with all label information in it.
When opening a template with missing pictures, PowerOpti-
mizer will ask where those pictures are. Pressing CONTROL
+ cancel will cancel all, so none of the remaining pictures will
be opened. The reset button will reset all parameters to their
defaults and removes all pictures.
• Search / Hold
When all parameters are entered, the search button at the
• Adding Bleed
top left can be pressed. This will start the actual calculation
Bleed can be added using the Calculate Bleed button in S&R
of the optimization. When not all the necessary parameters
CAD. For normal cases, this will create bleed at the outside
are defined, a warning message will appear. The necessary
of the repetition. If bleed is needed in between the different
parameters are for instance: paper size, label size and num-
labels, the repetition can be made with a bigger step dis-
ber needed. During search the progress status will be indi-
tance, so the Calculate Bleed will divide the available space
cated in percentage. You can put the search on hold to
over the two adjacent labels.
check the intermediate result. When changing an important
parameter during search, or hit the reset button, the search
will be canceled.

— p. 54 — Chapter 2 : File Manual ArtPro 8.0

2.29.2. Layout tical; either of the above or Mix Horizontal and vertical.
• Media / size • Vertical, then horizontal: the sheet will be cut vertical first,
The media pop-up lets you select between the paper or plate multiple times if necessary, then the page is rotated and cut
size. You can fill in the dimensions manually, or you can horizontal. The sheet is only rotated once.
choose from the predefined jobsizes file. Once the repetition • Horizontal, then vertical: the sheet will be cut horizontal first,
is made, the plate size will be set in the mediabox in the Art- multiple times if necessary, then the page is rotated and cut
Pro jobsizes, the paper size will be set in the cropbox. vertical. The sheet is only rotated once.
• Either of the above: this means that ArtPro is free to choose
• Margin any of the two options above.
The Margin settings allow you to define where the repeats • Mix horizontal and vertical: the first cut can be in any direc-
should be placed on the paper or plate. tion, the sheet can be rotated (multiple times) if necessary.
If the Center checkbox is on, the layout will be placed at the
center. The Margin fields for top, bottom, left and right, allow • Paper use
you to keep a margin around the layout, e.g. to preserve The value entered in Paper use, is the minimum paper usage
space for control bars, gripper edge, etc.... that should be achieved. Next to the input field, the paper us-
age for the selected repeat is shown. When calculating the
• Alignment paper use, ArtPro uses the nett paper format, meaning the
The Alignment buttons let you position the paper relative to margins are substracted from the total paper size first.
the plate, and the repetition on the paper.
When the Media is set to Plate these buttons allow you to • Maximum number of blocks
align the paper relative to the plate. When the Media is set to Indicates the maximum number of repeat blocks that can be
Paper, the repetition will be positioned relative to the paper used in the job. A repeat block is a repeat that can be creat-
size minus the margins. ed in one go in S&R Interactive. In other words, the Maximum
number of blocks value indicates how many steps are need-
2.29.3. Algorithm ed in S&R Interactive to have the same repeat. The default is
∞, meaning there is no limit. To reduce the maximum number
of blocks on the paper, just fill in a number. To reset to ∞ en-
ter nothing, two minus signs or the infinite sign (ALT + 5)
• Allow Bleed and cut marks to overlap with margins
This checkbox will make sure that the cut marks are placed
on the block margins instead of outside. Setting this option
can save some paper.

2.29.4. Pictures

• Algorithm
In the algorithm pop-up you can choose between two ways
how the repetition should be optimized. The Block algorithm
is the same way the repetition was optimized in ArtPro 6.0.
This means that this option will search all the possibilities of
placements of blocks of labels. The direction in which the
blocks are placed is controlled by the Cut Direction pop-up.
The Strip algorithm will place strips of labels (blocks that are
only one label wide).
• Cut Direction
On some occasions it is necessary to know the Cut direction
in order to calculate the S&R. If for example the paper width
is larger than the width of the cutting machine, the first cut
must be vertical. Therefore you have several possibilities in
Cut Direction: Vertical, then Horizontal; Horizontal, then Ver-

Manual ArtPro 8.0 Chapter 2 : File — p. 55 —

 The Pictures tab is used to add pictures to a repetition. There • General Parameters
are two ways to add pictures. The first is by dragging a number
of pictures or a folder onto the dialog. The other way is to press
the Add button and to select the file with the Browse button.

When the actual labels are not yet available, you can add a new
label whose name can be entered in the appropriate field. It will
automatically be assigned a new color that can be changed
with the Choose button. Labels can be removed with the Re-
move button.
The file types that are supported by PowerOptimizer are ArtPro
native files, DCS, DCS-2, EPS, TIFF, PS and PDF. The maxi-
mum number of different pictures is 360.
• Group
Here you can set the name, an optional comment and the
After entering a number of labels, the group button may be
color of the picture. The color is used on the resulting job to
pressed to group labels of the same of similar size. This op-
preview a particular label of which the actual file is not yet
tion will increase the performance of PowerOptimizer a lot,
present. The number of labels is also entered here. Option-
as it processes different labels of the same size in one go, in-
ally, you can add or change the group number in here, or re-
stead as all separate labels. Grouping is strongly recom-
move a label from its group.
mended when working with the block algorithm, because
the performance of this algorithm is dependent of the num- • Size Parameters
ber of blocks and not of the number of labels. The striping al-
gorithm does not benefit from grouping, and it is not
recommended for it.
To reduce the number of groups, there is a tolerance for the
difference in size. So labels whose size differs just a little can
still be grouped together.
Putting new labels into a new or an existing group can be
done by entering a different group number in the general pa-
rameters section. Clearing the group field or pressing the un-
group button will move the selected label out of its group. To
remove all groups at once, press SHIFT + Group. To put all
labels into one big group, use CONTROL + group. This can
be useful if you want to change one parameter for all labels
simultaneously, for instance the bleeds. The size and orientation of the label can be chosen here. The
Note: when doing this, all the parameters which were not size is entered automatically when browsing for a picture, but
equal for all labels, will be put to their defaults again in that has to be entered manually when creating a new label in the
case. general parameters. Use box, Angle and Alternation have the
Pressing remove when a group is selected in the Pictures list, same effect as known from Step and Repeat Interactive. (see
will remove the group, but not the labels. These labels will no 2.24. Step & Repeat Interactive ... on page 42)
longer have a group. • Group parameters:
When selecting a group from the picture list, or when double
• Label Parameters clicking a picture, the Group parameters are shown on the
There are two kinds of picture parameters: label parameters right. These group parameters are divided in three sections:
and group parameters. The group parameters are shared by Counts, Margin & Bleed and Pattern & Fill. When changing
all the labels in a group, the label parameters are entered for one of these parameters, they are applied to all the labels of
each picture separately. The label parameters are: general the same group.
and size.

— p. 56 — Chapter 2 : File Manual ArtPro 8.0

 • Counts parameters • Pattern & Fill parameters

Max. Blocks defines the maximum number of blocks of a

In this section, the pattern for the blocks of a group can be
certain group. This value must be high enough when using
set. They have the same possibilities as Step and Repeat In-
the striping algorithm (± 10), but it may not be so high for the
teractive. With the fill parameters you can define the way a
block algorithm, because then the performance will drop.
block can be filled. Since one block can exist of different la-
Furthermore there are options to specify the minimum, max-
bels, this will determine the position of the labels in the block.
imum and multiple number of labels for each block of a group
You can set the starting corner, the direction and whether
in both vertical as horizontal direction.
the block must be filled in snakelike manner or not. When you
If e.g. a label should always be repeated alternated at 0 and
have labels of different sizes in one group, the picture align-
180 degrees, a Multiple value in horizontal or vertical direc-
ment will define how they will be positioned in relation to each
tion can be set to 2.
other. This is necessary because in one block you can nor-
• Margin & Bleed parameters: mally have only labels of the same size. In this way you can
define how to divide the excess space.

2.29.5. Results

these parameters are used to define margins and gaps for all
labels inside or outside a block. The margins outside the
blocks can be used for instance to make sure that there is
enough space for adding supplementary registration marks.
Keep Bleeds works the same way as in S&R Interactive (see
2.24. Step & Repeat Interactive ... on page 42).

Manual ArtPro 8.0 Chapter 2 : File — p. 57 —

 • Use result: 2.29.6. Interaction with S&R Interactive
The Results tab contains a popup which keeps the 10 best After showing a result generated by PowerOptimizer, the Inter-
solutions that are found for the step and repeat, together active Step and Repeat module can be used to add registra-
with the number of sheets to print to obtain the demanded tion marks to the whole step and repeat, or block by block, or
number of labels. to change the parameters of each block separately.
When you select a solution, it is shown in the list above. This For this, a new tab is added to the Interactive Step and Repeat
result list shows a number of things: the names of the pic- dialog. This tab becomes accessible only when selecting a
tures, the amount needed of each picture, the number of pic- block containing different labels that was generated by Pow-
tures on the sheet, the total amount, and possible excess erOptimizer. Here you can change the order of the labels in the
labels (effective number of excess labels and in percentage). block by selecting and dragging them in the picture list. Also
• Remove redundant labels the fill parameters (as in the PowerOptimizer Pattern & Fill pa-
PowerOptimizer will by default try to use as much of the pa- rameters) can be modified. Both these options can help to
per as possible by putting some extra labels rather than leav- achieve better color grouping.
ing empty space on the layout. If you do not want excess Another possibility is to change the alignment of the pictures in
labels on the layout, or you would like to fill these possible a block, when working with different sized labels in one group.
empty spaces on the sheet yourself, then check Remove Re- Also you can change the number of labels in the block.
dundant Labels. The paper usage (in %) does not take in ac-
count that the redundant labels are removed.
2.30. Step & Repeat 3D View...
• Show results
This module is optional. Please contact your dealer
The current result can be shown by pressing the Show but-
for more information.
ton. You can browse through the solutions by pressing
SHIFT + show, which will show the next solution each time. Step & Repeat 3D View, or ArtRender is a module that allows
If the Make New Job checkbox is set, then each result will be for the creation of a 3D representation of boxes (folding carton)
shown in a new job. It is advised to browse through the so- and cups (conic shapes). S&R 3D View is for Boxes, 3d render-
lutions in one window, as this uses much less memory and ing for conic shapes can be found in 3.19. Grid warp on page
is much faster. 104.
The 3D view for boxes can be generated based on a die, which
• Show Filenames
can be an actual die imported from a CAD/CAM system, or a
The option Show Filenames will add the label names and
shape created in ArtPro
comments on a separate layer of the repetition. This can
come in handy when working with labels that don't have a 2.30.1. Remarks
picture yet and only the pseudo color is shown. These
3D rendering may have difficulties previewing surfaces that are
names and comments will be printed too. When you have a
exactly on the same position. This means that glue strips, that
repetition with real labels you can replace these labels on
are on the exact position of the box side they encounter, can
output with their pseudo colors for faster printing. This works
be previewed through the surface of the box, as the 3D render-
through the More Print settings: Replace images by Pseudo-
ing can't “know” which side is the uppermost. This can be
colors.
avoided by folding glue strips at 91 degrees (a bit more to the
It is however possible that changes have to be made to the
inside) i.o. 90 degrees.
parameters, but doing so will destroy the current search re-
3D rendering will only be reliable if all areas (shapes bordered
sult. To avoid that, you can create a new job, that will auto-
by die lines and/or folding lines) are convex. Convex means
matically have the same parameters as the old one, so the
that for two arbitrarily chosen points in the shape the connect-
necessary changes can be made. The results are stored with
ing line lies inside the area. If the connecting line crosses the
the job, even after saving and opening the file.
borders of the shape, the shape is not convex, and inaccurate
• Report rendering might occur
After calculation and selection of the most satisfying solution
On the left a glue strip that is convex,
a text report can be generated containing all the statistics of on the right a glue strip that isn't.
that result. This report file is a tab-separated file that can be In the detail you can clearly see a line
used in a spreadsheet or a database program for further pro- between two points in the shape,
crossing the outline.
cessing.

— p. 58 — Chapter 2 : File Manual ArtPro 8.0

 • Save preferences 2.30.3. Select Fold
The '3D generation' box parameters are saved with the file, When using the Select Fold button, folding lines can be pointed
so the user doesn’t have to reselect the edges of the box out. When clicking on an open path in the ArtPro file, this will
surfaces to generate a 3D. be represented in the preview as a blue (or red, when selected)
2.30.2. Select Die folding line. By selecting a folding line in the preview, the values
for Angle and Priority can be altered. The Angle determines in
what angle the fold should be calculated (in regular boxes, this
will mostly be 90 degrees, therefor 90 is the default)
The priority defines in what order the different folds should take
place. The priority will be set according to the order in which
the folding lines are defined. Afterwards, the priority can be
changed. Folding lines with the same priority will be folded at
the same time.
The Select Fold function also will be used to define the base ar-
ea, the part of the box which is the “bottom”. Clicking on an
area will show a blue dot in an area in the preview, defining it
as the base area.

2.30.4. Auto Fold

Instead of pointing out the folding lines manually, you can make
ArtPro search for the folding lines. After selecting the die, select
When clicking the Select Die button, the cursor will change into everything in the ArtPro job, and click Auto Fold. ArtPro will
a cross, and the user can point out the die shape. The shape search for open paths with begin- and endpoints on or very
is immediately shown in the preview window. To be able to use close to the die line, and define it as a folding line.
the die, it should be a closed (joined) path of the outer borders When using the Auto Fold option, ArtPro will set the angles for
of the die (no folding lines). the most outer parts to 91 degrees i.o. 90 degrees, in order to
In lots of cases, the die outline is not present in the right form, avoid problems with areas exactly on top of each other (see
or is only present as a stroked colored path, especially if the file above). In most cases, the most outer parts are glue strips,
comes from PS/PDF. however if you have a side of a box on the outside, that has no
• Stroked Dielines glue strip, the angle of the side of the box will be set to 91 de-
Here is how to proceed to generate a decent 3D view if you grees. In this case, a manual adjustment would be necessary.
have stroked dielines in the file
2.30.5. Animate
1. Select all the dielines (e.g. use “Select By Color)
2. Execute a “Unite” If the Animate checkbox is on, the 3d view will show an animat-
3. Select the largest path on the outside of the compounded ed folding and unfolding of the box. The speed for the anima-
result tion of folding and unfolding, can be set in %. Using the buttons
4. Copy this path underneath, you can see the animation step by step, or jump
5. Remove the result of the Unite operation to the last or first frame. The left button unfolds completely. The
6. Paste the path back next button unfolds 1 step, the next folds 1 step, and the most
7. Choke this path a little, so it matches the center of the die- right button folds completely.
lines. Use mitered corners, miter 10.
8. Make modifications to this path necessary to match the
die, using the path edit tool.
9. if the folding lines are not present (as open paths), you
have to add them manually. Use the path edit tool to quickly
create the folding lines
10. select the die and use the Auto Fold to detect folding
lines. Do not forget to select the base, and then create the
3D view.

Manual ArtPro 8.0 Chapter 2 : File — p. 59 —

2.30.6. Repetition parameters 2.30.8. 3D View Settings
• Rotate speed:
Hor.
defines horizon-
tal rotation
speed (only with
Auto on)
• Angles: Ver./
Hor
controls the an-
In the Repetition parameters, the dimensions are filled in auto- gle from which
matically, based on the selected die. In the repetitions field, the the viewer looks
number of boxes to be previewed in height, width or depth can at the object, in
be defined. The Gaps field defines how much space is left in both dimen-
between the individual boxes. The Type can be rectangular, sions. The angle
Triangular or Pyramid. See following examples (from left to can be changed
right: Rectangular, Triangular and pyramid). interactively in
the 3d view by
simply clicking
and dragging in
the window.
• Distances: Depth/Height
allows the user to control the distance between the viewer
and the rendered object in both dimensions. The Distance
can be changed interactively in the 3d view window by shift-
clicking and dragging in the window.
2.30.7. 3D View
• Lightings
Clicking the 3d View button will generate the 3d View based on
Attach :
the settings of the 3d Box Generation and View Settings dialog.
The light source used for the Diffuse light, can be positioned
in two ways. If the Attach option is on, the light source is at-
tached to the camera. This means, no matter how the object
is rotated, the surfaces closest to the camera will be illumi-
nated.
When switching the Attach option off, the light source posi-
tion is kept relatively to the object. This means, if the object
is rotated, the light source is rotated as well, so even the un-
lighted parts of the object can be brought to front.
Ambient :
Ambient light is light without any source, illuminating the
whole object from every direction. If the Ambient light is high,
shadows will be invisible. The amount of ambient light can be
set using the slider, or by entering a percentage.
Spot
Spot light is light coming from a specific point, the light
source. When using only Spot light, the parts of the object
that can not be reached by the light source, will appear black
or darker, so shadows will appear. The amount of Spot light
can be set using the slider or by entering a percentage.

— p. 60 — Chapter 2 : File Manual ArtPro 8.0

 • Background The XML Template tab allows to select an XML file and embed
You can choose an arbitrary TIFF to be displayed as back- it in the ArtPro file.
ground. The Tiff should be 1024 x 1024 pixels, or 512 x 512,
or 256 x 256. The path of the current background is shown 2.31.1. PS Output
in the '3D settings' dialog. Shift-clicking the button will empty Separations can be
it, so no Tiff will be used. locked or unlocked.
When unlocked, the
• Reset Pos.
Separation setup, de-
Resets all values within the 3D view settings dialog.
fined in the Print dialog,
• Export: will be overwriting the
Separation setup in the workflow.

2.31.2. Trapping
The Trapping distance
for into color, into black
and into CT as provid-
ed in the workflow, can
be overwritten by en-
tering a value, and un-
locking the padlock.
• Save frame as Tiff: saves the current frame as an RGB Tiff.
The size in pixels is the same as the current window size, the
ppi can be changed in the 3D View Settings dialog, with the 2.31.3. XML Template
Bitmap Resolution setting.•Save object as QuickTime Mov-
ie. To render a movie, the object is rotated 360 degrees
around its current Y-axis. You can change the Y-axis with the
'3D view > Angles > Ver' setting. The number of frames in the
movie can be changed in the 3D export dialog, the 'Nr of hor-
izontal frames' setting. When this number gets bigger, the
angle that the object rotates between each frame gets small-
er, which results in a smoother (but larger) movie.
• Save object as QuickTime VR.A VR (Virtual Reality) movie al-
lows you to rotate the object left and right by 360 degrees,
but also up and down by 180 degrees. Beware, this requires This option allows to include an XML ticket into the ArtPro file,
the number of 'horizontal frames' times the number of 'verti- which then can be used when opening the ArtPro file in Nexus.
cal frames' images to be stored, so VR movies can get very The XML file contains options and settings on how the file
large (and take a long time to generate). should be processed in Nexus. For more info : see the Nexus
• The default number of frames rotates the object by 10 de- XML documentation.
grees between each frame. The browse button allows to select the XML folder. The loca-
• The Quicktime files are cross-platform and can be used both tion of this folder is saved in the Preferences, and is indepen-
on PC and on MacIntosh. dent of the flavour.
The drop down will show all XML files in the selected folder,
and allows to choose a specific XML file.

2.31. Nexus Parameters

The Nexus Parameters are settings that can be included in the
file when sending it to a Nexus Workflow system. The first two,
PS Output and Trapping, can be used to overwrite settings
made in the Nexus Processor activities.

Manual ArtPro 8.0 Chapter 2 : File — p. 61 —

2.32. Print : General Settings Please note that composite output, even when using the De-
viceN command, does not include dotgain or screening in-
With the Print... formation.
module it is
possible to
√ DeviceN Off, Use Setcustomcolor OFF
generate PS
The complete job, if necessary, will be flattened to remove all
output of any
overprints and transparencies, and will convert all pantone
ArtPro file. The
colors into CMYK.
PostScript file
The result will be a flattened CMYK composite PostScript file,
type depends
which can be send to any color proofer.
on the Device
Type chosen in
the Print dia- √ DeviceN Off, Use Setcustomcolor ON
log. Changing This will create a flattened file, flattening all CMYK overprints
the device type and blend modes.
can change the The resulting PostScript file will contain CMYK objects in
contents of the combination with separation color objects. This PostScript
Print dialog file will still contain overprinted objects. Not every color
and the more Proofer can handle this.
print settings.
Print... can be √ Bitmap Proofer
activated in the This option will force ArtPro to Rip the complete job into a
File menu or by CMYK image at a given resolution, and generate a PS file
its shortcut. containing only the Ripped CMYK image.
Shortcut: q - P
• Separated PostScript®
2.32.1. General Concepts:
If you make a file with All Separations, a multipage PostScript
• Flattening file is created. Each page contains black and white informa-
When creating a PS file, the ArtPro file is flattened, as PS tion describing the separation of one ink. So the file contains
does not support blend modes, opacity, etc. The settings of as many pages as there are inks in the ArtPro file.
the Flattening Options are used. For more info on Flattening, If you make a file per separation, a single page PostScript file
see 8.23. Flatten Transparencies on page 183. is created containing the black and white information of the
• Composite PostScript® film (ink) you asked for.
Composite PostScript means all information is calculated Placed art in separated output:
into a single page, unseparated PostScript file. • EPS files containing CMYK, grays and custom colors are
In a Composite file, placed EPS files are copied unmodified. separated by ArtPro, using “separation code”. Some EPS
This means that if you work with DCS for instance, the files however, are not suited for this separation code. There-
placed low resolution will be sent to the printer. Both TIFF for an alternative separation code is provided (by switching
files and ArtPro files are converted into PostScript at full res- on the “simple separation code” option) for these situations.
olution (or any resolution defined by other print settings). If you work with DCS files (or DCS-2), ArtPro will replace the
There are mainly 4 ways of generating PostScript for Print- low resolution file by the high resolution separations.
ers/Proofers. • TIFF CMYK files are separated and converted into PS.
√ Using DeviceN (Composite L3 Printer) • ArtPro files are converted as normal, this means any picture
When outputting composite postscript using the Level 3 in the file will be expanded with high resolution.
DeviceN comments, a composite PostScript is generated, • OPI: PostScript output of TIFF files always contains OPI
containing all transparencies and spot colors. If this compos- comments (as specified in Aldus Open Prepress Interface
ite output is handled by a RIP, capable of handling these level Specification 1.2 and 1.3). This makes it possible to work
3 commands, a correct output can be achieved. This option with low resolution images on the Mac and in proofs (= un-
is preferred if the Proofer/Printer can handle it. separated output), and high resolution images on film (= sep-

— p. 62 — Chapter 2 : File Manual ArtPro 8.0

 arated output). Even if the TIFF file type is not supported (not OR
CMYK), OPI comments are generated.
Examples of TIFF files which are supported by OPI are RGB • Click on Save PostScript... If Save PostScript... is chosen,
and palette TIFF files. These files can be placed in ArtPro, there will be no direct output through a Chooser device, but
you will see them on screen and you are able to make a color the file will be written to the hard disk instead. The above de-
proofer output. However, you will not be able to make a sep- scribed Page Setup settings are of no importance with Save
aration of these TIFFs, unless you use OPI replacement. PostScript... , as all PPD dependent information is NOT in-
• Output cluded in the PostScript file. A dialog box appears to define
“Normal” PostScript is created using Color Proofer and Ge- the name and place for the PostScript file.
neric ImageSetter output. So if the name of your specific de- In a PS file saved with Save PostScript... no font information
vice does not appear in the list, choose Composite L3 Printer is included, unless the Embed Fonts option is on. If Embed
or Color Proofer to proof and Generic ImageSetter to expose Fonts is not used, the fonts used should be vectorized first
on your device. (with Text > Convert to paths or via More Print settings >
Color Proofer outputs to a color proofer or a black-and-white Vectorise Text), installed on the imagesetter or added by an
proofer that accepts color commands. By default it gener- OPI server on the moment the file is actually printed.
ates composite (= unseparated) files. Generic ImageSetter Companies that work with remote exposing units, should in-
creates separated PostScript. clude fonts when sending the files to their service bureaus.
A copyright on a Type 1 font program confers the same pro-
• Placed Files (S&R) tection against unauthorized copying that other copyright-
Placed PDF 1.3 files are converted to PS during output. able works, including computer software, enjoy. (see Adobe
Placed PDF 1.4 files cannot be converted to PostScript Level Type 1 Font Format from Adobe Systems Incorporated).
3, and will generate an error “Cannot convert PDF 1.4 into • During output to a device or to a PostScript® file, the cursor
PostScript”. Note that the distinction between PDF 1.3 and changes into a rotating ArtPro icon.
1.4 is not done on the header, but on the presence of PDF • You can abort the Print operation by pressing Command-
1.4 functionality. period (q - .)
2.32.2. Procedure 2.32.3. Settings
• In the Chooser, select the driver and the device you want to
• Save / Load settings
send the PostScript file to.
All settings of the Print menu and the More settings can be
• Open the Print... module and set the Device Type to the cor-
saved using the Save Settings button. Settings saved earlier
responding device.
can be reloaded with Load Settings.
• Activate the necessary options.
When loading settings, the Device Type will be Custom Im-
• Set the desired Page Setup. After choosing Page Setup...
ageSetter or Custom Proofer, depending on the device type
the system will give you the standard LaserWriter Page Set-
that was saved and the Device Name will show what the
up dialog box. This setup is specific for your printer driver
original device was.
and is described in your printer manual.
In the LaserWriter Page Setup, most of the settings are the • Paper Size
same as in the Print... module. These settings (paper size, re- The Paper Size pop-up includes a number of sizes, from
duce or enlarge, orientation) define the page handling, while Page Setup and from job.
the same settings in the Print menu define the creation of the Choose a paper size from the pop-up menu. The dimensions
PostScript. of the different sizes are: A4 = 210 x 297 mm; A3 = 297 x
• Click on Print... The Print dialog box which appears, de- 420 mm; US Letter = 8.5 x 11 inch; US Legal = 8.5 x 14 inch;
pends on the printer driver you are using. Clicking on Print Tabloid = 11 x 17 inch and Tabloid Extra = 12 x 18 inch.
activates the print procedure. If you want to use the size defined in the Page Setup dialog,
Choosing Printer as Destination outputs directly to the de- select from Page Setup.
vice set in the Chooser. Choosing PostScript® File as Desti- If you want to use the job size, choose From Job in the pop-
nation creates a PostScript file. Save will show a dialog box up menu. In that case, the last selected border from the Job
to specify where the PS file should be written. The PS file in- Size dialog will be used. When you define From Job, you will
cludes all the file information (fonts, images,...) and al PPD not be able to scale to fit or tile.
dependent information (paper sizes etc.) This Paper Size is the size that will be used in the PostScript

Manual ArtPro 8.0 Chapter 2 : File — p. 63 —

 file. Unlike Page Setup, it does not affect the paper tray to be • Clip Rectangle
used, nor the film or paper feed, unless Use SetPageDevice Clip Rectangle allows you to
(for proofers) or Use SetPageParams (for imagesetters) is on define what part of the job
(see More Settings) should be printed.
The Use SetPageDevice option is necessary when saving a
postscript file to be distilled to PDF, as this is the only way to * Pagebox Clipping:
get the job size into the PDF When Pagebox Clipping is
• Layout selected, the job size chosen
For proofer output you can choose between center, fit al- under Use Box will be used
ways, fit large paper or tile output. to clip the output. The differ-
Center will position the job centered on the paper size, taking ent boxes can be defined in
into account the indicated Distortion for size. A distortion of the Job Size dialog (q- x -
0% will result in a true size job output. If the job is bigger than J).
the indicated paper size, it will be clipped on the edges.
Fit always will enlarge or reduce, so that the ArtPro file
matches the paper size. Scaling is always proportional.
Fit Large Paper will only reduce oversized artwork to a small- * Manual Clipping
er paper size, this option will never enlarge the artwork. If Manual clipping is selected, the size and position of the part
Tile is used when a job is larger than the paper size. It will to be printed can be set manually.
thus divide the job over several pages, with the indicated Tile In the Vertical and Horizontal field, the size of the rectangle to
Margin and Tile Overlap. be printed can be entered. This rectangle is shown as a light
If you do not want to use the complete paper size, you can blue rectangle in the job.
define a Tile Margin. The Tile Overlap indicates how much of By clicking the Move button, this rectangle can be moved to
the tile edges will be printed on the next page as well, so as the desired position on the ArtPro Job. If the Lock to Ruler
to create an overlap area. option is on, the rectangle to be printed will move along when
moving the ruler (see 3.8. Ruler on page 92). Changing the
• Orientation Mediabox will resize and reposition the Clip Rectangle to the
The Orientation can be set to portrait, turn right, turn left or complete job size.
upside down. It defines the direction in which the file is put
on film or on paper. Choosing portrait will output the file in the * Automatic Clipping
upright position, turn right will rotate the file 90˚ and turn left If Automatic clipping is selected, the size and position of the
will rotate it -90˚. part to be printed will be defined by the job size and the set-
• Mirror / Negative tings of the Divide and Print Part fields.
If you put a check next to Mirror, the job will be mirrored be-
fore exposing, resulting in a wrong-reading output. • Divide: in the Divide field, you can enter in how many parts
Negative allows outputting separations as negatives. the ArtPro job should be split up, both vertical and horizontal.
In most cases it is the safest to define these settings on the In the example on the left, the Clip Rectangle is set to clip the
RIP, to prevent operator errors. ArtPro job in two parts vertical, and in three parts horizontal.
• Clip Remember that when clipping a file this way, no tile overlap
If the ArtPro job is bigger than the paper or the film, you may is used.
choose to output in parts.
If Clip is not active, the complete job is printed or exposed • Print Part: in the Print Part field, you can define which part of
and will thus be clipped on the output. the job should be printed.
When you activate Clip, you can define the tile dimensions by
clicking on the Rectangle... button. The tile indicated in the
Clip Rectangle dialog will output.

— p. 64 — Chapter 2 : File Manual ArtPro 8.0

 • Distortion
An ArtPro document can be output with a vertical and/or
horizontal distortion. It is defined as a percentage of the jobs
original dimensions and is applied to the PostScript file. This
distortion is specifically important for flexo jobs. On mounting
a flexo plate on the press, it is stretched out in one direction.
By making the output slightly smaller than needed, we com-
pensate for this distortion. The original dimensions of the Art-
Pro file remain unchanged.

Positive values make the job bigger and negative values

make the job smaller. E.g. Vert. distortion = -2.35% will make
the output 97.65%.
In this way you can also scale the proofer output : e.g. enter-
ing -50% for both Vertical and Horizontal Distortion will out-
put the job at half of its original size.

• Separations
In the separations dialog, you can define which plates need
to be output. You can switch plates on and off for printing
and you can merge plates. In the left window all the separa-
tions used in the file are shown. On the right are all the plates Mapping of output separations is fully supported for all paint
that can be printed. styles. Even placed ArtPro jobs can be merged. e.g. for a lay-
out, containing 2 ArtPro jobs, each with a different spot col-
Printing on/off or, both separations can be merged during output.
By switching off the printer icon next to an ink, it will not be Separating placed EPS- and PDF-files takes into account
output. With Search on, ArtPro will examine the file and au- overprints, PS3 and PDF1.3 vignettes (Illustrator 8 and 9)
tomatically switch off separations that are not in use. Search and Photoshop duotones. Separations are remapped using
does not work when unmapped pictures are placed in the file the new separation dialog of the Print-menu.
(except placed ArtPro documents, e.g. S&R files).
Screening for mapped separations
Merging inks (separated output only) When you have a step & repeat file containing multiple jobs
The left column shows all the separations in the current job and you want to map separation X from job A into separation
or repetition. Click on the triangular button to see the sepa- Y from job B, separation X will still be output with its own
rations they will be converted into (result). One separation screening settings as long as this job (A) does not contain
can be converted into CMYK or merged with one or multiple separation Y. When job a contains separation X as well as
other plates. separation Y, the screening which will be used to output the
First click on the original result and press Delete to remove. mapped separation X into Y will be separation Y.
Then either type in the name of the plate you want this ink to
merge into (To plate) and press add, or choose a plate from
the pop-up menu on the right. When choosing a plate from
the pop-up menu, the color is automatically added.
The star in the second column before the separation indi-
cates this color is user-defined, so the default was changed.
An ArtPro logo in the first column before the separation indi-
cates the color is used in the file or not. In a Nexus Processor
workflow plate merges can be defined without having a file
open, so in this case, the separation can be user defined,
and not ArtPro defined.

Manual ArtPro 8.0 Chapter 2 : File — p. 65 —

 • Dot Gain Compensation • Flattening Options
The Dot Gain Compensation button defines if the dot gain When creating a PS file, the ArtPro file is flattened, as PS
curve(s), entered in the Screening menu or defined in the does not support blend modes, opacity, etc. The settings of
Print menu (see below), has to be calculated on the Post- the Flattening Options are used. For more info on Flattening,
script output. With this option off, all curves are ignored for see 8.23. Flatten Transparencies on page 183.
output. • Marks / Generate Marks
Besides the Cut Marks, other objects like registration marks
as well as job and separation identification can be added to
the file through Generate Marks. By clicking on the Generate
Marks button, the active marks are applied. But through
Marks... those active settings can first be changed, before
applying the marks to the job.
Marks are always generated
on the bounding box of the
active selection or on the ac-
tive job box, if nothing is se-
lected.In the Marks dialog,
you can define which infor-
mation and marks should
come on your repetition.
There are six tags for informa-
tion which can be activated
separately:
•Job Name: puts the name of
the ArtPro file in the lower left
corner in all 100% color.
•Version Number: this is the
number that is shown in the
job size dialog box. Every
time an ArtPro job is modified
after saving, the version num-
• Dot Gain File ... ber is increased.
The Dot Gain File button allows you to select a Dot Gain File. • Date & Time puts the current
The file name of the selected Dot Gain file will be shown on date and time in the lower left
the right side of the button. corner in all ink separations.
If a Dot Gain File is selected in the Print menu, this Dot Gain • Separation Names: puts the
File will override all Dot Gain settings in the Screening dialog. names of the defined separations on the separate films.
The exception is an placed EPS that contains a dot gain • Distortion: Puts the distortion from the Print dialog box in the
compensation, in which case both curves are used. A select- file. The value will be preceded by V or H, depending on the
ed file can be removed by clicking the Dot Gain File button direction of the distortion.
while holding down the SHIFT key. Dotgain files are generat- • Dot Gain Filename: If a dotgain file is selected in the print di-
ed in and saved from the screening dialog. alog box and the dotgain compensation option is tagged, the
dotgain file name can be added to the comments.
• Color Management • Color Setting Name: If a set of Color Management settings
When clicking the Color Management button, The Output are loaded, the name of this set can be added too.
tab of the Color Management dialog will be opened, allowing
to make all settings and profiles to be used during Output. All these parameters are put in this order in a text line on the
For more info, see 1.3. Color management on page 8. bottom left side of the page with the following settings:
• Vectorise Text will convert all the text to paths, to avoid font

— p. 66 — Chapter 2 : File Manual ArtPro 8.0

 problems on the RIP. 2.33. Print : More settings...
• Use Text Size : to use the text size and font set in Text Style.
If the option Use Text Size is off, all Regmarks will be placed In this dialog a whole list of Print Settings are available. De-
in a 10 pt. Helvetica pending on the active Device Type the settings are defined au-
• Set Inside Borders : to set the text on the inside of the bor- tomatically, whereby some will be checked by default. For
ders i.o. outside the job borders. some devices some settings are not accessible (gray) and oth-
ers can be (de)activated.
Other marks are: For Custom Proofer and Custom Imagesetter all options are
• Crop Marks: the cut marks are put on the finished S&R job available to allow specific customized output. The options only
size, and also define where the labels will be cut in order to relate to information that is written in the PS file by ArtPro, not
separate. to the part effected by the Laserwriter.
• Registration Marks: appear in the four corners outside the 2.33.1. More Settings: Page
Step and Repeat job, or centered on the job when the option
centered is activated.
The width of the registration marks is 1/300 inch (about 0.08
mm) and the color is always registration.

The Box dropdown allows to define to what borders the

Marks should be applied.
The Adjust Cropbox setting modifies the CropBox after cre-
ation of the marks, so that the job and the Marks are com-
pletely inside the CropBox. If “Always Create CropBox” is on,
a cropbox will be generated if it wasn’t defined yet.

Standard / Plug-in
A plug-in or extension for the Step & Repeat menu allows for
customization of registration marks. They appear in the pop-
up window at the bottom of the dialog and can be selected
there before Generating the marks. • File Type is EPSF
• The Extensions have to be stored in the “Plugins” folder In order to be able to place an ArtPro file in another applica-
which should be in the same folder as ArtPro. tion, e.g. QuarkXPress, the required file type is EPSF. When
• ArtPro supports plug-ins on Power Macintosh only. this option is not checked, the file type will be TEXT, which
Extensions are based on the “Code Fragment Manager” of can be opened in a text editor.
Apple Computer. This is standard on all Power Macintoshes • Composite PostScript
and will be included as part of the “Open Doc” extension and Creates colored or composite PostScript as opposed to
future system software on Quadra (680x0) Macintoshes. Un- separated PostScript. Thus, the option is automatically
til then, ArtPro only supports plug-ins on Power Macintosh. checked for Color Proofer output and also for Barco Trans-
• To build extensions, you need a software development envi- script, Quark Separable EPS.
ronment (e.g. ETO from Apple Computer) and a knowledge • Separable Composite PostScript
of C++ and MacOS. Contact us for more information. In a plain PostScript file non-standard features, such as
mapped TIFF, Pantone vignettes, etc., are not supported.
With this option ArtPro can force them, thus tuning the EPS
file specifically for QuarkXPress separated output.
• Make DCS Main File
Creates a job that contains only header and preview informa-
tion. Thus, the resulting file is suitable e.g. for the OPI server
(see also Replace Placed ArtPro by OPI) and for archiving (vi-
sualization).

Manual ArtPro 8.0 Chapter 2 : File — p. 67 —

 • DCS Multi-file Format • Header Says EPSF
This option defines the DCS file created by ArtPro, to be a The first line of the PostScript file contains comment indicat-
multifile DCS instead of a single file format. This option can ing that the file type is EPSF. In order to recognize an ArtPro
be used if the OPI server does not handle DCS files, in com- output file when placing it in another application, its file type
bination with the “Specify separated file in ArtPro OPI” when needs to be EPSF. Therefore this option has to be checked
printing the S&R file. for e.g. QuarkXPress and OPI server output. It is generally
• Bitmap Output not required and sometimes not allowed for imposition pro-
This output makes it possible to proof the transparencies grams.
generated in ArtPro (see Bitmap Proofer). • Creator Says Quark
The ArtPro file is calculated into image data which is sent to This option adds a line to the postScript file, necessary for
the proofer, preceded by a PostScript header and followed the Purup imposition software.
by a PostScript footer. The image data consists of CMYK in- • Header for Each Page in File
formation. When printing a multipage document, each page needs to
Bitmap output can get quite substantial, depending com- contain a header. Exceptions to this (and so the cases where
pletely on the output resolution and the file size. you can put the toggle off) are when sending a S&R to Creo,
For placed TIFF and EPS the RGB preview is used with the or when saving Postscript from within ArtPro, without using
following conversion RGB --> CMY and Black = 0. Better re- a chooser device.
sults will be obtained with Mapped TIFFs. For optimal results
set the preview resolution and steps for gradations higher. 2.33.2. More Settings: Separations
• File Extension
In the File Extension field, you can enter what extension Art-
Pro has to add to the file name to get the Postscript Filena-
me. If this field is empty, ArtPro will use its defaults (.DCS,
.black, .Composite, .Separated,...).
• Add %%QRKPagebegin
This function adds a comment line in the PostScript file,
needed to send to a RIP from SplashTech. In other cases,
the option should be left off.
• Add %%BeginDocument: noname
Add %%BeginDocument: noname is a comment line that is
always included when printing. Through the chooser, it helps
servers to understand the structure of the PS file. However,
for rips from SplashTech, this comment should be left out, by
not checking the option. In all other cases, the option should • Put Bounding Box on Job Size
be on. Normally the bounding box dimensions of the whole file (i.e.
• Add%%BeginSetup, %%EndSetup and %%Trailer including registration marks, bleeds, etc.) are put in the file
These comment lines are included in all regular PostScript header.
file, and thus should always be switched on. When this option is switched on, only the trimbox size is
placed in the file header. This may be useful in order to use
• Omit %%BeginDocument: xxx from PostScript
the file in some imposition programs, like Preps.
This option should be switched on to print to Agfa’s Pro-
cess’It system. This system makes a link of a file for imposi- • Add %%HiResBoundingBox
tion, but without the option on, instead of making a link per The size of the standard bounding box is rounded off at PS
job, a link is made per separation. resolution, namely 1/72 inch. Setting this option on will define
an additional bounding box at high resolution.
• Color List in Header
All separations used in the file are listed in the header. Some • Use SetPageDevice
imposition systems require this option. It should be activated SetPageDevice is very similar to SetPageParams, but for
for QuarkXPress output and when an OPI server is used. proofers. When this option is on, the dimensions of the job or

— p. 68 — Chapter 2 : File Manual ArtPro 8.0

 the paper can be specified in the PostScript information. • All Separated Pages on Same Film
If a paper size is defined, this size will be put in the postscript With this option on, ArtPro will put all the separations in one
file, to define what paper tray the printer has to use. single page, instead of creating one page per separation.
If no Paper Size is defined, the job size is used, for example This is used to make output of separated S&R jobs from
to optimize the paper feed and printing on A0 size printers PowerLayout. All separations, screening commands,... are
such as the HP design Jet 755. put together and output on one single film.
• Use SetPageParams • All on One Page
When Use SetPageParams is active, the page parameters With this option, all elements are placed on the same page.
are included in the PostScript output. The SetPageParams Therefore, it is only used in combination with composite
PostScript command specifies the exact dimensions of the postscript. The Delta Technology device however can be an
job, so that the output device can optimize film usage. exception, as you can put the separated information on one
In practice this means that if the device accepts these page page when sending to a Delta rip.
parameters, it will only advance the film it needs, to expose • Page Comments
that page size on. If the device does not accept Set- This option places information about each page in the Post-
PageParams, it will always advance standard page sizes, Script file, in case there are several pages. Thus, it can be
even if the job size is much smaller (e.g. a 100 x 100 mm job useful for separated output and for tiled output.
would then expose on A4 size).
• PlateColor Comments
Although it is a typical imagesetter option, some proofers us-
Each page will contain the color information of the respective
ing large sizes, like the Hewlett Packard 630C and the HP
page.
650C, need this command (or the Use Setpagedevice) as
well. As it is not a standard command in proofer output, • Output 4 Separations As CMYK
many proofers will give an error on this command. As Scitex VIP users will know, VIP works with only 4 separa-
tions at a time (CMYK). If the file contains more than 4 sepa-
• Alternate SetPageParams Orientation
This setting can only be used in combination with Use Set- rations, you are forced to split up the PostScript file in groups
of 4 separations. Therefore this option has to be checked
PageParams. It turns the job orientation by 90º. For some
(default for Scitex VIP output) and, in addition, you have to in-
imposition programs it is required as they rotate the job au-
dicate in the Print menu which separation you want to start
tomatically.
from with the Starting at button.
• Set Linkfile Bounding Box e.g. If the file contains 6 inks, you could start by printing the
When printing to a Nexus (or an old PackFlow/PageFlow) RIP first 4 separations alone in one PostScript file (= Output 4
in order to create a Link File workflow, this option should be Separations As CMYK, Starting at Cyan), and then send any
activated in order to avoid rounding errors in the Link File’s additional ink as a separate PostScript file (separation per
bounding box. This option is automatically checked when separation).
the device type is Nexus. e.g. If the file contains 8 inks, you could send two groups of
• ShowPage at End 4 inks, one starting at ink 1 and another starting at ink 5.
At the end of the file the ShowPage command is placed, When an Output 4 Separations As CMYK PostScript file is
which generates the page. This option is activated by default created, ArtPro writes an EPS file of the four separations
for all output, except for the Linotype-Hell Delta RIP, where it starting at the ink you defined. This PostScript file is a com-
is not supported. posite file, therefore ArtPro suggests a .Composite extension
• Separations On Multiple Pages for the PostScript file (e.g. name.composite).
Creates one print job containing several pages as opposed Please note that a composite PostScript file cannot carry all
to multiple print files. the features you can define in ArtPro. Some specific features
which do not exist in a composite PostScript file are e.g.
• Separations in Multiple Files mapped pictures, transparent vignettes towards images,
The Separations in Multiple Files button creates 1 file per etc. So if you do not need to use this option for APR, please
separation, called name.sep. Hence, a file with 6 separations use Separated method to send to your Scitex imagesetter.
will result in 6 output files. It could be useful for example to
put the files separately in a print queue. When it is used in • Use Separation Code of Photoshop EPS
combination with Make DCS Main, an additional file will be When you placed a duotone or tritone EPS from Photoshop
created, called name.DCS. version 4 or older and you want to separate it without remap-

Manual ArtPro 8.0 Chapter 2 : File — p. 69 —

 ping of separations, you have to check this option. If you • Define Illustrator Commands
want to remap the separations, you will have to use files from At the beginning of the PostScript file the custom color and
Photoshop 5 or a more recent version, and you have to de- set overprint commands are defined. This option has to be
activate this option. On most Postscript level 1 RIPs, this activated for some Barco TransScript output.
function is not supported and it is advisable to use tiff-images • Only Print Traps
that are put in the right separations in ArtPro. The Only Print Traps option, allows to print only the traps
2.33.3. More Settings: Paints found in the file. This is an extension to the Highlight overprint
option, so that traps not only can be checked on screen, but
also can be proofed.
• Include Gradation Comments
This option includes a comment defining the start and end of
the part of the PostScript code defining a gradation. Grada-
tions are replaced by images in the postscript file, and this
comment makes the difference between gradations and oth-
er images. This comment is used by Crosfield rips to handle
gradations as line art, while other images are handled as CT.
• Binary Images & Gradations
Binary Data is ON by default. Images are stored in the Post-
Script file in Binary format. In the past ArtPro used hexadec-
imal format. For images this produces twice as much
PostScript information. The option can be switched off since
it is possible that certain printers and servers have problems
• Use SetCustomColor with the binary data.
The SetCustomColor command allows the passing of Pan- • Separate EPS images
tone colors as Pantone colors from ArtPro to another appli- This option activates the module that splits placed EPS im-
cation. When Pantone colors are used in a vignette, ages into separate grayscales, one for every separation. In
however, they are converted into CMYK. When this option is the case this process gives errors, it can be switched off, so
not active, all colors are converted into CMYK. Note that the full EPS image is placed in the PostScript file. At this time,
most proofers do not recognize this command and will there- no situations where errors occur are known to us.
fore give a bad result with this option. • Use Image Downsampling
When this option is switched on, all images used in the Art-
• Output separations as DeviceN Pro document will output at the resolution set in the Resolu-
This is the option to define using the PS3 DeviceN color- tion input field. Image downsampling will be performed as
space to generate exact composite output. For more info on exact as possible, instead of in powers of 2. This means that
this 2.34.2. Color L3 Proofer on page 77, and 2.32.1. Gen- a 300 dpi image can be downsampled to exactly 115 ppi, in-
eral Concepts: on page 62 stead of 150 ppi or 75 ppi. Setting Image Downsampling is
useful to make e.g. a quick print on a low quality proofer.
• Custom Color Vignettes • Use Averaging when Downsampling
This is to be used when sending to a Barco workstation. It How images are downsampled is set by this checkbox.
allows gradations to be transferred to the Barco. Use this When this is set, all the pixels of the original image are used
toggle in combination with Gradations as Freehand. to create the downsampled version, resulting in a high-qual-
ity image without visible aliasing. Without this option, output
• Change PANTONE CVC into CV will be faster, but the image quality will be lower. This option
The names of the Pantone inks are saved with CV appended will never be used for placed or mapped CCITT-images.
to them instead of CVC. This can be useful to recognize Pan-
tone inks during conversion to other applications, e.g.
QuarkXPress.

— p. 70 — Chapter 2 : File Manual ArtPro 8.0

 • Gradations As FreeHand Commands • Image Compression
Users of Barco TransScript know that PostScript vignettes This option allows you to choose what compression will be
are translated into series of paths. A file that contains this used for images included in the PS file. Default is As in Job,
large amount of paths is very hard to edit, because every meaning that TIFFs remain TIFFs, and JPEG maintain their
path is converted to a separate layer. Barco solves this prob- compression.
lem in TransScript version 4.0 by recognizing the PostScript Other possibilities are No compression, Maximum Quality
vignettes from Freehand 4.0 and translating them into Barco JPEG, High Quality JPEG, Medium Quality JPEG and High
vignettes (blue lines). Normally ArtPro converts its gradations Compression JPEG.
to CTs when outputting to a PostScript device in order to
avoid the typical banding in the vignettes. 2.33.4. More Print Settings : Text
* Gradations As Freehand Commands = OFF.
ArtPro vignettes are converted to CTs to avoid banding. CTs
can only be CMYK in PostScript : vignettes with PANTONE®
colors are converted to CMYK.
* Gradations As Freehand Commands = ON.
ArtPro linear and circular gradations are converted into spe-
cial commands so that TransScript 4.0 can convert them
into real Barco vignettes. The special commands recognized
by TransScript are those used by Freehand 4.0 to create vi- • Text : Rip vectorised text as text
gnettes. Freehand only knows vignettes in CMYK or in one With this option on, text, even vectorized, will be filled as text
PANTONE color, therefore ArtPro vignettes are replaced by on Nexus RIP.
more than one vignette if necessary.
* Examples: • Vectorise text
• A linear or circular CMYK ArtPro vignette converts to one When this toggle is checked, ArtPro will convert all text to
CMYK vignette (blue line) in the Barco file. paths before creating the postscript file, without changing
• A linear or circular PANTONE Color ArtPro vignette converts the original files.
to one PANTONE Color vignette (blue line) in the Barco file.
• A linear or circular CMYK + PANTONE Color ArtPro vignette
• Text : Embed Fonts
converts to one CMYK and one PANTONE Color vignette in
This function allows to embed used fonts in the PostScript
the Barco file. Two blue lines are created in separate layers.
output. If the option Embed standard fonts is on, even stan-
* Remark:
dard fonts will be embedded in the PostScript file.
• All transparent vignettes are converted to opaque on the
The option Subset fonts defines wether fonts should be em-
Barco system. This means that the mask color must be tak-
bedded as subset if only a part of the characters are used.
en off manually in the Barco file.
How much of the font characters should be used before the
• If two vignettes are built on top of each other, you will have
font is embedded completely, can be set in the when per-
to reset the upper contour for the mask color. If the gradation
centage of characters used is less than field. If this value is
was completely transparent in the ArtPro file, you will need to
set to 100%, a subset will be created for every font which is
reset both paths for the mask color.
not used completely.
• When you create a PostScript file with this option, a few key-
Fonts used in placed EPS files, which are not embedded in
words are added in the PostScript file which are not recog-
the placed EPS, will be embedded in the ArtPro PS file, con-
nized by PostScript interpreters. This means that you cannot
sidering the fonts being available on the system when creat-
use these PostScript files anymore in other applications.
ing the output.
• Replace Images by pseudocolors
This option can be used when printing repetition files created
by PowerOptimizer. When printing a repetition, the original
images, will be replaced by their representation color that
can be chosen in the PowerOptimizer dialog. In this way you
can print very fast positioning proofs.

Manual ArtPro 8.0 Chapter 2 : File — p. 71 —

2.33.5. More Settings: Optimize • Vignette Resolution
The Vignette Resolution is the resolution for the images
which are built from the vignettes, when the Calculate Vi-
gnettes option is on. For imagesetter output it is by default
set on 150 lpi. For proofer output the default resolution is 50
lpi. The 50 lpi is sufficient for most proofers. However, on
some proofers it may be necessary to increase the resolu-
tion, when the image pixels of the vignettes are visible.
• Noise for Vignettes
Since PostScript is limited to 256 gray values, gradations
tend to expose in steps, a phenomenon known as vignette
“banding”. To be able to expose gradations without banding,
ArtPro adds noise to the screen.

What is noise?
Everybody has seen noise on a TV set when no station is se-
• Split Long Paths lected or the antenna is out of use. Another form of noise be-
Level 1 PostScript can only handle paths with less than 1500 comes visible for example when you scan a plain area and
memory points. Level 2 printers are supposed to have no the result does not show a 100% plain colored area. Here
limitation anymore. However, experience shows that there and there some differently colored pixels appear in the area
still is a limitation, depending on the memory available on the instead. The noise on the halftone screen of a vignette works
printer. Testing your specific printer should show how much as follows:
memory points per path it can actually take. A typical error On each dot of the vignette halftone screen, the computer
message you can get sending paths with too many points, is will calculate a new dot size. The calculated dot size is com-
Limit Check Error. pletely random and depends on the Noise For Vignettes.
By default, ArtPro splits longer paths on 10000 points to E.g. entering 1% Noise For Vignettes will result in a new dot
send them to the output device. Of course you are free to set size not less than -0.5% and not more than +0.5% of the
the number of points to split on, in the Long Path Limit field. original dot size. So for instance in the 30% zone of the vi-
If fewer splits have to be made, the PostScript output will be gnette, the new dots with noise will have random values be-
somewhat faster. tween 29.5% and 30.5%.
• Compress Paths Standard resolution and noise for imagesetters is 150 lpi and
Reduces the path information significantly, thus creating a 1%, for proofers 50 dpi and 5%, for digital printing 150 lpi
compact file that is three times smaller than the normal one. and 2-3%
As a result, ripping slows down but transferring becomes • Output gradations as shadings
considerably faster. The option only applies to paths. In order The option Output gradations as shadings makes ArtPro to
to reduce vignette and image data, you have to activate Bi- output all linear and circular gradations using the shading
nary Images & Vignettes (see below). commands.
• Calculate Vignettes • Use PS forms
When this toggle is checked, ArtPro will convert vignettes PSForms is a Postscript encoding, comparable to the use of
into images, according to the settings of the Vignette Reso- subroutines. A repeated part of the file is written as a subrou-
lution and Noise for Vignettes. Without this option, the vi- tine or a PSForm, and in the full postscript file, this part can
gnettes are described with a formula. This makes the output be left out and replaced by a call for the specific PSForm.
from ArtPro faster and the transfer time to the RIP or the This way of output OPI has the big advantage that everything
printer shorter, but no noise can be added. The vignette will is included within one Postscript file, and the fact that most
be calculated in the RIP. Not many RIPs apply noise on gra- RIPs support the use of PSForms. PSForms is a level 2 code,
dations, so it is done by default in ArtPro. and the way ArtPro uses, it requires a RIP with a hard drive,
as the Form must be written to disk. PSForms is not support-
ed on Scitex Brisque.

— p. 72 — Chapter 2 : File Manual ArtPro 8.0

 Another advantage is that most advanced RIPs cache an ex- • Include White Background Paths
ecuted PSForm, resulting in smaller ripping times for S&R ArtPro writes its PostScript files from bottom to top. When
files. PSForms can always be switched on when printing creating a separated file, white contours on the bottom are
S&R documents from ArtPro. removed, assuming that the paper is white. However, in the
E.g. A 2.7Mb ArtPro file (Excl. placed pictures) is repeated 12 case you are creating a DCS to be used in other applications,
times in a document. The output without PS Forms is 226 these white contours can make a difference for underlying
Mb and takes 170 seconds. The same output with PS Forms objects. In that case, you can switch this toggle on to include
takes 15 seconds and makes a 19 Mb file. According to the all paths.
specifications on PSForms, all placed PS files inside the PS- • Include OPI Comments for Placed TIFF
Form must strictly follow the specs for Encapsulated Post- ArtPro creates OPI comments in front of any image in the
script Files. (See Adobe’s Postscript Language Reference PostScript file. When you do not use OPI low resolution im-
Manual p. 175 and Appendix I p. 737). PS Forms is not to be ages, the OPI comments are superfluous. When deactivating
used for output to Delta Technology or Scitex PCF, as these Include TIFF OPI Comments, only the image itself will be in-
RIPs have a similar, but different workflow. cluded in the PostScript file, and not its OPI comment.
• Calculate transparencies • Cropped OPI Comments
To output an ArtPro file that contains transparencies (manual When this toggle is on, ArtPro will place a comment in the
trapping, soft edges on iCTs, images transparent on the PostScript file, so the OPI server only places the part of the
background,...), there are two ways: either you output with image that is actually used in the file. On some OPI servers,
Bitmap Proofer, which flattens the complete job into one im- this causes images to shift. Therefore, the option can be
age, or you use Color Proofer with Calculate Transparencies switched off.
to flatten only the parts of the job that need flattening. This
• Omit TIFF Data
second option makes the output a lot smaller and faster, so
When working with TIFF files, both the low resolution TIFF file
it is recommended.
and the OPI comments are included in the PostScript output.
• Use Picture Caching When using OPI, the low resolution TIFF information in the
When ArtPro encounters a Mapped Picture while creating a PostScript file is superfluous. When activating Omit TIFF Da-
PostScript File, the mapped picture is read from the hard ta, only the OPI comments are included in the PostScript file.
disk into the random access memory (RAM) and written in This makes PostScript files much smaller.
the Postscript file on the fly. After this, the picture is deleted
• Replace Placed ArtPro by OPI
from the RAM again. This means if you have the same picture
This option makes it possible to use OPI server functionality
several times (e.g. created by automatic trapping), this pic-
for Step & Repeat. Whereby, high resolution image data is
ture has to be read from disk each time. With this toggle on,
stored on an OPI server and a preview version is stored with
each mapped picture will be kept in memory after reading, so
the original file. At output the OPI server automatically replac-
if the same picture has to be used again, it can be read from
es the preview version with the high resolution data, accord-
RAM. This will cause the creation of PostScript to be much
ing to the OPI comments contained in the Step & Repeat file.
faster e.g. if automatic trapping is used on pictures. Of
Printing from ArtPro will therefore be considerably faster, as
course, there must be enough RAM available to load all the
network data transfer between the workstation and the print
mapped pictures in memory.
spooler is reduced to a minimum.
• Absolute Coordinates
There are two ways to define the position of an memory point Procedure:
in a PS file: with coordinates out of the 0 point of the file (Art- •Save the single job in the Print menu with the option DCS-
Pro coordinates) or with coordinates out of the previous 2 and copy it onto the OPI server.
memory point (PS coordinates). In the second case, round •Create the Step & Repeat file of the single original ArtPro job
off errors can lead to errors in the file (> gaps between ob- and save it.
jects). Most RIPs (like Adobe RIPs) will perform some sort of •Print the repetition file to Generic Imagesetter in the Print
trapping, enlarging every object a little, to make sure there menu, with the option Replace Placed ArtPro by OPI.
are no gaps. For RIPs that don’t do this (like the Nexus RIP), The option Creo Single Job and Creo Layout also uses this
absolute coordinates can be used (from the job origin), method.
where the round off errors are minimal.

Manual ArtPro 8.0 Chapter 2 : File — p. 73 —

 • Specify separated file in ArtPro OPI • Add DIG Page Comments
With the option “Replace Placed ArtPro By OPI”, all placed These comments indicate the beginning of a new page and
ArtPro files are replaced by their DCS. However, if you use the number of the page in the job. For more information
an OPI server that does not handle DCS files, this toggle al- about the DIG options, please contact CreoScitex.
lows you to specify the separations (.cyan, .magenta, ...) in • DIG Surface Back
the S&R file instead of the .DCS file. This comment is used to determine whether the surface of
• Use Job Size in ArtPro OPI the sheet is the front or the back. Switch the option on to de-
S&R files are created using the bounding box to define the fine the output file as the back of the sheet, when printing to
position of the placed ArtPro files. This definition has to be Creo systems.For more information about the DIG options,
adjusted to the way the DCS bounding box was created. If please contact CreoScitex.
the DCS was created with the “Put Bounding Box on Job • Plate select (Creo)
Size” on, this toggle should be put on when printing the S&R Creo Platesetters can have different plate sizes in their feed-
file. er. In order to select the correct plate size, the option Creo
• Use HiRes in ArtPro OPI Plate Select can be switched on, adding a comment line in
S&R files are created using the bounding box to define the the PS file to select the correct plate size. Next to the check-
position of the placed ArtPro files. This definition has to be box, a popup dialog is available, containing all plate sizes as
adjusted to the way the DCS bounding box was created. If defined in the plateslist.txt file. This text file should be placed
the DCS was created with the “Add %%HiResBoundingBox” next to the ArtPro Preferences (for OS9 or earlier : in the Art-
on, and the OPI server recognizes that comment, this toggle Pro Extensions folder, which is in the ArtPro folder, for OSX
should be put on when printing the S&R file. : in Users / username / library / preferences / ArtPro). The file
should only contain the names of the plates, divided by re-
2.33.6. More Settings: RIP turns.
Example of plateslist.txt file :
P750x860mm
P900x1250x0.5
K790x1030x0.3
If a file, created on e.g. another station, is opened, and the
file contains a plate size, which is not present in the plateslist
file (or if there is no plateslist file present), the specific plate
size will be added to the dropdown menu in the more print
settings. This plate size will be available from memory for as
long ArtPro is running. When closing ArtPro, the plate size
will not be saved, and thus will not be available when reopen-
ing ArtPro
• Add Delta S&R Comments
ArtPro adds special comments useful for Linotype-Hell Delta
RIPs, so as to optimize the calculation of objects repeated in
the ArtPro file. If an object is placed several times under the
same angle and with the same scale factor, it will be calcu-
• Add DIG comments
lated on the Delta RIP only once and the resulting Delta-List
DIG comments are used by Creo systems to access color
will be positioned several times.
and separation info for their virtual proofing system. DIG
stands for Digital Imposition Geometry and contains a num- • Use %LHCImageColor
ber of PS comments to describe the structure and organiza- Normally ArtPro defines mapped pictures using the PlateCol-
tion of the PS output. These comments are also used to or comment. However, on Linotype OPI servers, this causes
create S&R files. For more information about the DIG op- some problems. When using a Linotype OPI server, this
tions, please contact CreoScitex. function allows the use of mapped pictures, without using
platecolor comments.

— p. 74 — Chapter 2 : File Manual ArtPro 8.0

 • NexusInclude, no PlateColor for Same Film % <Angle Separation=”Yellow”>0</Angle>
PlateColor is a PS command that is used when channels are % <Angle Separation=”Black”>45</Angle>
mapped into another separation. This command tells the RIP % <Angle Separation=”PANT146”>45</Angle>
to swap channels of a mapped picture into the correct sep- % </Angles>
aration, though it cannot be used for all RIPs. It is switched % </PSScreening>
on by default for output to Artwork Systems’ Nexus RIP. % </JobScreenings>
• Write Jobticket % </Screenings>
ArtPro can now embed jobticket information in jobs sent to %</aws.job.ticket>
the Nexus Rip. The information will be stored as XML-tags. %AWSEndXML
The typical information that is embedded in the jobticket • Distinguish Zero and Trans
contains separation angles, linescreen, the dot shape that is You can activate this option in order to make a difference be-
used, screen sets used, jobsize, distortion and separations. tween 0% and Transparent color settings. 0% will thus be
The jobticket information is added to the postscript output converted into 0.001% for transparent paint, so that 0% is
from and is copied into the linkfile by Nexus. not made transparent in the PS file. If this option is not active,
both 0% and Trans become transparent with Use SetOver-
Procedure to use XML jobtickets in Nexus: Print. The option is only useful in combination with the Use
• Print the ArtPro job to Nexus, with the Write Jobticket option SetOverPrint command.
on • Scitex PCF generation
• The jobticket information will be added to the postscript file Switching on this option when printing enables output opti-
in the form of XML-tags. mization in combination with Scitex Brisque RIP (see p.97 for
• When using the job in any linkfile workflow the jobticket will further details).
be copied to the linkfile eps.
• 4 seps starting at
• When using this linkfile in ArtPro, jobticket information can be
viewed through the paintstyle dialog. This option is only for Scitex VIP output. This device only
takes 4 color work (composite PS). A job with more inks,
Example XML-tags:
needs to be printed in groups of 4.
%<aws.job.ticket>
This option defines what separation will be used as Cyan
% <Size>
(=first sep) of a 4 color composite file to be send to Scitex.
% <Vertical>243.8</Vertical>
See Scitex VIP for more info.
% <Horizontal>357.2</Horizontal>
% </Size> • Bitmap Quality
% <Distortion> You can select the quality of the image which will be sent to
% <Vertical>0</Vertical> the proofer when using the Bitmap Proofer device :
% <Horizontal>0</Horizontal> •Contone quality means that the image calculated from the
% </Distortion> ArtPro file contains 4 separations (CMYK) of 8-bit depth. So
% <Separations> each separation is defined by an 8-bit grayscale image, this
% <Separation Name=”Cyan”/> is 256 gray values per pixel.
% <Separation Name=”Magenta”/> Most smaller desktop proofers cannot render this amount of
% <Separation Name=”Yellow”/> information, for they cannot proof 256 values of a separation
% <Separation Name=”Black”/> e.g. Cyan.
% <Separation Name=”PANT146”/> •Dithering is recommended for output to most smaller proof-
% </Separations> er devices. The pixels rendered on these devices cannot
% <Screenings> hold 256 grayscales, as they have only 1-bit depth. This
% <JobScreenings Name=”Caipirinha 12x8_6.5”> means the pixel can be e.g. Cyan OR not Cyan (=empty).
% <PSScreening Name=”Elliptical_150”> Dithering converts a full colored image into an image consist-
% <DotShape> Elliptical </DotShape> ing of a kind of pattern which contains pixels that are filled or
% <Frequency>150</Frequency> not. There are different kinds of dithering. ArtPro uses the Er-
% <Angles> ror-Propagation Dithering. The main advantage of dithering
% <Angle Separation=”Cyan”>15</Angle> is of course that the output is 8 times smaller (a 32-bit image
% <Angle Separation=”Magenta”>75</Angle> compared to a 4-bit image)

Manual ArtPro 8.0 Chapter 2 : File — p. 75 —

 • Bitmap resolution: ma for all future outputs on that particular proofer. So once
This input field defines the resolution for the image data the you have found the gamma for a color proofer, you can use
ArtPro file will be calculated to when using Bitmap Proofer . this gamma for all the color outputs on that same proofer.
The ideal resolution is equal to the resolution of the proofer
device you are using. Keep in mind that doubling this resolu-
tion will quadruple the file size of the image data which is sent 2.33.7. More Settings: Preview
to the proofer. By testing you can find out the minimum res-
olution which still gives a good result. As most proofers have
a resolution of 300 dpi, this is the default for this input field.

• Bitmap Gamma :
Gamma Correction only applies when you choose the 1-bit
dithering as Bitmap Quality for output using Bitmap Proofer. • Add Preview
The easiest way to explain this is by an example. On a 1-bit A preview is added to the EPS file, with the Preview Resolu-
base, a 90% gray value in the ArtPro file would theoretically tion defined in the Preferences dialog at output time. The res-
be represented by 9 black pixels and 1 white pixel. In prac- olution can thus be adjusted, which may be interesting in
tice this often means that the 1 white pixel closes completely particular cases. E.g. use a higher resolution if you want to
or partially by the ink spread on the paper. So, on paper, you be able to position the placed EPS more accurately, use a
actually get a darker percentage than the one in the file. The low resolution (36 ppi) to create a smaller output file.
darker gray values (=darker colors) tend to deviate more from
their original value in the file. The Gamma Correction corrects
• Add PC Preview
this problem. Thus the 90% gray value in the ArtPro file will
With this option switched on, the preview is put in a different
become e.g. 80% when dithered, but again becomes 90%
place in the file, so that it can also be used on a PC.
after printing.
You could say theoretically that ArtPro will print e.g. 8 black
pixels instead of 9, so that after the ink has been absorbed • Mark All 100%
by the paper, you again get the visual effect of 9 black pixels. The Mark All 100% checkbox (found in the Preview tab) forc-
The mathematical formula for the Gamma (g) correction is: es items with all 100% paint, to be at least 1 pixel on preview,
% after dithering = (% ArtPro file) g regardless of how small they are. This makes register marks
For the default gamma correction of 0.7, and for a gamma of and cropmarks always visible when generating a preview.
0.8, this gives the following results for the indicated gray val-
ues : • Do not generate mask for preview
g 0.7 g 0.8 g 0.7 g 0.8 When creating a PostScript file with a preview, this preview
10% > 7% 8% 60% > 47% 52% also contains a mask, defining where the background should
20% > 14% 16% 70% > 57% 62% come through. Some systems, such as Mediabank, cannot
30% > 22% 25% 80% > 68% 72% handle these masks properly. Therefore this mask should be
40% > 30% 33% 90% > 80% 84% left out, and thus this option should be activated.
50% > 38% 42% 100% > 100% 100%

If you want to calculate this yourself, keep in mind that in

PostScript the following goes : 0 = 100% and 1 = 0%.
e.g. 10% (=0.9) with gamma 0.7: = 0.90.7 = 0.928 = 7%

To determine the best gamma value for your proofer, you

can perform the following test. Make a colorful job and out-
put it once in 32-bit and output it a couple of times in 1-bit,
each time using different values for the gamma correction.
Compare the 32-bit proof with all the 1-bit proofs. The 1-bit
proof which best matches the 32-bit output defines the gam-

— p. 76 — Chapter 2 : File Manual ArtPro 8.0

2.34. Print : Device Types • Remarks on bitmap proofing:
• The size of the ArtPro file converted into the bitmap output is
determined by the job size.
This implies that bleed is not included, unless you fit the job
size first. This also implies that a small object in a large job
size will result in a huge output.
• The resolution of placed images is determined by their pre-
view. Placed or mapped TIFFs are output in the resolution
with which they are previewed on screen. See Picture Dis-
play Resolution in the Edit More Preferences dialog (p.134).
EPS and DCS files are converted with their 72 dpi preview.
Placed ArtPro files are printed with the resolution their pre-
view was saved (see Preview Resolution on page 2). When
2.34.1. Color Proofer you make a bitmap output of a Step & Repeat file, which
consists of placed ArtPro files, the output will be limited to
Color Proofer is the standard Composite PostScript output to
the preview resolution defined on the moment the file was
send to PostScript proofing devices. For a description of this
saved (by default 72 dpi).
type of PostScript we refer to the beginning of this chapter. The
• With placed EPS, DCS, TIFF and ArtPro files, the four sepa-
settings and the procedure are also explained in the general
rations with the CMYK flags will be used as CMYK. In the
part at the beginning of this chapter.
preview conversion of RGB to CMYK, ArtPro assumes that
2.34.2. Color L3 Proofer the first four separations are CMYK. When the separation
The Color L3 Proofer device generates composite output, us- with the C flag is e.g. a PANTONE® color, the Cyan will be
ing Level 3 commands such as deviceN and shadings. This re- proofed in the PANTONE color.
sults in correct composite output, containing all • The amount of RAM necessary to calculate this output is the
transparencies, etc. If this composite output is handled by a same as the amount you need to preview it, plus an extra ±
RIP, capable of handling these level 3 commands, a correct 4 Mb.
output can be achieved. Transparencies of flat colors and gra- When the Bitmap Proofer output has started, the rotating
dations, can be implemented using the DeviceN command. ArtPro cursor stops and starts again from time to time as Art-
Pro processes the file in parts of 4 Mb.
2.34.3. Separated Proofer
2.34.5. Custom Proofer
Separated Proofer is a device to print separations on a color
proofer or e.g. a LaserWriter. Although it is sent to a Proofer, Custom proofer is the output device for proofer with all settings
the output is separated. available. If you load a setting that was based on one of the
above Proofer Devices, the device type will also be Custom
2.34.4. Bitmap Proofer Proofer, and thus, all options will be available. The Device
This output has been added to be able to proof the transpar- Name will still show the Device Type the loaded settings were
encies generated in ArtPro. Actually, this device is not used so based on.
often anymore. Choose Color Proofer and switch Calculate 2.34.6. Generic Imagesetter
Transparencies on to output transparencies on any proofing
device. In general, this will be faster than a bitmap proof. Only This is the default device for the output of Separated Post-
jobs with a lot of vector data might still print faster as a bitmap script. You can find more on Separated Postscript and on the
picture. In this case the ArtPro file is calculated into image data specific settings earlier in this chapter.
which is sent to the proofer, preceded by a PostScript header 2.34.7. Agfa
and followed by a PostScript footer. The image data consists
To generate output for an Agfa imagesetter, choose Agfa in the
of CMYK information. This output can get quite substantial, de-
Device Type list. In the Chooser, select the driver and the de-
pending completely on the output resolution and the file size.
vice you want to send the PostScript file to. The type of Post-
The settings for the Bitmap is done by the Bitmap Quality, Bit-
Script generated for Agfa is separated PostScript, therefore we
map Resolution and Bitmap Gamma settings ( see 2.33.6.
refer to the description of the Separated Postscript in this
More Settings: RIP on page 74)
chapter for more information.

Manual ArtPro 8.0 Chapter 2 : File — p. 77 —

2.34.8. Barco RipScript it has to be sent to Barco afterwards.
This device type generates Separated Postscript, to be ex- Each path, or group of paths, of the ArtPro file will be trans-
posed through Barco Ripscript. As this is Separated Post- ferred into a separate layer of the Barco file. You should con-
script, we refer to this part earlier in this chapter. sider working with compounds, even if it is not necessary, to
limit the number of layers after conversion.
2.34.9. Barco TransScript • The separations with CMYK flag are always converted to Cy-
This output generates EPS files which can be sent to a Barco an, Magenta, Yellow and Black (in that order), even if they
system, through Barco TransScript. Note that these files are contain PANTONE® Color separations or custom colors.
not standard EPS files, and are not to be used in applications From the 5th separation on, you can define PANTONE colors
other than Barco TransScript. which will also convert as such. House inks or other custom
colors are not accepted by Barco.
• Important for Barco users:
The AW screen resolution, screen angles and dot shape are
• The files created with this output are always saved to a hard
completely ignored by Barco.
disk. This can be the hard disk of the Macintosh, or immedi-
• Transparencies: Barco supports only masking and non-
ately the hard disk of the computer linked to the Barco sys-
masking layers. It does not support layers that erase some
tem. When you save immediately to the hard disk of the
separations and leave others unchanged.
Barco system, a protocol running in background will make
When TransScript encounters such colors in a PostScript
sure that the Macintosh file can be read by the Barco system.
job, it does not convert this correctly but instead just gener-
When you save the EPS file first to the hard disk of the Mac-
ates non-masking layers (= transparent). Since these colors
intosh, the operator will need to copy the Macintosh EPS file
are only rarely used, this is not often a problem.
to the hard disk of the Barco system using a special program
(e.g. Netcopy from Digital).
In practice this means: try to avoid using paths which are
• As the PostScript file is saved to the hard disk, the easiest
both 0% in some colors and TRANS in other colors.
way to create the EPS file is by using the Save Postscript
If you have a job where these paths are used, correct them
function in the Print dialog. Save Postscript saves cleaner
by using set operations (unite, intersect, clip and subtract).
and shorter PostScript as it bypasses the LaserWriter driver.
Working in the most common way, coloring and then
Note that in a Save Postscript output, there is no font infor-
spreading and choking gives no trouble in the conversion.
mation whatsoever, this means that the PostScript fonts
One Specific option that is important for Barco output is Gra-
must also be installed on the Barco system. Another solution
dations as Freehand Commands, see earlier in this chapter.
for this is converting all text in the ArtPro file to paths when
you save the EPS file. 2.34.10. Creo (Layout / Single Job)
• When the EPS file is created, please take into account the These two Devices make it possible to use OPI server function-
limitations of the filename on a Barco system. A filename on ality for Step & Repeat on Creo Servers. Whereby, high resolu-
a Barco system may not exceed 39 characters and does not tion image data is stored on the server and a preview version
support accents or special characters. Two special charac- is stored with the original file. At output the server automatically
ters which are supported are underscore ( _ ) and the dollar- replaces the preview version with the high resolution data, ac-
sign ($). Name the created EPS file with the suffix “.EPS”, as cording to the OPI comments retained in the Step & Repeat
Barco needs this extension for conversion to its format file.
(.GRC). Printing from ArtPro will therefore be considerably faster, as
• By TransScript, the EPS file is converted into a GRC file from network data transfer between the workstation and the print
Barco. If necessary, CT files are built for every contone used, spooler is reduced to a minimum.
and for every vignette. To be able to visualize the CT file on
Barco you will have to build a low res view file of it. Newer • Procedures:
version of TransScript automatically build the CT files. • Print the single job in the Print menu with the option Creo
• Once the EPS is converted, you will need to do a “Borders (Single Job) and send it through to the Creo server.
Fit” on the Barco system. As the ArtPro file is converted with • Create the S&R file of the single original ArtPro job and save
standard page sizes (Page Setup). Newer TransScript ver- it.
sions recognize the non-standard page size of the ArtPro file; • Print the repetition file to Creo (Layout)
also the borders are positioned correctly.
• When you are making your ArtPro file, take into account that Besides the OPI possibilities, the Creo output contains DIG

— p. 78 — Chapter 2 : File Manual ArtPro 8.0

 comments, allowing ArtPro files to be used in the VPS, the 2.34.15. Optronics
Creo Virtual Proofing System. Therefore, if the OPI Step & The Optronics is the same as Generic Imagesetter output (see
Repeat is not used, Creo Layout should be used to enable earlier in this chapter)
the VPS.
2.34.16. Nexus
2.34.11. Crosfield
This device results in separated PostScript optimized for Art-
Crosfield output is based on Generic Imagesetter, but fine- work Systems’ Nexus RIP. This device is used to print single
tuned to make the Crosfield OPI work. The setting Include Gra- documents (to a lores link file) as well as S&R data with links. It
dations comments allows Crosfield to put gradations (convert- is not compulsory to print ArtPro files to Nexus, as Nexus can
ed to CTs by ArtPro) in the Lineart level (at high resolution), and also use ArtPro native files.
CTs in the CT level.
2.34.17. Purup
2.34.12. DCS-2 Single File / Multifile
Purup is based on the Generic Imagesetter output, but fine-
The DCS-2 output creates a DCS file, a separated file format, tuned for use with the Purup OPI system, Imagelink, which is
including all separations, and a preview. With Multifile, the re- based on Low Resolution DCS files.
sult will be as many files as there are separations, and an addi-
tional preview file. For Single File, everything is in a single file. 2.34.18. Quark Separable EPS
The DCS files can be used to be placed in other applications To generate an EPS file that can be separated by Quark XPress
(e.g. Quark, Preps, INPosition,...), or to be used with OPI when you can choose Quark Separable EPS as Device Type. As this
printing Step & Repeat files. is a composite output, this has some serious limitations con-
Hereby, high resolution image data is stored on an OPI server cerning transparencies. Therefore, DCS-2 is more advisable.
and a preview version is stored with the original file. At output
• Why not EPS in general?
the OPI server automatically replaces the preview version with
As the name shows, this output creates EPS files specifically
the high resolution data, according to the OPI comments con-
tuned for QuarkXPress. These EPS files might work when
tained in the Step & Repeat file.
placed in other applications, but we cannot give any guaran-
Printing from ArtPro will therefore be considerably faster, as
tees. ArtPro is able to force lots of non-standard features in
network data transfer between the workstation and the print
the EPS file. Think of mapped TIFF, Pantone vignettes, etc.
spooler is reduced to a minimum.
In a plain PostScript file these features are not supported. To
• Procedure: be able to output this from Quark, ArtPro tunes the EPS file
• Save the single job in the Print menu with the option DCS-2 specifically for the QuarkXPress application.
and send it through to the OPI server.
• Important Options:
• Create the Step & Repeat file of the single original ArtPro job
•Add Preview
and save it.
•Calculate Vignettes
• Print the repetition file to Generic Imagesetter in the Print
menu, with the option Replace Placed ArtPro by OPI. • Important for Quark XPress users:
• If you separate in XPress, all transparencies will be exactly as
2.34.13. Delta Technology specified in ArtPro. If you do not separate, paints will be
This output device is only to be used for repetitions. For every opaque and translated into CMYK.
group, a Deltalist is created. In the case of S&R, a Deltalist will • The separations with the CMYK flag of the ArtPro job will al-
be created for a single label. The next time the same Deltalist ways translate to Cyan, Magenta, Yellow and Black (in that
is used, the RIP only has to place it, resulting in a very high S&R order) of the QuarkXPress file, also when they contain Pan-
optimization. To use this S&R optimization, the clipping box tone colors or custom colors.
has to be a rectangle. For S&R Tabular, this is no problem, but • For the additional separations: If you place an ArtPro EPS in
nested CFF2 repetition can cause troubles. Quark, the used separations will be added to the color list. If
you use a version before 3.3, you have to add the separa-
2.34.14. Linotype-Hell tions manually. Make sure that you use exactly the same
LinoType-Hell output is based on Generic Imagesetter. This spelling as in the ArtPro file.
output supports the Automatic Page Positioning feature from • Be careful to leave the Separation option off in the XPress
Linotype-Hell. color dialog.

Manual ArtPro 8.0 Chapter 2 : File — p. 79 —

 If not, the Pantone Colors will be separated into their CMYK arations, you are obligated to split up the PostScript file in
equivalent and AW transparencies cannot be guaranteed groups of 4 separations. e.g. If your file contains 6 inks, you
anymore. could start by sending the first four separations alone in one
• For a detailed description of composite PostScript we refer PostScript file (= Four Separations starting at Cyan), and
to the generic proofer output. Important is that the EPS files then sending any additional inks as a separate PostScript file
are copied unmodified, meaning, DCS low resolution files (Separation per Separation). E.g. If your file contains 8 inks,
placed in ArtPro are copied unmodified in the EPS file. Quark you could send two groups of 4 inks. One group starting at
will not be able to switch the low res for the high res separa- ink 1 and another starting at ink 5.
tion of the DCS file. Therefore, work with TIFF pictures if you When a Four Separations... PostScript file is created, ArtPro
intend to send the AW file to Quark afterwards. writes an EPS file of the four separations starting at the ink
OPI pictures in the AP file will be replaced correctly by the you defined. This PostScript file is a composite file, therefore
RIP, even after putting the file in Quark XPress. ArtPro suggests a .Composite extension for the PostScript
• Gradations to EPS file for Quark: Linear Vertical, Linear Hor- file (e.g. file.composite).
izontal and Circular Gradations you are free to convert them We would like to stress again that a composite PostScript file
to CTs or not for the EPS file for Quark. (= Generate CTs for cannot carry all features you can define in ArtPro. Some spe-
Gradations). These gradations will only separate correctly in cific features which do not exist in a composite PostScript file
QuarkXPress if they contain the separations with the CMYK are e.g. mapped pictures, transparent vignettes towards im-
flag. If these vignettes contain also Pantone Color or custom ages, etc. So if you do not need to use Four Separations
color separations, they will not separate correctly. starting at... for the reason of APR (Automatic Picture Re-
Multistep Gradations are always converted to CTs. They will placement), please use the Separated method to send to
always separate correctly, also with Pantone color separa- your Scitex imagesetter.
tions. • Important remarks for Scitex users:
2.34.19. Scitex Separated / VIP •Scitex is limited to handle 4 separations at the time. So nev-
er send more than 4 separations at a time to Scitex VIP.
The best way to send to Scitex is using separated output, as If possible always send separated PostScript to the Scitex
composite output has to many limitations. The only reason to RIP. Avoid sending Composite if possible. The only reason to
use composite (VIP) output, is for APS, Scitex OPI system, on use composite is to use the Scitex Automatic Picture Re-
the VIP rips, or if the files are to be handled further on the Scitex placement (APR), which can only work on composite output.
systems. •Scitex does not treat custom colors and works only with
To generate composite output for the Visionary™ Interpreter CMYK.
for PostScript from Scitex, choose Scitex VIP in the Device When you output a PostScript file with First Four Separations
Type list. starting at..., the 4 separations inside this PostScript file will
Scitex VIP is a computer application which converts PostScript always be recognized as Cyan, Magenta, Yellow and Black,
files into the Scitex formats. The Scitex VIP output always in that order. The screen angles and screen ruling of the film
makes PostScript output to a file, as it is not a real device but depends on the VIP settings.
a computer application. •Black Overprint:
In some cases the VIP can be selected in the chooser, in other In the VIP settings, Black Overprint should always be off.
cases VIP has to be opened and the PostScript file loaded into In the VIP preference settings, PostScript Overprint should
the VIP. This depends on the customers’ configuration. The be on.
type of PostScript generated for Scitex VIP is composite Post- Please follow these settings, otherwise we can not guaran-
Script. tee that the output will be correct.
The composite output is then to be separated by the Scitex
RIP. Please bare in mind that composite PostScript is much •As mentioned before, if you ask for the VIP device, ArtPro
more limited when it comes down to supporting transparen- will write composite output.
cies, or not standard ArtPro functionality like mapped pictures, This can cause the following problems:
etc. a. If you have placed a DCS-file, the low resolution is convert-
• Four Separations starting at ed unmodified. Scitex users normally do not use DCS files
As Scitex users will know, Scitex works with only 4 separa- but use APR from Scitex instead. APR does not cause any
tions at a time (CMYK). If your file contains more than 4 sep- problems and the low resolution file is switched for the high

— p. 80 — Chapter 2 : File Manual ArtPro 8.0

 resolution in exposing. all settings available. If you load a setting that was based on
c. In a composite file, transparencies are created by a set one of the above Imagesetter Devices, the device type will also
overprint command. These transparencies are not available be Custom Imagesetter, and thus, all options will be available.
in contones. As vignettes are converted into contones, trans- The Device Name will still show the Device Type the loaded
parencies from vignettes are not available. settings were based on.
Making separated output can prevent these problems from
occurring.
c. Mapped TIFF is not fully supported in a composite Post-
2.35. Export Gravure JobTicket...
Script. If you define a TIFF channel transparent towards a This module is optional. Please contact your dealer
background, the TIFF will be opaque on the output. for more information.
Jobticket is an output format for Hell gravure machines. For
2.34.20. Scitex PCF (Optional)
more information, please contact Hell Gravure Systems.
The Scitex PCF (Packaging Control File) output is an output
that enables S&R optimization on Scitex Brisque v3.0.
• The single file is made in ArtPro
2.36. Export Gravure Tiff...
It will be the user’s responsibility to assign the SBP_Cut and This module is optional. Please contact your dealer
SBP_Folding separations to the right elements in the single for more information.
job if necessary. The final single job is printed using the ‘Sci- Export Gravure Tiff is used to output ArtPro files directly as TIFF
tex PCF’ output in ArtPro: jobname.pcf data for gravure printing. It creates one TIFF file per separation.
• Single file on the Brisque
The brisque proofs the single job, generating a proof and
generating a lowres file called jobname.eps. The Brisque also
creates the LW and CT and any other files it needs. This
lowres EPS contains a preview, all information concerning
size and separations needed to repeat the file, and a com-
ment indicating it is a Scitex Lowres file. If you want to start
from other EPS files, you should generate a lowres file using
the Brisque Lowres Generator, and then continue to step 3.
• S&R in ArtPro
The lowres eps file is used for the repetition in ArtPro. This
layout job is printed using the ‘Scitex PCF’ output in ArtPro.
In this PCF file, the comments referring to the HR files on the
Brisque are included. The lowres EPS file is NOT included in 2.36.1. General concepts
this PCF file. • Bitmap (gravure) vs. PostScript output (offset)
• Output on Brisque Calculations in PostScript are contour based. The output
The Brisque interprets the layout.pcf file, and replaces the resolution on an imagesetter can go up to 2500 lpi and even
PCF comments by all other Scitex files of the single job (LW, more, which means that small dots are produced. As a con-
CT, ...). sequence, the final result will be very sharp and accurate.
Engraving, on the contrary, requires another file format since
2.34.21. Screen no dots are engraved, but small pits. Therefore ArtPro pre-
Screen output is basically the same as Generic Imagesetter. pares a TIFF- format, a continuous tone with gray values or
(see earlier in this chapter) as a bitmap, which is more appropriate for engraving. Gra-
vure output uses a diamond, so the dots are rather big. The
2.34.22. Think Laboratories
average output resolution is 360 lpi (=140 l/cm) hence large
This is a Generic Imagesetter output, fine-tuned for Think sys- steps are taken and pixelized edges are formed. When en-
tems. graving, the jaggies are visible. There is however a possibility
to make smaller steps in between in order to make the edges
2.34.23. Custom Imagesetter
less sharp and hence avoid the staircase effect, which will re-
Custom Imagesetter is the output device for Imagesetters with

Manual ArtPro 8.0 Chapter 2 : File — p. 81 —

 sult in a nicer output. This is done by means of oversampling. The repetition (level 1) is calculated on output resolution, and
Gravure output is not supported on placed EPS files. written on output resolution. The eventual gravure-output re-
• How is calculation time reduced ? quires one 8-bit grayscale TIFF per separation, 1 grayvalue
ArtPro recognizes a repeated file, so the program calculates per pixel = 1 byte. E.g. a repetition of 1m x 1m requires 100
the bitmap file of the repeated job only once. When engrav- x 140 x 100 x 140 bytes per separation (= 196.000.000
ing, this bitmap file is read again and again. The pixels are re- bytes ≈ 187Mb)
peated without recalculation, in fact they are copied. A temporary file is created on output resolution to prepare for
ArtPro calculates one job beforehand and translates it to an the TIFF output. If the same job is repeated in one file, but un-
internal format which is saved as a temporary file on your der different angles, the job will be prepared for each angle,
Macintosh. This file will be automatically deleted if the data so the capacity needed will then be x times the temporary file
are translated into gravure data. (x = the different rotations).
2. The ArtPro job
• Possible side-effects of time optimization For this calculation, the lowest level (= logo within the job) is
1. Registration marks and bearer bars are not oversampled. prepared first and the sub-job is saved into a temporary file.
Oversampling is only done on placed pictures (placed ArtPro For the calculation of the ArtPro job (level 2), the oversam-
or TIFF files) The complete repetition of ArtPro files is over- pling is not written in the temporary file. The job is calculated
sampled, however without inserted elements such as marks. on high resolution, the average is taken (e.g. 4) and written
The step and repeat functionality automatically uses placed on low resolution (while the logo is calculated and written on
ArtPro files. As they are placed as pictures, they will be over- high res).
sampled. The regmarks which are created on the step and The temporary file size = size of the ArtPro job x output res-
repeat-file are plain contours, and are therefore not oversam- olution.
pled. Suppose the job is 20 cm x 30 cm on an output resolution of
A result of this method can be jaggies on the parts of the job 140 lines/cm : 20 cm x 140 l/cm x 30 cm x 140 l/cm =
which aren’t ArtPro files. Crop marks and regmarks though, 11.760.000 pixels. The temporary file will take up to 12 Mb,
should have sharp edges instead of blurred ones. In order to in this case, but each time the TIFF file is calculated, the tem-
avoid unwanted jaggies, the regmarks can be placed as im- porary file will automatically be deleted.
ages in the ArtPro job.
2. The edge of the job is clipped sharply. The mask is part of 3. The logo within the job
the repetition, but only the contents of the mask is anti- The size of this temporary file is calculated :
aliased. H(eight) x W(idth) x res x res x oversampling H x oversam-
To guarantee that the mask is completely filled, it is neces- pling W.
sary to create the job with bleed. The bleed is included in the The oversampled data are written in the temporary file.
calculation, but in the repetition the bleed will be omitted, so
the file is made to measure. • How much disk space is needed for a repetition of
3. If the job is rotated, the temporary file becomes bigger. TIFFs?
4. TIFF output is not supported on EPS files. If TIFFs are repeated, the calculation will be :
H x W x res x res, for each separation individually
• How much disk space is needed for a repetition of an A repetition of TIFFs (e.g coming from another system) is not
ArtPro job? oversampled because the anti-aliasing is supposed to be
The temporary file which is created in between the ArtPro file calculated already. If the TIFF has the exact resolution (= out-
and the TIFF data is made in the same directory of the ArtPro put resolution), oversampling is not needed and this is of
application. So ArtPro must be installed on a large disk. To course the best solution. If that is not the case, the resolution
make sure the file will not exceed the disk space, the size can is automatically adapted by omitting or doubling pixels. The
be calculated beforehand. TIFF is copied to the temporary file.

The ArtPro job can contain another ArtPro job, there are 3 Problem
levels : the repetition, the job, and the logo within the job When the TIFF image is positioned in the job, the TIFF pixels
The calculation of the temporary files is slightly different for all (even if the TIFF has the same resolution as the gravure res-
3 levels: olution) might not be in the exact position of the gravure pix-
1. The Step and Repeat of one ArtPro job els. Normally only a part of the image pixel would be copied

— p. 82 — Chapter 2 : File Manual ArtPro 8.0

 into the output pixel. However this method looses sharp- • Oversampling:
ness. Oversampling means
that ArtPro makes the
Solution calculation of the TIFF on
Instead of copying a part of the TIFF pixel data into the output a resolution which is too
pixel, the TIFF is moved so that the borders of the TIFF-im- high, i.e higher than the
age and the borders of the output converge. The image one needed. Afterwards
shifts with a max. of 1/2 output pixel (1/280 cm or 1/720 it is ‘averaged’, this
inch). When the image contains a rectangular mask (step means that it is convert-
and repeat), the mask is also shifted so that it fits the output ed to low resolution by
grid. The mask can grow or shrink. This means of course that calculating the average
you will need to provide bleed for the TIFF. Otherwise a small of each group of lines. without with 4 times
white line could occur in between the TIFF and its (grown) This gives a kind of oversampling oversampling
mask. In this way sharpness is gained. However, if 2 TIFF-im- “blurred” effect. Over-
ages are placed on top of one another and if they move in an sampling requires a long calculation time and therefore
opposite direction, the shift will be visible. If the TIFF is posi- needs optimization.
tioned straight, the tmp-file will be W x H x res x res. As there The oversampling filter can be chosen from none to 8 times.
is no oversampling, the file is not so big. • none: a lot of jaggies
• Repetition of TIFFs as pictures in an ArtPro job • 4 times: default value, this is the oversampling value used the
If TIFF is used as a picture in a job, the calculation will be dif- most in the packaging and label market
ferent depending on the scale and rotation of the picture: • 6 times: very high, e.g. for stamps
• if the resolution of the scaled TIFF is equal to the output and
the picture is rotated over 0, 90, 180 or 270°, no oversam- Example
pling is done, keeping the original sharpness (and moving the If you have an oblique black line on 360 lpi (= 140 l/cm), the
image a tiny bit as described above). edges are very much pixelized. Oversampling means that
• If the image is rotated over other angles, the temporary file you will calculate with a higher resolution than the one you
will be: V x H x res x res x oversampling x oversampling (with need. Oversampling 4, means that the image is calculated at
V and H measured after rotating the image). In this case 4x the resolution (360 lpi) = 1440 lpi. Every line is divided by
more disk space is needed. 4. So there are 16 pixels read (4x4) for one output pixel. The
output pixel gets the grayvalue of the 16.
2.36.2. The parameters • Resolution:
• Workflow The resolution of the TIFF file can be defined in l/cm or l/inch.
• Make sure ArtPro is installed on a Disk where there is enough A normal engraving resolution is 140 l/cm or ±360 l/inch.
room to create the temporary files (see later in this chapter). • Noise for gradation:
• Open : File - Gravure Out... default : 3 %
• Output: Choose TIFF in the Output popup menu. 1 byte = 256 gray values
• Separation: In the Separation popup, you can choose for Gradations can normally not have more than 250 bands
which separation you will make the TIFF output. (steps of 0.4 %). ArtPro creates 400 bands instead of 250.
The added noise makes the steps invisible. The desired
amount of noise can be entered in this field.
• IBM PC Byte order
By default this option is active, because most engraving ma-
chines are IBM-oriented. The system IBM uses is ‘Little-en-
dian’ while Macintosh uses ‘Bigendian’.
• 1 Bit
This option allows you to choose between 1 bit data
(checked) and 8 bit 256 graylevel data (default, unchecked).
Most systems take 8 bit data

Manual ArtPro 8.0 Chapter 2 : File — p. 83 —

 • Save Fast Forward Data Minimum Fast Forward : + 280 much smaller then a plate of the entire film, because there are
lines no empty zones left. Finally, all separate groups of objects are
This option creates an extra text-file (.SVS) with a description cut out of the polymer again and glued onto the printing cylin-
of which parts of the TIFF-output file are blank and hence can der.
be skipped. Some engraving machines have the possibility To ensure a perfect registration, ArtPro adds registration marks
to take this information into account. to every group of objects. These registration marks are output
If the option is active, ArtPro will ask for the text-file. Give the on film and therefor also on the polymer plate. The positions of
automatically created file a name. these register marks are also mentioned in the ASCII file and
• All separations the Mount-O-Matic machine automatically turns the cylinder
Asks the file-name for all separations beforehand to enable towards the operator, who can use 2 camera’s to manually
the operator to send all separations at once so that he can paste the piece of polymer onto the cylinder. On the lens of
continue working. each camera, a registration mark is visible. The Mount-O-Matic
operator has to put the left and the right mark of the polymer
exactly under the marks of the left and right camera respective-
2.37. Export Picture List ly. As the 2 camera’s are positioned horizontally towards each
With Export Picture List... it is possible to export an ASCII text other, also the marks from ArtPro are always positioned hori-
file containing information on name, position and size of the zontally.
bounding box of placed pictures. These Picture List files can • How to make a correct printing plate on the Mount-O-
be used in ArtPro, using the Import Picture List function (see Matic using ArtPro?
p.38). • Make groups of the objects that have to come on one sepa-
rate piece of polymer.
For more information on the Picture List file type, and the con- • Select all the groups you want to export (generally the com-
tents of a Picture List file, we refer to 2.19. Import... Picture List plete file).
on page 39. • Choose Export Mount-O-Matic from the File Menu. Select a
folder on the HD or directly on a floppy disk to save the
2.38. Export Mount-O-Matic Mount-O-Matic file. This file has a file extension .mom.
• Now, you will see that registration marks are made on the left
This module is optional. Please contact your dealer and right side of each group you made and selected. These
for more information. registration marks contain 100% of ink for each used sepa-
With Export Mount-O-Matic ration in the group.
... it is possible to export an • Print the file to film using the Print menu.
ASCII text file that contains • Assemble the used pieces of film on a new, smaller film and
all information specifically expose a polymer plate using that film.
for the Mount-O-Matic ma- • Cut out all the pieces again from the polymer.
chine. Mount-O-Matic is a • Read the exported text file from ArtPro into the Mount-O-
device allowing flexo print- Matic (the file transfer method is generally a floppy disc or lo-
ers to reduce the use of cal network).
photopolymer in the plate • The camera’s will be automatically placed on the correct po-
making process. This ma- sition for the first group, using the x,y-coordinates described
chine is useful when only small parts of the file contain informa- in the text file. In ArtPro, this group is marked by the number
tion. 1 underneath one of the register marks. After sticking this
In a traditional workflow, a complete photopolymer is made for piece of polymer on the cylinder, the camera’s will be posi-
every separation. If only a small percentage is covered with in- tioned for the second group of objects. Now you have to use
formation, still the complete polymer has to be exposed. As the group marked by number 2 underneath the registration
this is very expensive material, Mount-O-Matic provides a so- mark. Continue like this until all pieces of polymer are put on
lution to save the unnecessary polymer. the cylinder.
First of all, the file is output on film and the parts that contain • Remarks:
information are cut out and positioned together. Now, a poly- • When you save the Mount-O-Matic file, registration marks
mer plate is made of these pieces. This polymer is of course are made on every group of objects. The position of those

— p. 84 — Chapter 2 : File Manual ArtPro 8.0

 marks is depending on the horizontal size of the bounding 2.40. Export Illustrator
box of that group. Still, there is a minimum distance between
the 2 marks of 108 mm because the camera’s cannot ap- Export Illustrator creates an Illustrator file of the active ArtPro
proach closer then 108 mm to each other. If you notice that job. ArtPro can create Illustrator 3, 5 or 7 format.
the registration marks of one group overlap another group
containing the same separations, you will have to make one Keep in mind that the Export Illustrator function does not sup-
group of it and redo the export. One group results in one pair port transparencies. All transparent objects will be ignored
of registration marks and overlap is avoided. when applying Export Illustrator.
• Shrink means the same as vertical distortion and serves as Therefor it is advised to flatten the job before using Export Illus-
information for the Mount-O-Matic. As the Mount-O-Matic trator. For more info on the Flattener, see 8.23. Flatten Trans-
file only contains coordinates and not the actual contents of parencies on page 183.
the file, the same vertical distortion has to be used when
printing the job to film. • Converting an ArtPro job into an Illustrator file:
• Sometimes it is not possible to create groups in the ArtPro • Open the ArtPro
file. The order of the objects can change when making job you want to ex-
groups and it is impossible to group objects in a step and re- port to the Illustra-
peat file, as the single file is represented by a preview. tor format.
In those cases, it is necessary to draw rectangles over the • Choose Export Il-
objects you would normally group. These rectangles must lustrator out of the
have the combined color of all used separations in the under- File menu. The Ex-
laying objects. When you export the ArtPro file to Mount-O- port Illustrator dia-
Matic, only select the rectangles. Registration marks will now log will open.
be made for each rectangle. If you delete the rectangles af- • Set Include Traps as wanted, and set Multistep Resolution to
terwards, you will have the same result as if you would have the correct value.
used groups. The exact size of the rectangles is not impor- • Choose the compatibility you want : Illustrator 3, 5 or 7
tant. As long as the positions of the marks in the ArtPro file • Choose the Downsampling rate you want : none (leaving all
and in the exported ASCII-file are the same, registration is pictures at original resolution), 2, 4 or 8 times downsampling.
guaranteed. • Click Export. A dialog box will appear to set the name and
It is recommended to put the rectangles on a separate layer. the position of the Illustrator file.
This will allow you to delete the rectangles more easily after- • Once the Illustrator file has been saved, you can open it in
wards, without the risk of deleting objects in your document. Adobe Illustrator 3, 5 or 7.
• Restrictions:
2.39. Export Macroflex Illustrator 3.0... was developed for lineart only. This means:
• Text is not exported. To export text to Illustrator, convert all
This module is optional. Please contact your dealer
text to paths first.
for more information. • Images are not exported.
The Cyrel Macroflex uses the same philosophy as the Mount- A solution is to replace all images in ArtPro by a mask color
O-Matic, but is manufactured by DuPont and has some differ- (e.g. a bright color). Once converted to Illustrator it is then
ences. First of all, the minimum distance between the two reg- easy to spot paths in mask colors and re-address the images
istration marks is 127 mm. The registration marks also contain to them.
characters that refer to the used separations in the group. A re- • Gradations are not converted. The exported color for the vi-
fers to the first separation, B to the second,... . gnette is the first color in the gradation.
The Macroflex is not using a cylinder to put the polymer on, but • Multistep gradations are not exported
is a flat table model. First of all, an adhesive sheet of laminate
the size of the cylinder is put on the table. The camera’s can Illustrator 5.0... does not support TIFFs. This means:
move horizontally and vertically to show the exact position on • Placed TIFFs, mapped TIFFs and internal images are not ex-
the sheet for each piece of polymer. An operator glues the ported
polymer onto the sheet. Once completed, the sheets of all sep- • Gradations converted to tiffs, namely non-linear multistep
arations are put on the cylinders of the flexo printing press. gradations, are not exported either.

Manual ArtPro 8.0 Chapter 2 : File — p. 85 —

 Illustrator 7.0... does not support internal Images. 2.41.2. General
• Mapped pictures are exported as a single CMYK tiff • Add Notes
• Internal CT’s are not exported With this option on, all ArtPro notes (see file menu) are includ-
• Illustrator restriction: ed in the PDF file and will appear in Acrobat or the Reader as
When a path or a compound is made of more than 16.000 normal, editable PDF notes.
points, a warning message will appear at the end of the Illus- • Add Non Printing Layers
trator export function. This means that all the paths were If switched on, layers set to non printing, are exported into
converted to Illustrator, but at least one of the paths or com- the PDF file. With this option off, these layers are not output,
pounds contains more than 16.000 points. This will result in so the PDF file contains only layers with the Print option on.
an error when trying to preview the file in Adobe Illustrator.
To reduce the number of points on a path or a compound, • Include 1.5 Layers
you have two alternatives: PDF 1.5 allows the use of layers. If the option is switched on,
• Re-smoothen the paths in ArtPro, using Straighten Margin, the ArtPro layers will be put in the PDF file as 1.5 layers. The
so paths with less points are created. compliancy will be set to PDF 1.5. This will allow you to
• Make smaller compounds. One compound is one path for Il- switch layers on/off in Acrobat.
lustrator. Divide the compounds into smaller compounds, so • Add Thumbnail
that paths with a smaller number of points are created. With this option on, a thumbnail will be created of the file, a
small preview, that can be shown in thumbnails in Acrobat.
With this option off, the thumbnail in Acrobat will be gray.
2.41. Export PDF
• Add Standard Preview
The Export PDF dialog is built based on 4 sets of settings or
Preview can be defined by resolution (default 72 dpi) or by
Flavours: “For Press”, “For Viewing”, “For Reader” and “Cus-
max size (in kb). This can be usefull when creating a pdf of a
tom”. The settings for each of these flavours can be changed
large size S&R, of which the preview at 72 dpi would be sev-
and saved to the user preferences (see 2.41.8. Save / Load on
eral Mb.
page 89). Next to the flavour, an indication to the compliancy
is given: this shows that, based on the settings, the file will be • Add Separated Preview
pdf 1.3, 1.4, 1.5 or JDF compliant. It is now possible to save a separated 72dpi preview in the
PDF file. This non-standard preview can only be used by oth-
er Artwork Systems software, such as ArtPro S&R, Mnemo,
...
• Include XML Tickets
This option allows to include an XML ticket into the PDF file,
which then can be used when importing the PDF file in Nex-
us. The XML file contains options and settings on how the file
should be processed in Nexus. For more info : see the Nexus
8.0 documentation.
The browse button allows to select the XML folder. The loca-
tion of this folder is saved in the Preferences, and is indepen-
dent of the flavour.
The drop down will show all XML files in the selected folder,
and allows to choose a specific XML file.

2.41.1. Placed Files (S&R) • Marks

The same Marks options as in Print are also available in the
When outputting PDF of a file containing placed EPS, this EPS Export PDF option. See • Marks / Generate Marks on page
will be placed in the PDF file as a PDF XObject. This will work 66.
on certain RIPs. The Rip must accept PDF XObjects containing
PostScript. Nexus Rip for example, can handle these objects.
Placed DCS will only work with Separated PS Output, and not
when outputting PDF

— p. 86 — Chapter 2 : File Manual ArtPro 8.0

2.41.3. Optimize • Copy PDF
If the Copy PDF option is on, the original PDF files in the S&R
will be copied to the output folder of the JDF Output. If the
option is off, these single PDF files will not be copied, and the
JDF will contain a link to their original location.
• Maximum Size
This option can be used to ensure that the size of the pdf file
doesn’t exceed a certain size (e.g. 5000 kb) This can be used
for files that need to be sent e.g. by email. In order to keep
the file size below the maximum size, images may have to be
downsampled and/or compressed more than set in the dia-
log. Do not use this for files that will be send to Press !
• Estimated Size
• Use Picture Caching The Estimated Size gives a rough idea of the size of the PDF
Picture Caching makes the output faster by keeping all im- file. This can be pretty inaccurate, as it is very difficult to pre-
ages that are put in the PDF file in the RAM, until the com- dict what size images will have after compressing.
plete file is written. This keeps ArtPro from having to read an • Split Long Paths
image multiple times from the hard disk, if it is used multiple Just like PS output, paths with many anchor points can be
times in the file. The condition is that you have enough RAM split up an parts. The more parts that need to be exported,
on your machine. This is very useful if images are stored on the longer it will take. The default settings is 1500 points. See
a remote file server also 2.33.5. More Settings: Optimize on page 72.
• Output Gradients as Images
If this option is switched on, all gradients will be converted to 2.41.4. Color
images instead of including them in the PDF file as PDF
Shadings.
• Compress Page Description
When this settings is switched on, the PDF file will be com-
pressed. This option is switched on by default.
• Include Extended Nexus Screening
If the option Include Screening is on, Nexus Extended
Screening info will be saved in the PDF file. If other screening
is found (PS Screening or Nexus) a warning will be generat-
ed. This Nexus Extended Screening info can be used by the
TotalRip functionality in Nexus.
• Generate JDF Output • Force Opaque Inks to knockout
JDF Output is an optimization system for outputting S&R of If this checkbox is switched on, Opaque inks (such as Gold,
PDF files. When outputting a Step & Repeat to JDF, multiple Silver, ...) will knockout the background in the PDF File. This
files will be generated. should only be used for viewing files, and not for files that has
First of all, the one up file(s) will be exported to pdf file(s). If to be used for output.
the One up already was pdf, the file will be just be copied, un- Since this results in a PDF file with incorrect output, an excla-
less the checkbox “Copy File” is off. Second, one or more mation mark is added.
PDF files will be generated containing all elements that are on • Color Management
the Repetition : registration marks, test strips, extra info, etc. The Color Management button opens the Color Manage-
Items that are grouped, will be in the same file. Third, a JDF ment options to be used on the PDF Export. For more info,
file is created, containing the positioning of all these PDF see 1.3. Color management on page 8
files.
• Flattener
The Flattener is used to translate transparencies and blends.

Manual ArtPro 8.0 Chapter 2 : File — p. 87 —

 This is necessary when outputting PDF 1.3 compliant. More 2.41.6. Images
on the Flattener, including the Flattener Options, can be
found in 8.23. Flatten Transparencies on page 183.

2.41.5. Text

• Use Image Downsampling At

All images with a resolution higher that this value, will be re-
• Vectorise text sampled. This allows you to create smaller PDF files.
Before exporting, ArtPro will convert all text to paths to avoid • Image Downsampling
font problems at a later stage. When this option is switched If this option is on, only images with a resolution higher than
off, the text will be in the PDF file as real text. No font infor- the entered resolution, will be downsampled to the down-
mation is included, so fonts will have to be installed on the sample resolution. In the example above, when switching on
system for further processing. the checkbox, images with a resolution below 450 dpi will re-
main unmodified, while images with a resolution above 450
• Embed Fonts dpi will be downsampled to 300 dpi.
This allows to embed used fonts in the PDF output. If Embed • Use Averaging When Downsampling
Standard Fonts is on, even standard fonts will be embedded This option is the same as in the more print settings. When it
in the PDF file. Subset Fonts defines wether fonts should be is activated, image quality will be better, but the output will
embedded as subset if only a part of the characters are be slower. The difference with PostScript output is that
used. How much of the font characters should be used be- CCITT images are averaged too when outputting to PDF.
fore the font is embedded completely, can be set in the
When percentage of characters used is less than field. If this • Image Compression
value is set to 100%, a subset will be created for every font None, Lossless compression (Flate), Maximum Quality
which is not used completely. JPEG, High Quality JPEG, Medium Quality JPEG or High
The Embed Fonts and Vectorise text option, results in three Compression JPEG. None means that all compression is
text output possibilities : taken off. Compressed images are decompressed in the
Normal text (both options off) means text is output as PDF PDF file. A lossless compression means that the file will still
text, so text can be edited, and search functions can be be complete after decompression. There will no loss of qual-
used. The fonts used in the file should be available on the tar- ity. In the three other cases, the files are compressed with a
get platform for the text to be shown correctly. At this stage, JPEG compression. A higher compression means smaller
only 1-byte fonts can be used. Text with embedded fonts files, but worse quality and vice versa.
(with the embed fonts option on) works in exact the same • Include RGB preview of images
way as above, but the fonts do not have to be available on This will add a lowres 72dpi preview of the large images in-
the target platform, as they are embedded in the PDF file. At side the PDF. These previews will be used by some Acrobat
this stage, only 1-byte fonts can be embedded. plugins, to speed up previewing files .
Vectorised text (with the Vectorise Text option on) means all
text is converted into outlines. This does not allow editing or 2.41.7. Certified PDF
text search. For multibyte fonts (e.g. Chinese, Japanese, ...) The Certified PDF tab contains the settings to be used when
text is automatically converted to outlines. working in Certified Mode. For an overview of Certified Mode
and the settings on Export PDF, we refer to 1.4. Certified Art-
Pro on page 12.

— p. 88 — Chapter 2 : File Manual ArtPro 8.0

2.41.8. Save / Load 2.42.2. Output
The result of the export depends on the setting of the radio but-
ton at the bottom of the dialog: separated, CMYK, Binary, log
file or on screen

• Save Current to XML

This writes an XML file containing all settings for the active
flavour. Settings for other flavours will not be included.
• Load Current from XML
Load Current to XML opens an XML file and uses these set-
tings to overwrite the settings of the active flavour. Settings
for other flavours will not be changed.
• Save All to User Preferences
Save the settings for every Flavour into the user preferences. • Separated will result in a grayscale tiff on disk for every sep-
These settings will be used every time this user starts ArtPro. aration. Where the image is 50% gray it means there is no
This Save will only overwrite the PDF Export Preferences in difference at that position. If the original file is darker for the
the Preferences File. All other preferences remain un- specified separation, the difference file will be above 50%,
changed. and vice versa.
• Reset Current to Defaults • CMYK will result in a CMYK TIFF file, showing only those pix-
Resets the settings for the active Flavour to the factory de- els in the file where difference was found.
faults. • Binary results in one single 1-bit TIFF file, where differences
are shown as black pixels.
2.41.9. Shortcut • Show on Screen is a preview functionality. The Modified Job
There is a shortcut for Export PDF : q - P. will be dimmed, and all differences found will be highlighted.
This is the same shortcut as for the Print dialog. This results in The highlight color is defined in the appearance control panel
a toggle between the Print and Export PDF dialog. The first of the system, best is a bright color like magenta.
time the shortcut is applied, the Print dialog is opened. The
2.42.3. Delete Matching Files
second time, or if the Print dialog is open, the Export to PDF
dialog is opened. Will remove the TIFF files of separations in which no difference
between the two jobs is found. As Separated is the only setting
that results in multiple files, it is the only one affected by the De-
2.42. Export Differences lete Matching Files setting.
In the export Differences, you can select two open jobs which
2.42.4. Make Report Job
have to be compared. Using the separation dialog, you can
specify what separations should be compared. This function Will generate a new ArtPro document, with the name of the
could be useful e.g. to verify if the graphics of two different lan- compared files, date and time of comparison, used resolution,
guage versions fit, to find out what changes a customer made and all difference files placed under each other, preceded by
to the new label compared to the one printed last year,... the separation name.

2.42.1. Align 2.42.5. Import Differences

For jobs with different job sizes, you can define how the jobs Will vectorise the binary difference file on top of the original files.
have to be aligned : vertical and horizontal, top (left), middle or 2.42.6. Resolution
bottom (right). We do advise you, however to make the jobsize
When calculating the differences, ArtPro scans the job in pix-
of the two documents the same.
els, it does not look at vector information. Two pictures could

Manual ArtPro 8.0 Chapter 2 : File — p. 89 —

 be placed on exact the same position, but one was color cor- should be the name of the original ArtPro file, with “.not” at-
rected. Because ArtPro scans in pixels, this difference will be tached to it.
found. The resolution of these files can be defined in the Res-
olution field. 2.45.1. Note File
The note file is a small file that can be sent back to the produc-
tion site to pass the remarks. The icon of a note file is identical
2.43. Export CIP3 to an ArtPro icon, but has a small note on it.
This module is optional (only with PowerStepper).
Please contact your dealer for more information. 2.45.2. Edit
Export CIP3 creates a CIP3 file of the active job. CIP3 is a file • activate Edit by the Edit button or the Note tool in the toolbar.
format used to transfer data about a specific file through the • clicking in the job window will create a note
production process. Besides a preview, this CIP3 file contains • clicking in a note will select the note and allow you to edit it.
information concerning separations, ink coverage, job dimen- 2.45.3. Clear
sions, etc.
Clear deletes the active note.

2.44. Export Thumbnail / Printcheck 2.45.4. Clear All

The option Export Clear All deletes all the notes.
Thumbnail / Print- 2.45.5. Hide
check allows to cre-
Hide hides the active note.
ate an image of the
complete job. The 2.45.6. Show All
Export thumbnail, al-
Show All shows all hidden notes.
lowing a resolution
up to 120 dpi, is ba- 2.45.7. Open...
sic in ArtPro. Export Open allows you to open a note file. The note file is positioned
Printcheck, i.e. reso- with its top left corner to the top left corner of the job size. If you
lutions above 120 dpi, is a separate license. Please contact have changed the job size, the positioning of the notes may not
your local distributor. be correct.
Besides the resolution, the noise for gradation can be set. The So it is important to keep the job size of the ArtPro file unmod-
compression allows to choose between tiff and jpeg, with 3 ified, once you have created a note file on it.
possibilities on compression : High compression, Medium
compression or High Quality. The Box drop box allows to de- 2.45.8. Save...
fine what border has to define the boundaries of the image to Save allows you to save the note file. The dialog box that ap-
be created. pears allows you to give a name to the note file and decide
where the computer should store it. When you use the normal
2.45. Notes Save function (q - S), the ArtPro file saves both the job and the
notes.
The Notes... submenu provides functions to place notes on an
ArtPro job. These notes can then be saved in a separate file,
this is a “note file”, or in the ArtPro file itself. Mostly these notes
are created in ArtView, an independent program that allows
you to view, check and measure an ArtPro file for job validation
at a remote site. The file cannot be modified, but through the
notes, the changes can be communicated to the ArtPro oper-
ator.
If a note file is saved in the same folder where the original Art-
Pro file is, the notes file will be opened automatically when the
ArtPro file is opened. Therefore, the name of the notes file

— p. 90 — Chapter 2 : File Manual ArtPro 8.0

 3. EDIT

3.1. Undo 3.5. Paste

Undo cancels the last function performed in the ArtPro Paste puts the clipboard objects in the active file, taking into
file. The name of the function that can be undone is account the position of the ruler. It is possible to Paste the cut
shown next to Undo in the Edit menu. For path manipulations, or copied objects into the same file or into another file. The po-
ArtPro has several Undo levels (up to 64,000). The default sition of the objects is relative to the ruler. Thus, if the ruler has
number, which can be changed in the Preferences menu (see not been moved in the same file, the copied objects will appear
1.2. Preferences... on page 1), is set at 10. Keep in mind that on top of the original ones.
a high number of Undo consumes memory and can slow down Shortcut: q - V, Paste
the display speed. For contone manipulations with the (option-
al) contone module only one Undo is possible. For Ruler, View
and Job Size operations there are separate undo functions.
3.6. Clear
Shortcut: q - Z, undo Clear deletes the selected objects. When a dialog box is active
or text is being edited, the backspace key deletes the selected
characters or the character before the current cursor position.
3.2. Redo Shortcut: Backspace, delete, clear
Redo cancels the last Undo function performed in the
ArtPro file. The name of the function that can be re-
done is shown next to Redo in the Edit menu. For path manip-
3.7. Undelete
ulations, it is possible to Redo several times, depending on the Undelete displays in gray the paths that have been deleted as
number of times Undo was used just before, with a limit as de- a result of any path manipulation function, whereby a new con-
fined in the Preferences menu (see above in Undo). For con- tour was created and the original one deleted. E.g. changing
tone manipulations with the (optional) contone module only color, spreading/choking, moving, rotating, deleting, etc. Only
one Redo is possible. those paths appear that are still within the Undo limit (see
Any path or contone manipulation clears the redo buffer. This above in Undo). Automatically, the Show Deleted option in Pre-
means that it is only possible to use Redo immediately after us- view Options (see) will be activated and the cursor will change
ing Undo. into a cross.
Shortcut: q - x - Z, redo The deleted paths turn to normal paths again when they are
selected with the Undelete cursor by clicking on them or drag-
ging a rectangle over them. Clicking on a gray path brings back
3.3. Cut the path or the compound it belongs to. Dragging a rectangle
Cut deletes the selected objects from the ArtPro file and places brings back all paths within the rectangle.
them on the clipboard. This function is normally used in com- By choosing another function, Undelete is deactivated.
bination with Paste (see below). The position of the ruler is tak- Where are the undeleted paths inserted?
en into account. The clipboard is job related and contains not • The undeleted path(s) return to the same position in the job
only the cut or copied objects but also the file’s color informa- as where they were before deletion.
tion. • The undeleted path(s) appears inside its original group if the
Shortcut: q - X, cut group was not completely deleted.
• If the group of the undeleted path(s) was deleted, the unde-
leted path(s) appear in the first parent group which was not
3.4. Copy deleted. The parent group is the group just above the original
Copy puts a copy of the selected objects on the clipboard. The group. If there is no parent group, the undeleted path(s) ap-
original objects are not removed from the file. This function is pears as a single path(s) in the layer.
normally used in conjunction with Paste (see below). • When the complete layer has been deleted, a layer with the
Shortcut: q - C, copy same name is created containing the undeleted element.

Manual ArtPro 8.0 Chapter 3 : Edit — p. 91 —

3.8. Ruler • when pressing the arrow keys together with the shift key,
magnetism is used: shift-left, shift-right, shift-up and shift-
The Ruler is the origin of the ArtPro document and can down moves the ruler to the next magnetic point in that
be moved around. The center for the linear transfor- direction. When there are no more magnetic points in that
mations (rotation, scale, mirror, shear) is the zero point of the direction, the ruler does not move. Again magnetism applies
activated Ruler. to the bounding box of the selected paths or to the borders
When you deactivate or hide the Ruler (q - R), the center of the of the jobsize if no paths are selected.
bounding box of the selected objects is used instead (see later If you hold down the option key while moving the ruler, you can
in this chapter: Copy, Move, Rotate, Scale, Shear, Mirror Vert., create a new guide. For more information on how to use
Mirror Hor.). guides, see 7.15.6. Activate Guides on page 163.
When using metric units (mm, cm), the ruler displays in millime- Shortcut: q - R : Show/hide ruler
ters. By choosing inches, mils, points, Q or int. units, the ruler Shortcut: q - z - R : Move Ruler tool
will display inches (see 1.2. Preferences... on page 1).
The Ruler can be moved using the Move Ruler function (see la-
ter). 3.9. Undo Ruler
With the Undo Ruler function you can undo the last ruler move-
3.8.1. Moving the ruler
ment.
• choose the ruler icon from the toolbar or use its shortcut: There is only one level of Undo Ruler. So if you undo twice, you
q-z-R, then click (and drag) to position it in the job window. return to the original position before the first undo. (= undo of
Hold the shift key down to make the ruler snap to 9 magnetic undo)
points on the job size or the selection. The ruler will snap to Shortcut: q - x - R, undo move ruler
those points when it comes within a range of two screen-
pixels.
• choose the ruler icon from the toolbar or use its shortcut: 3.10. Set Grid
q-z-R, then use the arrow keys to move it around. The step Set grid is used mainly for separated S&R. It will create a grid
size is specified in the Ver. Key Step and Hor. Key Step fields on the selected size, the origin point being the top left corner
in the Magnetism dialog (see 7.15. Magnetism... on page of the selection. At the same time the vertical and the horizontal
163). cursor key step (see 1.2. Preferences... on page 1) are set to
Hold the shift key down to make the ruler snap to 9 magnetic these same dimensions.
points on the job size or the selection. The grid created is always a partial grid, meaning ArtPro dis-
• You can also move the ruler by clicking near the ruler origin plays a small (per default green) cross on the dimensions of the
in the move path mode. grid. Using the Move Area tool (see 3.11.3. Move area tool on
• by using the shift key while page 93), objects can be moved on the grid distance, e.g. to
moving the ruler, the ruler is copy and position separations of a S&R job.
snapping to 9 magnetic
points. These 9 magnetic
points are left, center and 3.11. Transform tools / align
right, resp. bottom, center
and top, and work on the 3.11.1. Some General concepts:
bounding box of the select- • The transform tools have three functions:
ed objects. When no paths • selecting (if on in Prefer-
are selected, the magne- ences)
tism is applied to the bor- • moving objects
ders of the job. There is • moving the ruler
also a magnetism to the rul- (if on in Preferences, see
er itself for horizontal and picture)
vertical movements. As a selection tool, the
• by using the arrow keys the ruler will move in steps, vertically move tool works exactly as the normal selection. To move
or horizontally. the ruler, click on the ruler and drag it to a new position.

— p. 92 — Chapter 3 : Edit Manual ArtPro 8.0

 • Shortcuts during transform • Moving using the arrow keys:
When using the x key (for magnetism) or the z key (for a • Select the objects you want to move.
copy) in transformations, always make sure to click first and • Choose Move from the Edit menu or activate the move tool.
start dragging before pushing the shift or option key, other- • The left or right arrow (of the keyboard) moves the selected
wise, the cursor changes respectively into the selection tool objects horizontally over a distance defined in the Preferen-
(-> to add objects to the current selection) or the Pan (-> to ces dialog in the Hor. Cursor Key Step field (see 1.2. Prefer-
scroll through the job). ences... on page 1) The up or down arrow moves the
• Parameters selected objects vertically over a distance defined in the Pref-
All the transformation tools will respond to the Path and Paint erences dialog in the Vert. Cursor Key Step field (See 1.2.
settings in the transform dialog (q - L). These parameters Preferences... on page 1).
define on what the transformation has to have effect. The • x : Using the arrow keys simultaneously with the Shift but-
Scale Strokes setting only effects scaling. ton activates magnetism of the selected objects to the ruler.
The objects snap directly to the ruler. If the ruler is hidden
• Ruler (see 3.8. Ruler on page 92), nothing will happen. Shift-left,
Note that the result of transformations is different when the
shift-right, shift-up and shift-down will position the selected
ruler is active or inactive. If the ruler is active, it is the center
objects to the next magnetic point on the ruler. If there are no
point of the transformation. If the ruler is inactive, the center
more magnetic points in that direction, the paths will not
of the selection is used as the center point for the transfor-
move. Magnetism applies to the sides, center and corners of
mation.
the bounding box of the selection.
3.11.2. Move tool • z : Pressing the arrow keys simultaneously with the Alt but-
ton, copies the selection.
The Move tool is used to move selected objects
around in the document. Moving can be done by • Moving numerically:
hand, with the arrow keys, numerically or using the align dialog. See Transform... (q - L) later in this chapter.
Sometimes it can be useful to position the Ruler first before ex- • Moving with the align functions
ecuting the Move function, since the ruler can be used as a ref- See Align and Extended Align later in this chapter.
erence point or as a magnetic object. (q - z - L / q - z - x - L)
Shortcut: q - x - M, Move Tool
3.11.3. Move area tool
• Moving manually:
• Select the objects you want to move. The Move Area tool is a transform tool that differs from
• Choose Move from the Edit menu, the toolbar or with the the regular Move tool in 2 ways:
shortcut. • When using the Move Area tool, it is not necessary to select
• Click within the bounding box of the selection and drag it to the objects you want to move first, just click inside the object
a new position. and drag it to the desired position.
• x : Using the Shift key while moving will make the paths you • Move Area is always magnetic to cursor key distance.
are moving magnetic. When moving with shift, objects can As for the other Transform tools, holding down the option key
snap to the ruler, magnetic objects and to an angle defined while moving will create a copy of this object. The magnetism
in Activate Angle within the Magnetism dialog. The magne- with the shift key works exactly the same as for the regular
tism of the selection will be different depending on where a move tool. This tool is mostly used in combination with Set Grid
group of objects is grabbed. If the group is grabbed on one (see 3.10. Set Grid on page 92), to position jobs in a S&R.
of the objects, the 9 points of that object will be magnetic. If 3.11.4. Rotate
the group is grabbed inside the bounding box of the selec-
Rotate will rotate the selected objects to a new posi-
tion, but not inside one object in particular, the bounding box
tion in the document. Rotating can be done manually,
of the complete group will be magnetic. If an object is
numerically or through the align function. This function uses the
grabbed on a path, that point on the path will be magnetic.
Ruler as a reference point, when activated. The rotation works
This goes for all transformation tools.
around the zero point of the Ruler, so it can be useful to posi-
• z : Pressing the Option key (= Alt) at the moment you re-
tion the Ruler first before executing the Rotate function. When
lease the mouse button, will keep the original objects, i.e
the Ruler is hidden, the rotation works around the center of the
makes a COPY.
bounding box of the selection.

Manual ArtPro 8.0 Chapter 3 : Edit — p. 93 —

 • Rotating manually • Scaling numerically
• Select the objects you want to rotate. See Transform... later in this chapter.
• Choose Rotate from the Edit menu • Scaling using the Extended Align function
or activate the rotation tool using the See Extended Align later in this chapter.
toolbar.
• Click inside the bounding box of the 3.11.6. Rotate and Scale
selected objects and drag them to Rotate and Scale makes it possible to manually rotate
their new position. and scale the selected objects simultaneously. The
• x : Using the Shift key while rotating size is always changed proportionally. When the Ruler is acti-
forces the rotation angle to multiples vated, it is used as reference point. When the ruler is hidden,
of the Constrain Angle set in the Pref- the function is performed on the bounding box of the selected
erences dialog (Default = 15°). objects.
• z : Pressing the Option key (= Alt) at the moment you re- • Select the objects you want to Rotate and Scale.
lease the mouse button, will keep the objects in their original • Activate the function in the Edit menu or through the toolbar.
position and thus make a COPY • Click within the bounding box of the selected objects and
• Rotating numerically drag them to their new position and size.
See Transform... later in this chapter. • SHIFT: Using the Shift key forces the rotation angle to multi-
ples of the Constrain Angle set in the Edit Preferences dialog
• Rotating with the Extended Align dialog
(1.2. Preferences... on page 1).
See Extended Align later in this chapter.

3.11.5. Scale
3.11.7. Shear
Scale resizes the selected objects. Scaling can be
Shear slants the selected objects along the vertical or horizon-
done by hand, numerically or with the extended align
tal axis. Shearing can be done by hand or numerically.
function.
Sometimes it can be useful to position the Ruler first before ex-
Sometimes it can be useful to position the Ruler first before ex-
ecuting the Scale function, since the active ruler can be used ecuting the Shear function, since the active ruler can be used
as a reference point or as a magnetic object. as a reference point. If the Ruler is hidden, the Shear works
from the center of the bounding box of the selected objects.
When dragging closer to the zero point of the Ruler, the scale
goes down. Further away from the zero point, the scale goes • Shearing manually:
up. Once past the zero point a mirror function is also per- • Select the objects you want to
formed. When the Ruler is hidden, the Scale works from the Shear.
center of the bounding box of the selected objects. • Choose Shear from the Edit menu.
• Click within the bounding box of the
selected objects and drag to define
• Scaling manually
their new shape.
• Select the objects you want to Scale.
• The Shear function is automatically
• Choose Scale from the Edit menu or
constrained to a vertical or a horizon-
activate the scale tool in the toolbar.
tal shear.
• Click within the bounding box of the
• x : Using the Shift key while shear-
selected objects and drag to define
ing constrains the function to the constrain angle in the Pref-
their new size.
erences dialog (see 1.2. Preferences... on page 1).
• x : Using the Shift key while moving
• z : Holding the Option key (= Alt) at the moment you release
constrains the scaling to proportional
the mouse button, will keep the objects at their original shape
sizes, i.e. Vertical and horizontal
and thus make a COPY.
scale factors are equal. When scaling
in proportion, the objects are always mirrored both horizontal • Shearing numerically:
and vertical when moving beyond the zero point. See Transform... later in this chapter.
• z : Pressing the Option key (= Alt) at the moment you re- • Using the Extended Align dialog
lease the mouse button, will keep the objects at their original See Extended Align later in this chapter.
size and thus make a COPY.

— p. 94 — Chapter 3 : Edit Manual ArtPro 8.0

3.11.8. Mirror Vertically Logically, this tool will be useful to re-
Mirror Vertically mirrors the selected ob- place lineart, as in the example. It is
jects over the horizontal axis. When the also possible with 2 point transform to
Ruler is active, it is used as a reference replace pictures, e.g. when a lores
point and Mirror is performed over its hor- scan is replaced by a hires scan, which
izontal axis. Therefore, it can be useful to differs in size, resolution and rotation.
position the Ruler before executing the function. This would not be possible using the
When the Ruler is hidden (see Grids - Magnetism on p.225 or Replace function in Used Pictures (see 9.14. Used Pictures on
in Ruler earlier in this chapter), the Mirror Vertically works over page 196). In that case one image can easily be replaced with
the horizontal center line of the bounding box of the selected the other, by using the 2 point transform.
objects. 3.11.11. Fit to borders
Procedure:
When applying the Fit to borders function, the
• Select the objects you want to Mirror.
selected object will be centered on the Job
• Choose Mirror Vertically from the Edit menu.
Size, and scaled proportionally so that the ob-
• z : Pressing the Option key (= Alt) at the moment you re-
ject fits the job size either in horizontal or ver-
lease the mouse button or before you click on the menu
tical direction, so that the other dimension is
function, will keep the original objects and thus make a
smaller than the Job size. This means that if
COPY.
the objects fits the horizontal size of the job
3.11.9. Mirror Horizontally size, the vertical size will be smaller than the
Mirror Horizontally mirrors the selected objects over the vertical job size, and vice versa. If more than one ob-
axis. ject is selected, the same will be done based
When the Ruler is active, it is used as a reference point and Mir- on the bounding box of the complete selection.
ror is performed over its vertical axis. Therefore, it can be useful 3.11.12. Transform
to position the Ruler before executing the function.
Via the Transform dialog
When the Ruler is hidden (see Grids - Magnetism on p.225 or
in Ruler earlier in this chapter), the Mirror Horizontally works you can execute Move,
Copy, Rotate, Scale, Mir-
over the vertical center line of the bounding box of the selected
ror and Shear numerical-
objects.
ly. To execute a
Procedure:
transform function by us-
• Select the objects you want to Mirror.
ing the Transform dialog
• Choose Mirror Horizontally from the Edit menu.
box, you do not need to
• z : Pressing the Option key (= Alt) at the moment you re-
activate the menu func-
lease the mouse button or before you click on the menu
tions or their toolbar icon.
function, will keep the original objects and thus make a
Just select the objects,
COPY.
fill in the desired values
3.11.10. 2 Point Transform and click on the Trans-
This transform tool is a combination of move, scale and rotate, form button in the dialog
and is defined by 2 sets of 2 points. After selecting the objects box. You can open the
to be transformed, and selecting the 2-point transfer tool, 4 Transform dialog box by
clicks are needed. Based on the position of the points clicked, selecting transform in the
ArtPro will calculate what scaling, moving and rotating is nec- Edit menu, by using its
essary to place point 1 onto point 2 and point 3 onto point 4. shortcut, or by double clicking any of the transform tools in the
The scaling and rotation used can be seen in the Transform di- toolbar. All the Transform functions are performed one after the
alog. other with movement as the last function.
In all input fields you can enter simple calculations: Add “+”,
Subtract “-”, Divide “/”, Multiply “*”
All calculations are executed as they are typed in.
Shortcut: q - L, Transform

Manual ArtPro 8.0 Chapter 3 : Edit — p. 95 —

 • Distance Vertical 2. Using repeat: create the line, fill in 5 mm as distance in the
Vertical distance for Move. Positive val- transform dialog, fill in 100 copies and click Transform once.
ues work downwards, negative values • ArtPro will multiply the distance by the number of copies and
upwards. calculate the value in internal pixels:
• Distance Horizontal 5 mm x 100 = 500 mm = 236220 pixels
Horizontal Distance for Move. Positive • Then divide the amount of pixels by the number of copies:
values work to the right, negative values 236220 / 100 = 2362.20
to the left. • Now ArtPro works with this figure and rounds each time to
the nearest complete pixel as follows:
• Scale Vertical 1st copy = 2362.2 pixels => 2362 pixels
Scale factor in vertical direction. Negative 2nd copy = 2362.2 x 2 = 4724.4 => 4724 pixels
values will scale and mirror the paths over 3rd copy = 2362.2 x 3 = 7086.6 => 7087 pixels
the horizontal axis of the ruler or the cen- This ensures the rounding errors are minimal.
ter of the bounding box. Usually, method two is the preferred choice for making pat-
• Scale Horizontal terns.
Scale factor in horizontal direction. Neg-
ative values will scale and mirror the paths over the vertical Example 2:
axis of the ruler or the center of the bounding box. If you have to make a background of squares in a chess-
• Angle board pattern e.g., you create a 10 x 10 mm square and
Rotation angle. Positive values work clockwise, negative val- want to copy it 10 times horizontally.
ues counterclockwise. Without repeat: make a 10 x 10 mm box, fill in 10 mm dis-
tance in the transform dialog, set one copy and click Trans-
• Shear
form 10 times.
Shear angle. Positive values shear to the right and negative
• 10 mm = 4724 internal pixels
values shear to the left, always horizontally.
• Repeating 10 times = 47240 pixels
• Repeat / Copy • 100 mm = 47244 pixels
Repeat allows you to specify the number of times the trans- • The last square will short of the exact 100 mm total by just 4
formation has to be applied. It works more accurately than pixels, but with each square butting up to the next perfectly.
clicking transform several times, which is shown in the exam- Although you have a rounding error in the width of the set of
ples below. This function can be used to create patterns, e.g. squares, the squares are nicely put side by side.
line patterns.
Without copy, the original path is deleted, but all individual With repeat: make a 10 x 10 mm box, fill in 10 mm distance
transforms are kept. With copy, the original path is kept as in the transform dialog, set to 10 copies and click Transform
well. • The distance x nr of copies = 10 x 10 mm = 100 mm = 47244
pixels
Example 1 • pixels divided by nr of copies = 47244 / 10 = 4724.4
To create a line of 2 mm width and copy it 100 times with a • Then the copies are calculated:
repeat distance of 5 mm, there are two methods to choose 1st copy = 4724.4 => 4724
from. 2nd copy = 2 x 4724.4 = 9448.8 => 9449
Without repeat: create the line, fill in 5 mm as distance in the This means that in between the second and the third box
Transform dialog, fill in one copy and click 100 times Trans- there is a gap of one pixel. In the same way, an overlap of one
form. ArtPro’s internal resolution is 12000 dpi. Any value is pixel can occur. Generally, a one pixel gap or overlap is not
recalculated to this internal resolution. For this reason the fol- visible. Problems may occur if boxes that do not touch are
lowing rounding error will occur: trapped, in this instance, the first method may be the best
•5 mm distance = 2362 internal pixels choice.
•100 x 2362 pixels = 236200 pixels,
while 5 mm x 100 = 500 mm = 236220 pixels. This means
that your last line will be 20 pixels (±0.0423 mm) off.

— p. 96 — Chapter 3 : Edit Manual ArtPro 8.0

 • Paint
By default this option is activated so that all transform func-
tions apply to the paint of the selected paths. Transforming
a path that contains a picture or gradation, will also transform
the picture or gradation. When you do not want the picture
4724 + 4724 = 9448 9449 or gradation definition to change or to move, deactivate Paint
before transforming the path.
Make sure to switch it back on (default) after using it, as this
can be very confusing.
• Soft Mask
By default this option is activated so that all transform func-
An alternative and even quicker way to obtain the same re- tions apply to the soft masks of the selected paths. Trans-
sult as with the first method goes as follows: Make a 10 x 10 forming a path that has a soft mask applied to it, will also
mm box, fill in 10 mm distance in the Transform dialog, transform the soft mask. When you do not want the soft
switch to internal units in the Preferences menu, delete the mask definition to change or to move, deactivate Soft Mask
(invisible) digits behind the comma or re-enter only the digits before transforming the path.
before the comma, switch back to mm, set to 10 copies and Make sure to switch it back on (default) after using it, as this
click Transform once. can be very confusing.
• Copy For more info on soft masks, see 7.18.4. Opacity Mask on
Copy can be activated to keep a copy of the original (works page 174
in the same way as the option key when transforming man- • Scale Strokes
ually). The Scale Strokes option
• Reset defines how strokes are han-
Resets the values to 0, the scale values to 100% and deac- dled if the parent path and its
tivates the Copy option. All values are reset except for the stroke is scaled. Original object
ones that are locked. If the option is off, the stroke
• Lock width will not change. This
Normally, when a manual transformation is performed, you means the parent path after
will see numerical feedback in the transform dialog. The lock scaling, will be stroked with
the same width as it was be- Scale 200%
icon allows you to freeze the value of the separate numerical with Scale with Scale
input fields, so that the entered value will not change with a fore scaling. Strokes on Strokes off
manual path manipulation. If the option is on, the stroke
will remain a stroke, and its
• Path width will be changed the
By default this option is activated so that all transform func- same percentage as the par-
tions apply to all the selected paths. With the toggle switched ent path was scaled. Thus,
off, the paths are fixed in the job while their color information scaling an object with a 3
is transformed. Thus, only the paint of the selected paths will mm stroke, to 150%, will re-
be affected by transform manipulations. The latter can be sult in an object with a 4.5 Scale 250% V, 100% H
performed manually or numerically from the Edit menu. Scale Scale Object&
mm stroke. When scaling Strokes Strokes stroke
This feature is particularly interesting in the following cases, unproportional, the stroke on off scaled
for instance. will be scaled by the geo- separately
• To put a gradation to a specific angle : activate the option, metric mean of Vertical and
select the path containing the vignette, define the angle in the Horizontal scaling. This means the stroke will be scaled pro-
Transform dialog and execute the Transform function. portionally. See example on the right.
• To scale picture information keeping the image at the re- The formula for geometric mean is shown underneath.
quired position: activate the option, select the path contain-
ing the picture, define the scale in the Transform dialog and Scale stroke = Scale Vert × Scale Hor
execute the Transform function.

Manual ArtPro 8.0 Chapter 3 : Edit — p. 97 —

 If the stroke should be scaled unproportional the same way When you align several elements while holding shift, the se-
as the objects (see above, picture on the right), the object lection will be moved all together (the selection is treated as
and stroke should be scaled separately : a group). Without shift, the alignment is as in older versions.
• Select the parent object only Using the 4 other buttons, you can distribute all selected ob-
• Scale the parent object manually or by using the transform jects. In this case, the outer objects (above: top and bottom,
dialog. below: left and right) are not changed.
• Select the stroke only The first distribute button will distribute the centers of the in-
• Apply the same scaling. If the values are unlocked (see ner objects equally in between the centers of the outer ob-
above), the scaling factor for the parent object will still be jects. The second button distributes the space in between
shown in the Transform dialog, so simply click Transform. the individual objects. (see picture)

3.11.13. Align
The Align function has two dialogs: regular align and the ex-
tended align. The functionality of the two differs depending on
the dialog that was chosen. The align dialog can be activated
through the Edit > Transform menu or by its short cut. The ex-
tended align dialog can not be found in the menu, but can be
activated by going to the regular align function holding the shift
key down. As soon as you reduce the size from the align dialog
Original Distribute on Distribute on
(from extended to default), all settings of the extended window objects center points distances
that are now hidden, are automatically deactivated.
In the align dialog, you can also find the related tools, measure, 3.11.14. Extended Align
ruler and move.
The extended align dialog combines many functions like posi-
Shortcut: q - z - L, Align
tioning the ruler, checking the position of a selection, trans-
Shortcut: q - x - OPTION - L, Extended Align
forming the selection, aligning, etc....

Original Top align Center align Top align Top align

objects on b.box. on b.box. on ruler on 20mm

• Align
• Ruler positioning
The Align
The bottom left part of the extended align dialog
functionality
shows 9 buttons to align the ruler to the job
can be used
size. When applying shift, the ruler will be
to horizontally or vertically align or distribute a number of ob-
aligned to the bounding box of selected paths
jects. The first row is to align or distribute all objects vertically.
instead. If the ruler is positioned on one of the 9
The second row is to align or distribute horizontally.
magnetic points of the job size, the corresponding icon will
The first 3 buttons on the top line, align the objects to the top,
remain highlighted. You can see that as soon as the ruler is
the center or the bottom. On the bottom line, they align to the
moved away from one of the 9 positions on the job size, no
left, centered or to the right. The position of alignment is de-
button is highlighted.
termined by the position field: if the field is empty, the objects
will be aligned to the bounding box of the selection. Other- • Measure point position
wise, alignment is predefined relative to the ruler position. The second set of 9 buttons defines the posi-
The Bounding Box button and the Ruler button can be used tion of the measure point. As soon as one of
to set the input fields resp. to empty or to zero. these buttons is activated, the distances to the
ruler and the size of the bounding box of the se-

— p. 98 — Chapter 3 : Edit Manual ArtPro 8.0

 lected objects will be measured. • Absolute versus relative measurements:
Modifying the values in these measuring fields is possible In the align dialog, all measure and input fields are absolute,
and results in an immediate modification of the distance or whereas the input fields of the transform dialog are relative.
the size of the objects (bounding box of the selected ob- E.g. If you move an object, the vertical and horizontal dis-
jects). tance fields in the align window will show the absolute posi-
When changing the size, the position of the active measuring tion in relation to the ruler position, the transform dialog will
point will not move. The measuring point has to be defined measure the vertical and horizontal distance between the
before you can move or scale objects. object's initial position and its new one.

When clicking on the activated button, the measuring will be 3.12. Interactive Transform
deactivated, but the values will remain active. This means The Interactive Transform tool can be found in the tool
other objects can be aligned on this one measure point: bar next to the Select tool. It is represented by a select
• select an object and choose the measure point tool in a bounding box with handles. This new object edit tool
• deselect the measure point works with object handles, and can be compared to the use of
• select (an) other object(s) the select tool in e.g. Illustrator.
• use the align buttons to align them on the original value. The Interactive Transform Tool can be used for 4 functions : se-
• Bounding box or object mode lecting, moving, scaling and rotating.
Linked to this there are two different
modes of working: bounding box mode or 3.12.1. Selecting :
object mode (see images). In bounding When used outside of the
box mode (default), the system calculates via the bounding bounding box of a selection, the
box of the objects and allows you to modify only position, as Interactive Transform tool will ap-
well as the size of the bounding box. pear as an arrow, and works as a
In object mode, the system works regular selection tool. When se-
with the real object values, e.g. the lecting an object, the object han-
object's real top left point, instead of dles (on every corner, and on the
the top left point of its bounding centers of the bounding box
box. When choosing the object sides) and the bounding box will
mode, more parameters of the ob- become visible.
ject become available and can be When holding down the shift key, the selection of the clicked
modified: scale vertical and horizon- object will be inversed : Clicking or dragging around a selected
tal, rotation angle and shear. In the object will deselect it, and vice versa. This is comparable to the
dialog all the object parameters are regular select tool. For more information, see 3.17. Select on
displayed. In the example on the page 101.
right, the top left corner of the selec- If multiple objects are selected, the bounding box of the selec-
tion is aligned on the ruler in both tion will be shown, including the handles. In that case, all trans-
modes, first the bounding box mode then the object mode. forms will be applied to the selection, based on the bounding
• Remark box of the selection.
The additional parameters in the object mode (scale, rotation 3.12.2. Moving
and shear) are only available when working with paths that
When used inside the bounding box of a selection, but away
contain creation information. In practice this means all box-
from the handles, the Interactive Transform tool will function as
es, circles, ellipses, bar codes, etc. created with ArtPro
a Move tool. Holding down the shift key will cause magnetism
drawing tools. Paths imported from PostScript, PDF or other
towards the ruler or other magnetic objects, holding down the
file formats will receive creation information the first time they
option key (after starting the move) will result in making a copy.
are transformed through this extended align dialog. Until
then, these fields are empty, but you can still modify them. 3.12.3. Scaling
Paths without creation info can still be scaled, rotated,
When clicking and dragging exactly on top of one of the han-
sheared, etc. using the normal transform dialog or transfor-
dles, the cursor changes to a double-sided arrow, and the ob-
mation tools, but those functions do not update creation info.

Manual ArtPro 8.0 Chapter 3 : Edit — p. 99 —

 ject can be scaled. When using one of the corner handles, the 3.16. Selector...
scaling is done from the opposite corner of the bounding box
(as if the ruler was placed in the opposite corner, so leaving that The Selector menu allows you to select or deselect objects,
opposite corner unchanged - see picture). When holding down based on a number of criteria. When using the Select button,
the Shift key, the scaling will be done proportional and relative the objects matching the criteria, will be added to the selection.
to the center of the bounding box. Nothing will be deselected before the select function is used.
If a vertical (or horizontal) handle is • Link
used, the object will only be scaled To select all
vertically (or horizontally), based on objects con-
the other side of the bounding box, taining a link
leaving the other side unchanged for ArtLink.
(see picture). When holding down • Text
the shift key, the scaling will be To select all
done proportional, so in that case, text, or text
the scaling will not be only vertical smaller or
or horizontal. bigger than
Holding down the shift key will re- the entered
sult in proportional scaling, holding pointsize.
down the option key will copy the
• Strokes
object.
To select all strokes, or strokes smaller or bigger than the en-
3.12.4. Rotating tered value.
By clicking and dragging on the outside of one of the • Traps
corner handles, the cursor will change to a round Selects all traps, created by Automatic Trapping. A trap that
arrow (see picture), and the object can be rotated. The center has been edited, will no longer be recognized as a trap, and
of the bounding box is always used as center for the rotation. thus not be selected.
Holding down the shift key will result in rotating over multiples • Barcodes
of the constrain angle (set in Preferences), holding down the Selects all Bar codes, containing bar code information. With
option key will copy the object. some transforms (e.g. unproportional scaling), an invalid bar-
code is created. A warning will be given when transforming,
3.13. Select All and the bar code will no longer be selected with this function.
Select All selects all objects in the document, except for the • Open Paths
locked or hidden objects. When you are editing a text box or a Selects all open paths.
text line, all the text in that box or line will be selected. • Overprints
Shortcut: q - A, Select all Selects all objects containing overprints, represented as
“trans” values in the paint style.
3.14. Deselect All • Font Name
Selects all text items or text blocks containing the font en-
Deselect All deselects all objects or the selected text at once.
tered in the input field. A text item containing more than one
Shortcut: q - x - A, deselect all
font, will be selected completely if the entered font is used.
• Blends
3.15. Select Inverse Selects all blends in the ArtPro file
Select Inverse deselects all selected objects and selects the • Image Type
unselected objects. Selects all placed files of the file type defined by the drop-
Shortcut: q - z - A, Select Inverse down menu : Jpeg, ArtPro files, EPS, Tiff, Tiff/IT or PDF

— p. 100 — Chapter 3 : Edit Manual ArtPro 8.0

 • Image Color • Closest
Selects all im- When ...Closest is active, the cursor changes into an ar-
ages in the row. When the ...Closest Select tool is active (arrow),
file, based on you can select in different ways:
the setting of • clicking on a vector of an object in the job will select one sin-
the dropdown gle object or the entire group this object was grouped in, dis-
menu. Choic- regarding the position or layer it is on.
es are : • dragging a selection rectangle will only select the objects
CMYK, RGB, which fall entirely within the selection rectangle. If several ob-
Grayscale, B/ jects are grouped together, the selection rectangle must en-
W (Black and close this whole group
white one bit • When dragging a rectangle, pressing the option key allows
images), iCT to rotate the selection rectangle. While the option key is
(ArtColor images) or All. pressed, you can rotate the rectangle, and you can scale it,
• Paint Style but only proportional. When releasing the option key, the ro-
Selects all objects filled with the paint styles selected in the tation is kept, and you can again scale freely
list. Note that one or more paint styles can be selected. Shortcut: q, closest select

• Blend Mode • Area

Selects all objects containing the defined Blendmode. For When ...Area is active, the cursor changes into an ar-
more info on Blend Modes, see 7.18.1. Blend Modes on row with a “o” next to it. When the ...Area Select tool
page 171. is active (arrow with o), you can select in different ways:
• clicking inside a closed object will select that object. Only the
• Opacity object on top can be selected, not the ones behind it.
Selects all objects with an opacity higher than, lower than or Groups are ignored by this selection.
exactly the entered value. For more info on Opacity, see • clicking and dragging gives you a lasso selection, meaning
7.18.2. Opacity on page 174 that every object that is fully enclosed in this random selec-
• Soft Masks tion shape will be selected. This tool is very useful, because
Selects all objects containing a soft mask. For more info on not all elements can be selected in an easy way with a selec-
soft masks : see 7.18.4. Opacity Mask on page 174. tion rectangle. When the selection shape is not complete,
• Objects with Transparency ArtPro will automatically connect the start with end point.
Selects all objects containing any Transparency,i.e. either a Shortcut: q - z - Ctrl, Area select
blend mode, an Opacity or a Soft Mask or a combination of
3.17.2. Group, compound (object) and path selection
them.
Apart from the closest and area selection, there are three main
• Groups with Transparency selection tools: the group, compound and path selection. The
Selects all Groups containing any Transparency,i.e. either a group selection is the default selection tool. To modify this, you
blend mode, an Opacity or a Soft Mask or a combination of can switch off the options under Select, in the Preferences
them. Select both objects and groups with transparency to (see 1.2. Preferences...
check if your job contains any PDF 1.4 Transparencies. on page 1).
• Group selection
3.17. Select • This selection is the
Select activates one object or a group of objects. The se- same as the default closest selection tool (black arrow).
lected objects are shown in the selection color (see Dis- • Selects the group you click on, or which falls completely in
play Color for Selections in 1.2.4. Display on page 5). the selection rectangle. When a group contains other
groups, the top (largest) group is selected. When the paths
3.17.1. Closest selection vs. Area selection do not belong to a group, the group selection selects com-
There are two main selection tools, called the Closest selection plete compounds. When the paths do not belong to a com-
and the Area selection. The active selection will be marked in pound, the group selection selects paths instead.
the menu. Shortcut: q, group selection

Manual ArtPro 8.0 Chapter 3 : Edit — p. 101 —

 • Compound selection 3.17.4. Shift key
• This selection is represented by a black arrow with a plus. Using the Shift key while selecting inverts the selection of the
• This selection ignores groups. So it selects the compound or objects. A deselected object is selected and vice versa. E.g. to
the path you click on, or which falls completely in the rectan- hide all objects except one object, there are different ways:
gle. Compounds have priority over paths. • select that one object
• this option allows the selection of elements inside a group. • press shift and drag a big selection rectangle around the
Shortcut : q - CTRL, compound selection entire job
• Path selection • hide
• represented by a black arrow with a minus. or
• This selection ignores both groups and compounds, so it se- • select all
lects the path you click on, or which falls completely in the • press shift and click on that one object to deselect it
selection rectangle. • hide
• this selection selects the paths within a compound or group.
Shortcut : q - z, path selection 3.17.5. Locked & Hidden Paths
When a group or compound contains hidden or locked ele-
3.17.3. Climbing in the selection ments, only the elements that are not hidden or locked can be
The Compound or Path Selection methods will allow you to selected.
climb in the selection. This means that clicking again on the Be aware that when you click on a group with the closest
path you just selected will select one level higher. The selection group selection, the system tries to select all elements out of
climbs from path to compound, to group, next group level, until the group (or compound), but all hidden and locked paths will
you reach the complete layer. Area selection does not climb at not be selected. When a group or a compound contains one
all. or more locked or hidden elements, the climbing in the Closest
selection will not work.

Path Selection Compound Selection Group Selection (default) Area Selection

Lowest Level Middle level Highest level Area level

CLICK Selects 1 path Selects 1 compound or Selects the topmost Selects the compound
(click on one path) 1 path (if it does not be- group or the topmost or the path of the area
long to a compound) compound or a path you click in.

RECTANGLE Selects all paths com- Selects all paths and Selects all single paths Selects paths inside the
(Drag rectangle) pletely in the rectangle compounds completely and single compounds lasso
in the rectangle of the topmost group
completely in the rectan-
gle

Click on a selected will climb one level will climb one level Does not climb does not climb
object to climb. and select complete and select complete
Climbing is inactive compound or group or group or layer
when object contains layer
hidden or locked paths

Shortcut : q-z q - Ctrl q q - z - Ctrl

— p. 102 — Chapter 3 : Edit Manual ArtPro 8.0

3.18. Path Warp... After creating the
baseline and the re-
Path Warping will warp line- sult line in this way,
work, working from one open Warping is achieved
line to another. Path warping via creation of your
does not support vignettes, own warp lines.
images or text. Graphics with bleeds
3.18.1. Procedure usually require the
bleed to be deselect-
• Create a baseline and a re-
ed when creating
sultline.
(Create Conic) the
They can be created freely or with
warp lines.
the Create Conic function, which
can be used in 2 ways (see be- 3.18.3. Measure Path
low). Warping is done from the Measure Path calcu-
baseline to the result line. Both lates the length of any
lines may be curves but must be path (open or closed).
open paths. Even if you want to To measure a path:
warp on a circle, you must cut the click on Measure Path and click on a path. When you measure
circle first with the Cut Paths a path belonging to a Compound, only the length of one path
function in the Draw menu. (the one you click on) appears in the Measure Path field. You
• Select the paths to be warped can use this information to choose the length of the baseline.
(not the base line).
• Define the warp settings (alignment, copy, times). 3.18.4. Alignment
• Press warp; the cursor changes into a cross. • Left: the first point of the
• Click on the baseline. baseline is transformed
• Click on the result line. to the first point of the
ArtPro calculates the warping of all the selected paths. result line.
• Right: the last point of
3.18.2. Create Conic
the baseline is trans-
When warping graphics for cups and bottleneck-labels, it can formed to the last point
be difficult to define the exact warp paths. The baseline and the of the result line.
result line are important, because they define the deformation • Centered: the center
and you have to make sure that your graphics fit the deforma- point of the baseline is
tion of e.g. your cup. Therefore Create Conic gives the baseline transformed to the cen-
and the result line automatically for your specific deformation, ter point of the result
based on the warping angle. line.
• Procedure: • Justified: the first point
• Select the paths to be warped. of the baseline is trans-
• Give an angle in the first input field, and click on the Create formed to the first point
Conic button next to it. of the result line and the
OR last point to the last point of the result line. Between both
• Give the length of the lower circumference in the corre- points, the scale is adjusted. The scale will also depend on
sponding input field and click on the Create Conic button the number of times warped.
next to it • Proportional: the first point of the baseline is transformed to
Automatically 2 lines (=open paths, not visible in Color Pre- the first point of the result line and the last point to the last
view) will be created: a straight baseline centered on the point of the result line. Between both points, the objects re-
bounding box of the selected paths and a curved result line main the original size but the additional space is divided and
in the upper quadrants of the ruler, centered on its vertical added between the objects.
axis.

Manual ArtPro 8.0 Chapter 3 : Edit — p. 103 —

3.18.5. Times
The selected paths can be warped more than once. Fill in the
number of times the warping should take place. By entering M
or Max (= maximum), the program calculates the maximum
number of times the baseline can be warped to the result line
and uses this value as the number of warps wanted.

3.18.6. Copy
When the Copy toggle button is ON, the originally selected ob-
jects for warping will remain in the job. If the Copy toggle button
is OFF, the originally selected objects disappear after warping
them.

3.18.7. Warping Vignettes

As specified in the introduction, Path Warp does not support
the warping of vignettes. However, when you have multistep vi-
gnettes, an easy trick allows you to get a warped result.
How to Warp a vignette?
•replace the vignette by a multistep vignette
•make sure the multistep shape is visible (use Get Shape in the
Multistep dialog after selecting the multistep path)
•warp the multistep path as well as its shape
•select the multistep path which is warped
•click on Set Shape
•click on the warped shape
•click on Modify in the Paint Style dialog, the multistep modifies
to the new warped shape.

3.19. Grid warp

Grid warp is an extra module in ArtPro called PowerWarp. It is
used to calculate complex warping. As opposed to path warp,
this module can handle all paint styles (flat color, vignettes, im-
ages). It can be used for e.g. conic cups, metal cups,... Pow-
erWarp has a separate manual. Please contact your dealer for
further information.

— p. 104 — Chapter 3 : Edit Manual ArtPro 8.0

 4. DRAW

4.1. Parameters... (ArtLink) an existing parameter. If necessary change the assigned val-
ue to the parameter, apply or modify the change to the ob-
ArtLink is an ArtPro module for database driven page make-up, ject in the box dialog.
or label & packaging assembly. The operator makes one Art- One object can be linked to different parameters at a time.
Pro job (the template job) where graphic elements are linked to E.g. a bar code can be linked to a field that defines the num-
database fields and uses ArtLink within ArtPro, or within Nex- ber of the bar code as well as a field that defines its color.
usProcessor to make the different versions of the series based Linked parameters are supported for:
on a data base file. Linking functionality is completely integrat- • Vertical and horizontal size for boxes, ellipses, polygons,
ed throughout the program and ArtLink has only one dedicated stars and spirals.
dialog that can be found under Draw > Parameters. • The color of an object in CMYK, or any form that can be
4.1.1. Procedure to use ArtLink looked up by a color book for flat paints, vignettes.
• The content of a placed picture. Note that for images with a
• Make a template ArtPro file as a base for all the versions or
clipping path, you can only change the content of the path,
flavors you would like to create, and define the links between
not the path itself. If a clipping path must change, you need
the graphics and the database fields.
to use EPS or placed ArtPro pictures.
• Create a database file.
• The bar code number, supported for all bar code types.
• Create the different versions by combining the template file
• Text content can be linked within the Character Style dialog.
with the database data in an interactive way within ArtPro, or
• The object parameters in relation to scale, rotation angle,
by using a workflow in NexusProcessor.
shear and position, definable through the Extended Align
• Step 1: Make ArtPro template job containing links to pallet. For these parameters the measure point (cfr. align pal-
database let) is stored as well. The position of this measure point and
Using ArtPro, you now the ruler is important for creating the link as well as for creat-
can find hotlink buttons Unlinked Parameter ing the different labels.
next to the parameters • Screening : Only 1 screening can be linked. The linked
that can be linked to a Linked Parameter screening will be the screening of the bottommost object in
database file.Select an the file, containing any screening.
object and click on the
• Step 2: prepare the Database file
hotlink button next to
After setting up the ArtPro template file, you will need to pre-
the parameter you want
pare the database file containing the different parameters for
to link. Create or select
the different versions. This text file can be made up in Sim-
a field name with a con-
pletext, Word, Excel,...
nected value in the pa-
The easiest is probably to make it up in Excel. Save the doc-
rameters dialog which
ument using ‘Text (Tab delimited)’. To match the database
will appear, and apply
fields with the linked parameters in the file, the database
or modify the selected
fields will need to use the same names as defined in the pa-
path to accept the
rameters list of the linked ArtPro file.
modification. If you for-
ArtPro does not support real live hooks into a database yet,
get to apply or to modi-
so you will have to write a flat text file of the necessary
fy, the path will not be
records with their matching fields.
linked to the parameter.
How the records and the fields are organized within the flat
e.g. To link the vertical
text file does not really matter as ArtLink can read in many
size of an object to a field in the database: select the object,
different file structures. If the parameter names are not men-
open the box dialog, click on the link button next to the ver-
tioned in the file, they should at least be put in the same order
tical size value. The select parameter dialog appears. Type
as in the file.
the name of a new parameter and press New or simply select

Manual ArtPro 8.0 Chapter 4 : Draw — p. 105 —

 • Step 3: create different versions by combining the
linked ArtPro file with a database file
Within ArtPro, in Draw > Parameters... you can open the 'Pa-
rameter Manager' dialog. This dialog gives an overview of all
defined links within the ArtPro file. Selecting any of the pa-
rameters allows you to modify its name or value.
Select the database file using the 'File' button. Underneath
this button, you will see the content of the first lines in the text
file containing the database records and fields. This will help
you set up the parameters in the bottom part of the dialog to
match the records and the fields with the fields in the active
ArtPro template. Changing the record number, using the ar-
rows or by keying in the number in the field, will each time
generate one of the versions. Save this newly generated ver-
sion of the ArtPro file and create another version by selecting
another record. Continue as such until all files are generated.

4.1.2. Parameter Manager dialog: When opening a dbase file on a job, there will be an indica-
tion of which user-defined parameters are actually found in
• Parameter List the database. This will be shown by the black link arrows
The Parameter list on next to the user parameters.
the left, contains all
• Name
links that can be used
contains parameter name selected in the list on the left. If the
in Artlink. The param-
parameter name in the ArtPro template and in the database
eters that you can de-
is different, it can be modified here.
fine in the job yourself
are grouped under • Value
the user header in the this field shows the value for the selected parameter and the
parameter list. Dou- selected record. Again, a value can easily be changed at this
ble-clicking on one of point, by typing a new one and clicking on modify selected
the parameters will (or just pressing Tab if Modify immediately is on)
select the objects that • Modify Immediately
are linked to it. modifies immediately the value of all paths of the ArtPro job
Under the User de- which are linked to a parameter. When this check box is in-
fined links, you can active, one of the two buttons beneath can be used.
find some automatic
• Modify Selected
parameters. These parameters contain general information
modifies the value of all selected paths within the ArtPro file
and are job related. The automatic parameters are:
which are linked to a parameter. This can only be used when
• Job: name, version number, the used borders and their di-
the modify immediately check box is off. When 1 specific pa-
mensions, transform (containing the last used transform val-
rameter is selected, the selected objects will only change for
ues), the ink coverage values
that parameter. When no parameter is selected, the selected
• Separation: the different separations from the job
objects will be modified for all assigned parameters.
• Date and time: the date and time of the last modification
• Print: distortion and dotgain applied in the print window • Modify All
The values of the automatic parameters can not be changed if no parameters are selected it modifies the value of all paths
manually, they are always taken from the job. They can e.g. of the graphics file which are linked to a parameter. When
be used to create Marks-files. In the Marks file you can link one of the parameters is selected, it will modify the value of
text lines to the job name and the separation names, and all the objects in the file, linked to that parameter.
when importing these marks into a job, the linked text will au- • Open Dbase
tomatically be replaced by the parameters from the new job. allows you to select a dbase file saved in a text format.

— p. 106 — Chapter 4 : Draw Manual ArtPro 8.0

 • Save user Parameters 4.1.4. Linking images
The Save User Parameters function creates a comma sepa- When linking pictures, the database should contain the path to
rated text file of the parameters that are created in the job, the place of the new picture on the hard disk. This can be done
along with their current value. This text file can be used as a in two ways:
basis to create the dbase file.
• Absolute
When holding down the Ctrl key when clicking the Save User
For every image there is a complete description of where it
Parameters button, the Keys and current Values will be
can be found on disk, e.g. My Computer > ArtLink > Images
saved as an XML file. This NeXML file can then be used in
> image1.eps should be:
Nexus using NeXML. See the Nexus Manual for more info.
My computer:ArtLink:Image:Image1.eps
• Delimiter
• Relative
allows you to select by what character the individual cells in
The place can also be indicated in a relative way, starting
the dbase file are delimitered. Possible options are semico-
from the position of the ArtPro template file, e.g.
lon, comma, tab or whitespace.
:Images:Image1.eps
• Column / Row names This means that the ArtPro file is in the ArtLink folder. ArtPro
With these settings, you can define if the first column or row starts to look for the first folder in the path (Images) right next
from the database file contains the parameter names, or al- to the template. When defining file paths in the database, you
ready the value. If set, the first value in the column or row can use ':' to go 1 level lower in the directory tree and ':' to
contains the parameter name, and thus will not be counted. climb one level. The advantage of this second method is that
• Find direction the complete job with images can be moved from one sta-
defines if the dbase file is made up in rows or in columns. tion/folder to another, without having to remake the data-
• Find key in / Find value in base file.
allows you to define where to find the parameter names and
values in the dbase. Mostly, the Key value will be found in the 4.2. Measure
first column or row, the values change for each version.
The Measure function allows you to measure the dis-
• Match Quotes, Match Brackets, Remove Quotes, Re- tance between two points. It can be activated by click-
move Whitespace ing on the function in the Draw menu, by its toolbar
are additional controls on how the database has to be read. icon or by its shortcut q - D. Activating the function will open
• New the Measure box.
Creates new parameter. Use the Name field to name the new
parameter. It is not necessary to replace the *** by the first 4.2.1. Measuring the Distance
value. When the database file is selected, these values will After activating Measure, click
automatically change depending on the selected record. and/or drag a starting point and
release the mouse button, then
• Delete
click and/or drag an end point.
deletes the selected parameter.
The Measure dialog displays the
4.1.3. Modifying color with ArtLink distance between these two Hor.
If you would like to modify the color of an object using ArtLink points, the vertical and horizontal
functionality, you have to make sure that the color book in distances of their bounding box Angle
which the color name or number should be looked up is loaded and the angle (see figure on the
Vert.

right). Di
(or saved as a preference in the ArtPro template file) at the mo- st
an
ment you start generating other versions. If not, separation val- Holding down the SHIFT key will ce
ues of these colors are not available to the program and their activate magnetism to the near-
screen representation will be black. est path. The start and end points
can be moved just by clicking on
• Linking color to a separation them and dragging them to another position. Clicking some-
It is also possible to link a color for an object to a separation where else results in a new starting position. In between clicks,
position. By doing so, you define the object to have 100% for View functions can be used (zooming, scrolling,...).
the separation at the linked position, and all others to be 0%

Manual ArtPro 8.0 Chapter 4 : Draw — p. 107 —

4.2.2. Measuring the Bounding Box size • In any Artpro input field you can calculate: use “+” to add, “-
Measuring the size of one or more objects is done simply by ” to subtract, “/” to divide and “*” to multiply. If you type in
selecting them. The bounding box size of these objects is dis- one calculation after the other, the computer will perform the
played in the Box, Ellipse, Polygon and Spiral dialog. calculations in the order they were keyed in. The accuracy of
the calculation is 1/12000 inch. In case the input field rounds
off the value, the accuracy still remains 1/12000 inch (i.e. ±
4.3. Draw tools: general concepts 0.002 mm).
In ArtPro there are 7 tools to draw objects: box, box with spe- • From version 4.99 on creation info is stored for boxes, el-
cial corners, ellipse, polygon, star, spiral, arrow. Further it is lipses, polygons, arrows and bar codes. This means that se-
also possible to draw new objects using the edit path tool (see lecting an object will show the parameters it was created
later in this chapter). with, even if the object was moved or rotated.
By using the Modify button, it is possible to change the values
4.3.1. Four ways to draw of the measured object. If the selected object was not created
When using the draw tools, there are always 4 ways to create in ArtPro (so no creation info is available) the bounding box will
a new shape: be measured instead. The Modify button can then be used to
• Select the tool and click and drag in the document to draw replace the selected object by an object as defined in the dia-
freely. log. E.g. when a vectorized rectangle is selected, and the Mod-
• Define the coordinates and press create. You can enter the ify button in the box dialog is used, the vectorized rectangle will
Top, Bottom, Left and Right coordinates of the object. The be replaced by a perfect rectangle.
ruler serves as a reference point for the coordinates (see fig-
ure on the left). Positive values work downwards and to the
right of the ruler. Negative values work upwards and to the
4.4. Box
left. The Box function allows the creation of rectangles or
• Define the vertical and horizontal size and press create. The squares, manually or numerically. Box can be activat-
object is created centered on the ruler. ed by clicking on its toolbar icon, by clicking on the
• Make a selection first. The object information is filled into all function in the Draw menu while pressing the OPTION key or
the fields. Press create or modify the values first and then by using its shortcut (q - z - B).
click on create or modify. When changing the vertical and When manually drawing a box, the use of the OPTION key con-
horizontal size, the new object is created centered on the se- strains this function to the creation of squares. Using the SHIFT
lection. key applies magnetism, e.g. snapping to the ruler. The magne-
tism only works for the end point, not the begin point.
4.3.2. Create Just click and drag in your
The Create button creates a shape with the active settings of job window in order to create
the respective dialog. a box. It will be shown during
creation. If you want to see
4.3.3. Reset the size of the rectangle you
The Reset button resets changed values to the bounding box are drawing, open the Box
of the selected objects. dialog first (q - B).

4.3.4. Remarks In the Box dialog you can en-

• Newly created objects can be positioned on three different ter the values to create a
levels in the file. Where the new objects are put depends on box. The Box menu can be
the Insert New Objects Where? setting in the Edit Preferenc- opened by clicking on the
es dialog box. (see 1.2. Preferences... on page 1) function in the Draw menu,
• When you select one or more objects, the bounding box di- by double-clicking its toolbar
mensions will be displayed in the Box dialog or in any corre- icon or by using its shortcut q - B.
sponding dialog. So in order to see how big an object is, just Shortcut, q - B, box dialog
select it and you will be able to read its coordinates and size Shortcut, q - z - B, Box tool
in the corresponding dialog.

— p. 108 — Chapter 4 : Draw Manual ArtPro 8.0

4.5. Box with special corners type can be set to Square, Round, Cut or Antique (see figure
in previous column). Clicking the Make Corners Equal button
The Box with special corners function allows the cre- will apply the shape and the radii of the first corner to all other
ation of rectangles or squares with rounded corners, corners
manually or numerically. Box with special corners can
be activated by opening the Box menu and then switch to Box
with special corners. 4.6. Ellipse
Using the OPTION The Ellipse function allows the creation of ellipses or
key constrains this circles manually or numerically. To draw an ellipse
function to creating manually, the tool can be activated by clicking on the
squares. Using the function in the Draw menu while pressing the OPTION key, by
SHIFT key applies clicking on its toolbar icon or by using its shortcut q - z - E.
magnetism while The use of the OPTION key restricts this function to the cre-
creating a box. ation of circles. Using the SHIFT key applies magnetism while
Pressing shift on the creating an ellipse. The ellipses or circles are created by click-
first click places the ing and dragging in the active job window. During the process
first point of the box they are shown on the screen. If you want to see the size of the
on a nearby magnet- ellipse you are drawing, open the Ellipse dialog first (q - E). El-
ic element. Pressing lipses are generated with splines.
shift while dragging In the Ellipse dialog you can enter the values to create an el-
will try to find a mag- lipse. The Ellipse menu can be activated by clicking on the
netic element to function in the Draw menu, by double-clicking its toolbar icon
snap to for this sec- or by using its shortcut q - E.
ond point. Just click
and drag in your job
window in order to create a box. It will be shown during cre- 4.7. Polygon / Star
ation. If you want to see the size of the rectangle you are draw- The Polygon and Star function allows the cre-
ing, open the Box dialog first (q - B). ation of polygons and stars manually or numer-
In the Box with special corners dialog you can enter the values ically. Polygon can be activated by clicking on
to create a box. The Box with special corners menu can be the function in the Draw menu while pressing the OPTION key
opened by opening the Box menu and then switching to Box or by its toolbar icon. By default a polygon will be created. In
with special corners. order to draw a star, the Star button has to be activated in the
• Defining the corner type and radius for the boxes Polygon menu.
The type of the 4 The use of the OPTION key restricts this function to the cre-
corners and their ation of regular shapes. Using the SHIFT key applies magne-
respective verti- tism while creating a shape. The shapes are created by clicking
cal and horizontal and dragging in the active job window.
radii depend on During the process they are shown on the screen. If you want
the active set- to see their size while you are drawing, open the Polygon dialog
tings in the Box first. The shapes are generated with splines.
dialog. Boxes are In the Polygon or Star dialog you can enter the values to create
generated with a polygon or a star. The Polygon menu can be activated from
splines. When the Draw menu by clicking on the Polygon function or by dou-
you create box- ble-clicking its toolbar icon.
es, a corner type and a vertical and horizontal radius for each Be aware of the fact that polygons and stars are created on the
corner can be defined. ellipse inside the defined measurements. So the final result will
When a value is entered in the Vert. Radius field, the same have a smaller bounding box than the entered value.
value will be entered in the Hor. Radius field. However, this
value can be changed individually afterwards. The corner

Manual ArtPro 8.0 Chapter 4 : Draw — p. 109 —

 • Number of points 4.8. Spiral
Indicates how many points
(and thus sides) the poly- The Spiral function allows the creation of spirals man-
gon will have or how many ually or numerically.
outward points the star will The resulting spiral is an
have. The default is set on open path.Spiral can be acti-
5. vated by clicking on the func-
• Phase Difference tion in the Draw menu while
Defines the position of the pressing the OPTION key.
first point in percent be- The use of the OPTION key
tween the first and second restricts this function to the
point of the polygon when creation of proportional spi-
created with the first point rals. Using the SHIFT key ap-
top centered. This means plies magnetism while
the Phase Difference de- creating a spiral. The spirals
fault of 0% places the first are created by clicking and
polygon/star point top cen- dragging in the job window.
tered on its bounding box. During the process they are
For 100%, the first point is shown on the screen. If you
placed on the second, giving the same result as a 0% Phase want to see the size of the
Difference. A Phase difference of 50% places the first point spiral you are drawing, open
of the polygon half way between first and second point (turn- the Spiral dialog first.
ing left) of the polygon created with 0% Phase difference In the Spiral dialog you can
enter the values to create a spiral. The Spiral menu can be ac-
• Inner Radius (only for Star) tivated from the Draw menu by clicking on the function.
Defines the scale factor of the inner circle on which the inner
star points are positioned, in relation to the outer circle on • Starting Angle / Ending Angle
which the star tips are described. The default is set on 38%, Defines the position of respec-
which results in a “normal” star. This option is only available tively the innermost (first) and
for the creation of Stars. A smaller number results in a sharp- the outermost (last) point of the
er star. spiral. The default 0% places the
points top centered on the inner
bounding box. Positive values
will rotate this starting position
clockwise, negative values will
rotate it counterclockwise.
• Ending Angle
Defines the position of the outermost (last) point of the spiral.
The Ending Angle default of 0% places the last point top cen-
tered on the outer bounding box. Positive values will rotate
this end position clockwise, negative values will rotate it
counterclockwise.
• Number of revolutions
Indicates how many (full) windings the spiral makes.
The default is set on 10.
• Inner Radius
Defines the scale percentage of the inner circle on which the
starting point is positioned, in relation to the outer circle on
which the end point is put. The default is set on 20%.

— p. 110 — Chapter 4 : Draw Manual ArtPro 8.0

 • Multiplication Factor • Text placement from user’s
By default this option is switched view
off, resulting in a “linear” spiral When creating an arrow with text,
where the distance between the the text is placed according to the
different windings is the same. Us- direction of the arrow. If this option
ing a multiplication factor will multi- is on, text will always be placed up-
ply the distance between the right, even if the arrow was drawn
windings with the indicated value. the other direction.
This results in an “exponential” spi- • Head / Tail
ral. Thus, factor 2 will double the Defines how the head / tail of the
distance for each new winding compared to the previous arrow should look like. Possibilities
one. When this option is switched on, the other parameters are narrow, normal and none.
described above will automatically be adjusted to fit them in.
• Text Placement
Defines if text has to be placed in-
4.9. Arrow side, above or below the arrow
The Arrow function allows the creation of arrows man- • Text Alignment
ually or numerically. Arrow can be activated by clicking Defines if text has to be aligned centered, left or right to the
on the function in the Draw menu while pressing the arrow.
OPTION key. • Size settings:
The use of the OPTION key re- • Width : width of the arrow
stricts this function to the cre- • Ratio : ratio of the arrow head to the width
ation of vertical or horizontal • Start v / Start h : coordinates of the first point.
arrows. • End v / End h : coordinates of the end point.
Using the SHIFT key applies • Dist. V. / H. : distance in vertical / horizontal direction
magnetism while creating a spi- • Distance : total distance
ral. The arrows are created ac- • Angle : Angle between start and end point.
cording to the settings of the
options (see below) by clicking
and dragging in the job window. 4.10. Edit Path
During the process they are
shown on the screen. If you want 4.10.1. General
to see the size of the arrow you Edit Path allows you to draw paths from scratch with
are drawing, open the Arrow dia- straight lines, freehand drawing or Bézier curves, to
log first. modify existing paths and to append points to existing
In the Arrow dialog you can enter paths.
the values to create an arrow. Edit Path can be activated
The Arrow menu can be activat- by the white arrow tool, by
ed from the Draw menu by click- its menu function or its
ing on the function. shortcut q - x - E. Dou-
ble clicking on the tool in
• Arrows with distance as text the toolbar activates the
With this option on, the distance of the created arrow will be Edit Path menu.
placed as text, as a part of the arrow. When drawing a path, you
can freely switch between
• Make text twice as big
the five types of line dur-
When creating an arrow with text, the text will have a point
ing the process. The new
size so that the text height fits in the width of the arrow. When
path is generated with
this option is on, text will be twice as big.
splines so that it can easily be edited afterwards. The different

Manual ArtPro 8.0 Chapter 4 : Draw — p. 111 —

 segments that are added to the path can be removed sepa- 4.10.2. Edit path options
rately with the BACKSPACE key. All the toggles are
Only one path can be edited at a time. It must be selected with activated by default.
a regular selection tool first and then clicked on with the edit
• Enable Inserting
path tool. Deselecting also happens with a normal selection
Points
(q). With multiple windows the path under edit is only visible in
Allows you to in-
the active window.
sert points on the
• Drawing a path path being edited
• Activate the white arrow tool or the Edit Path func- by clicking on it.
tion. On straight lines
• Activate the necessary options in the Edit Path menu straight points will
• Click (or click and drag) in the job window where you want be added, on Béz-
the starting point of the line. ier curves round
• After having defined the starting point you can define the next points will be added.
points. The cursor changes into a white arrow with a black
• Show Handles
plus (append mode). Press the SHIFT key and place the end
If this option is on, the handles of the Bézier curves are visu-
point on the start point in order to close the path or use q -
alized in addition to the control points. When this option is
J to Join, see further in this chapter.
deactivated, only the control points are visible and one han-
• In the first case, press the ENTER button to confirm the func-
dle of the last point. Even with this option deactivated, you
tion.
can draw bézier curves, but you will not be able to see the
• Modifying a path handles.
• Select the path you want to modify (unless Select be-
• Enable Converting Corner
fore Path Edit is off).
• Activate the edit path tool or the Edit Path function. Makes it possible to convert a straight point into a round one
• Activate the necessary options in the Edit Path menu (see (and vice versa) by double-clicking on the point. A curve with
only one handle will be converted to a straight point and back
below).
to a point with one handle.
• Click on the path you want to edit, so that its anchor points
If you want to change it into a point with two handles, you
and handles appear.
should first delete the single handle, and then change it into
• Select the necessary point(s) or directly click on points of the
a point with handles by double-clicking the control point.
path to select and modify them. Several modification possi-
bilities are available in the Edit Path menu (see below). • Enable Append
• A change to a path is confirmed when the ENTER key is Allows you to add to an open path (see above under Adding
pressed or any other tool or function is activated. to a path) If the option is deactivated, you will not be able to
append to the path, so the cursor will not change from white
• Adding to a path
arrow to a white arrow plus, if you click on one of the end
• Select the path you want to add to (unless Select be-
points. This can make the editing of those end points a bit
fore Path Edit is off).
easier.
• Activate the white arrow tool or the Edit Path function.
• Activate the necessary options in the Edit Path menu (see • Use Arrow Keys
below). When this option is active, selected points (these can be
• Click on the open path you want to add to, so that its points handles or control points) can be moved using the keyboard
appear. arrow keys, with the distance set in the Preferences dialog
• Clicking on Append in the Edit Path menu will select a point box (see p.132). When moving points while holding down the
at the end of the path. Click Append again if you want to se- shift key, the points will snap to the most nearby magnetic
lect the other endpoint. You can also directly click on the points. When moving points with the arrow keys while hold-
point to which you want to append. The cursor changes into ing down the shift key, the points will snap to the ruler.
a white arrow “plus”. • Select Before Path Edit
• Draw the points you want to add. When this option is active, a path has to be selected before
• Press the ENTER button to confirm the function. you can apply one of the path editing functions (edit path, re-

— p. 112 — Chapter 4 : Draw Manual ArtPro 8.0

 trace path, split path, cut path or intersect path). If the option ier-Freehand-Interpolate.
is switched off, you can edit a path directly, without having to • The 5 options are also used for the Retrace Path and Split
select it first. The drawback is that, if you start editing at a Path functions (see below).
place where two contours overlap, you can not be sure what • Average Anchor Points
contour will be edited. • Horizontally: default option which places the selected points
• Append / Modify on the horizontal center line of their surrounding bounding
Allows you to either append to an open path or to modify an box.
existing path as described above. The cursor indicates • Vertically: places the selected points on the vertical center
which edit mode is active by showing a white arrow plus (ap- line of their surrounding bounding box.
pend) or a normal white arrow (modify). You can also switch • Both: puts the selected points on the center of their sur-
between the two modes by just clicking on a point of the rounding bounding box, thus on top of each other.
path: if you click on a start or an end point Append mode will • Select All
be activated, if you click on any other point Modify is used. Allows you to select all the points (control points and/or han-
• Draw dles) on a path, according to the active option. You can se-
• Mixed. With this option, activated by default, you can edit a lect anchor Points Only, Handles Only or Handles and
path using a combination of the three types of points avail- Anchor Points (default)
able, as described below. Simply click to draw Straight
Lines. Click and drag to obtain Bézier curves. Click and hold 4.10.3. General Remarks
last point, then press the CONTROL key to draw Freehand • All the points can be selected and manipulated separately.
paths. Points can be selected by clicking on them or drawing a rect-
• Straight Line. Click to define the next point. Dragging will en- angle over them. Use the SHIFT key to add to (or inverse) the
able you to change the position of that point before you re- selection. When a Bézier anchor point is clicked on, its han-
lease the mouse button. Using SHIFT will constrain the paths dles will be selected as well. The handles can be (de)selected
to vertical or horizontal lines or lines over multiples of the separately by clicking on them, also in combination with
Constrain Angle, set in the Edit Preferences dialog (by default SHIFT.
15˚). • Some paths contain vectors which are all straight lines from
• Bézier. Every click or click-and-drag will define the end point which you can move the end points. Paths can also contain
of a curve segment. Automatically, a curve will appear be- splines which are indicated by their tangents. The position of
tween the last added point and the point you click. When the spline and its tangent points can be changed. When both
clicking, drag to pull out the handles of the Bézier point so as handles are selected, they move equally so that the connec-
to define their direction and length. These handles are the tion is smooth or they stay at the same angle.
control points that define the tangents of the splines. They • There will be no tangent if you click points without dragging,
can be modified at any time by selecting them and dragging when working with Bézier curves. If you try to pull out the
them to a new position. When both handles are selected, tangent from any point, you will see that you move it instead.
they move equally so that the connection is smooth. With the To obtain the handles, double-click the point to convert the
SHIFT key down, rotations are restricted to multiples of the corner from straight to round. The handles will appear auto-
Constrain Angle set in the Edit Preferences menu (by default matically.
15˚). • With the SHIFT key down, handle rotations are restricted to
• Freehand. Drag to define the line. Under the mouse arrow multiples of the Constrain Angle set in the Preferences menu
the line is built up automatically. When you release the (by default 15˚).
mouse button, the freehand line stops. • Lines created with Draw Path are always open segments un-
• Interpolate. Every click or click-and-drag will define a point less you define the end point exactly on the starting point, us-
on the path. Dragging will enable you to change the position ing SHIFT. In order to close the path when drawing or
of that point before you release the mouse button. Each time appending, press and hold down the SHIFT key before plac-
you set a point, ArtPro will create handles in the previous ing the end point on the start point. When you do not use
point to create a smooth curve through the defined points. SHIFT, the paths will still be open and the start and end point
Remarks: have to be joined with the Join Paths function (see later).
• Hitting the SPACE bar will switch between the 5 Draw op- • The selected points can be moved with the arrow keys (see
tions, following the order in the list Mixed-Straight Lines-Béz- above) and can also be made to snap to any magnetic object

Manual ArtPro 8.0 Chapter 4 : Draw — p. 113 —

 (ruler-grid-path) when SHIFT is pressed while moving. • Remarks
• When curve points are deleted, the program will adjust the • ArtPro always re-
curve in such a way that it remains very similar to the original places the shortest
curve. Since handles can be (de)selected separately, they part of the path be-
can be deleted separately as well. As a consequence, this tween start and end
feature will allow you to create a “bump-like” curve in the fol- point. Internally, the
lowing way. Draw one Bézier curve segment and press shortest part is the
SHIFT-delete to remove the last handle. Draw the next curve one with least an-
segment and SHIFT-delete again, and so on. chor points. Some-
• Editing a vectorized path can be complicated because of the times that part can
large amount of points you have to move. Therefore it may be the one you do
be better to use the Distort Path function instead. Edit Path not want to replace.
can still be useful for a vectorized path with fewer vectors. If at any time ArtPro
• When you switch from another drawing mode to interpolate, retraces the wrong
clicking a point will change the handles of the previous point, way, use the Re-
regardless of what drawing mode it was created with, unless trace Other Way
the point already has handles. This means creating a point function in the Draw
with interpolate after drawing straight line will cause the last menu (see below).
point set with straight line to have handles. As points set with • Defining only start and end points without drawing points in
Bézier already have handles, these handles will not be between will retrace with a straight line.
changed by using interpolate. • If you click the start point on one closed path and the end
point on another, you are retracing from one path to another.
• You can retrace one single open path but it is not possible to
4.11. Retrace Path retrace between different open paths.
Retrace Path allows you to retrace a part of a path.
The Retrace Path function can be activated by the
menu function or by its toolbar icon. 4.12. ...Other Way
Retracing a path: ... Other Way retraces the other
• Select the path(s) to be modified. part of the path in the Retrace
• Activate the retrace tool or the Retrace Path function. Path function.
• Activate the line type you want to use in the Edit Path menu. Other Way can be activated by
• Click a point on a selected path from where you want to start the menu function or by its key-
retracing. board shortcut q - /.
• Click points in order to draw the new part which will replace With Retrace Path, the shortest
the old one. You can define as many points as you want. part of the path between the
During the process the different segments you are adding two points will be replaced. The
can be removed again one by one with the BACKSPACE shortest part for the computer
key. is the one with the fewest
The Retrace Path function uses straight lines, freehand memory points, which is some-
drawing, Bézier curves or interpolate. While retracing, you times the longest in distance. If
can freely switch between those four types at any time. the computer gives the wrong part of the path, click ...Other
(For the use of these lines : see Edit Path) Way immediately after performing the Retrace Path function.
• Click a point on a selected path to define the end point. Shortcut: q - /, Retrace other way
• Press the ENTER button to confirm the function. The new
part of the path has replaced the old one, which disappears
automatically.
4.13. Split Path
Split Path allows you to divide one path into two parts,
or to make one path out of two, splitting from one path
to another. The function is activated by clicking on it in the
Draw menu or by its toolbar icon.

— p. 114 — Chapter 4 : Draw Manual ArtPro 8.0

 • Splitting a path • Click on a path to define the
• Select the path(s) to be split. starting point of the part you
• Activate the split tool or the want to modify.
Split Path function. • Click on the same path to
• Activate the type of line you define the end point of the
want to use in the Edit Path part you want to modify.
menu. • Click a third time on the part
• Click a point on a selected you want to change. A point
path from where you want to will appear where you
start splitting. clicked. You can move it or
• Click points in order to draw change its direction by manipulating the handles. On the
the path for the split. You start and end points as well, the handles can be moved.
can define as many points as • You can confirm the new position by using the ENTER key.
you want. During the pro- • Remarks
cess the different segments Although it gives the impression of working with Bézier seg-
you are adding can be removed again one by one with the ments, the Distort Path function only works with vector infor-
BACKSPACE key. The Split Path function uses straight lines, mation. As a consequence, distorting a path containing
freehand drawing, Bézier curves or interpolate. While retrac- splines will degenerate the splines into vectors. It is therefore
ing, you can freely switch between those three types at any also impossible to perform the function on a path with less
time. (For the use of these lines: see Edit Path) than 3 vectors or points. Thus, in most cases it will not work
• Click a point on a selected path to define the end point of the or give strange results on paths consisting of straight lines.
split. When you try to edit such a path anyway, the following error
• Press the ENTER button to confirm the function. The path is message can appear: fit2cubic needs more than 3 points.
now split into two paths and the original path has disap-
peared automatically.
4.15. Cut Path
• Remarks Cut Path cuts the selected path on the position you
• Sometimes splits gives unexpected results. This can be due click. Cut Path can be activated by the function in the
to the fact that the incoming line of the split crosses the orig- Draw menu or by its toolbar icon (= one cut line). A cut path is
inal line, whereas it should always come in straight. There- always open, even if its start and end points are exactly on the
fore, it is good to save your document before doing large same position. You can recognize an open path by its small
series of split functions. So if a split goes wrong you can re- round points which define beginning and end. If you see only
vert to the saved version or use the multiple Undo option. one such point it means that begin and end are on the same
• Defining only begin and end points, without drawing points in position. An open path can be closed again with Join Paths .
between, will split with a straight line between these two
points. 4.16. Intersect Paths
• If you click the start point on one path and the end point on
another, ArtPro will connect the two paths. In this way you Intersect Paths cuts two paths exactly on their inter-
can make one path out of two. section. It can be activated by the function in the Draw
• It is not possible to split open paths. menu or by its toolbar icon (= two lines cut on the intersection).
Click close to the points where
the paths intersect, with at least
4.14. Distort Path one of the paths selected. The
Distort Path makes it possible to modify part of a path between result will be open segments
two points. Distort Path can only be activated by the function from both paths. The tool ac-
in the Draw menu. cepts open paths to work on.
You can’t perform the function
• Distorting a path:
on a path that intersects itself.
• Activate Distort Path in the Draw menu and select the path
The intersect tool can be useful for creating complex shapes:
to be modified

Manual ArtPro 8.0 Chapter 4 : Draw — p. 115 —

 create the elementary shapes from which you want to build the • Bobst
shape. Next cut these shapes into the parts required to form Pharmaceutical code of
the shape, using Cut Path, Intersect Paths and Join Paths. maximum 12 bars (with
a maximum value of
4096), which is placed
4.17. Join Paths on the glue strip of
The Join Paths function joins the two nearest open points of medicine packages.
the selected paths with a straight line. This is repeated until no Input: Decimal Input on: digits from 0 to 9
open points are left. Decimal Input off: binary values 0 and 1.
It can be activated in the Draw menu or by its shortcut q - J. The number should be <4096 (decimal) or
Shortcut: q - J, Join Paths max. 12 characters (binary)
• Joining Paths: Check Digit:None
• Select the open paths you want to join or close. Settings: Magnification, Height
• Choose Join Paths from the Draw menu or its shortcut. Options: Corner Marks, Clear Area, Decimal Input

4.18. Bar Codes • CIP 39

CIP 39 (Club Inter-Phar-
The available Bar maceutique) is a bar
Codes are: APB, code used by the
Bobst, CIP 39, French pharmaceutical
Codabar, Code39, industry. It is based on
Code 31, Code Code 39, but NOT
128, EAN 13, EAN compatible with it : it contains digits only and has a different
8, EAN 128, Eber- check digit.
le, ITF, ITF-14, ITF- Input: 7 digits. Do not enter the asterix (*)
16, Klebrand, Lae- Check Digit:Last digit. Has to be entered
tus, MSI, Plessey, Settings: Magnification, Bar Width Reduction, Clear
PZN, SICK, UPC-A Area Height
and UPC-E. In the Options: Corner Marks, Clear Area, <>, Use Text Fonts
following summary, you find a description of all available bar
codes with their input possibilities. The settings and options
(Magnification, Height, Corner marks,...) available for each bar • Code 39
code are described below. Code 39 is a bar code
Shortcut: q - x - B, Bar Codes frequently used in in-
dustrial bar coding sys-
4.18.1. The Codes tems, more widespread
• APB in the US than in Eu-
APB (Algemene Phar- rope.
maceutische Barcode) Input: Max. 32
is used in the Belgian characters (digits and letters)
pharmaceutical industry Check Digit:None
and is based on 6543-276 Settings: Magnification, Bar Width Reduction, Clear
Plessey/MSI. Area Height
Input: Digits and a dash. Max. 12 characters Options: Corner Marks, Clear Area, <>, Use Text Font
Check Digit:Last digit. For this bar code, the check digit is
added automatically and, thus, must not be
entered.
Settings: Magnification, Height
Options: Corner Marks, Clear Area

— p. 116 — Chapter 4 : Draw Manual ArtPro 8.0

 • Code 128 • Int. 2 of 5 (=ITF)
Code 128 is a bar code Interleaved 2 of 5 is a
used in a large number general purpose indus-
of applications, a.o. in trial barcode.
the medical pharma-
artpro
ceutical industry.
Input: Max. 32 Input: max. 32 characters, only digits
characters (digits and letters). No special Check Digit:None
characters or computer codes are supported Settings: Magnification, Bar Width Reduction, Clear
in ArtPro. Area Height
Check Digit:None Options: Corner Marks, Clear Area, Generate Borders,
Settings: Magnification, Bar Width Reduction, Clear Use Text Font
Area Height
Options: Corner Marks, Clear Area, <>, Use Text Font • ITF 14 / 16
• EAN 13 / 8 / 128 ITF (Interleaved Two of
EAN (European Article Five) / DUN (Despatch
number) is the interna- Unit Number) is the bar
tional standard bar code for numbering
code for article number- transportation packag-
ing. JIS (Japanese In- es. These are usually
dustrial Standard), the carton boxes with low
Japanese standard, is printing quality, so the bar code is very tolerant.
identical to EAN. EAN 13 is the normal form, EAN 8 is the ITF-14 is the international standard, ITF-16 is a standard
compact form used on very small packages. EAN 128 is used within some countries. ITF/DUN bar codes can contain
based on Code 128 but has a double start sequence. H-gauges. These are H-shaped marks to the left and right of
Input: 8 or 13 digits for EAN 8 and 13 the bar code, that are used to check the line growth while
EAN 128: Max 32 digits and letters, no special printing. The right H should fill up with ink. The left one should
characters or computer codes are supported remain open.
in ArtPro. Input: 14 digits for ITF 14, 16 digits for ITF 16
Check Digit:Last digit (not for EAN 128). Has to be en- Check Digit:Last Digit. Has to be entered
tered. Settings: Magnification, Bar Width Reduction, Clear
Settings: Magnification, Bar Width Reduction, Clear Area Height, S min, S max.
Area Height, Left Whitespace, Right Options: Use Text Font
Whitespace, Output Resolution
Options: Corner Marks, Clear Area, <>, Use Text Font • Klebrand
(not for EAN 128), omit Character, Adjust Glue strip code mostly
Magnification used in Germany,
• Eberle which can contain bars
Control code especially with 4 different widths.
used in Austria and Input: Decimal Input on: digits (0 to 9) and /. the dig-
generally placed on the its before the slash indicate the number of
glue strip of small (med- bars (maximum 12), the digits behind the
icine) packages. It consists of thin and thick bars and two tri- slash define the binary value of the code. If
angles at the end, with a total (invariable) height of 7 mm. only the digits behind the slash are keyed in,
Input: Decimal Input on: digits from 0 to 9 the minimum amount of bars required to rep-
Decimal Input off: Quarternary values 0 to 3. resent that value will be used.
Check Digit:None Decimal Input off: quaternary values (digits 0
Settings: None to 3). The number should be <4096 (decimal)
Options: Corner Marks, Clear Area, Decimal Input or max. 12 characters (binary)

Manual ArtPro 8.0 Chapter 4 : Draw — p. 117 —

 Check Digit:none • SICK
Settings: Height SICK is a bar code used
Options: Corner Marks, Clear Area, Decimal Input in the German packag-
• Laetus ing industry. It is a bina-
International pharma- ry code consisting of 2
ceutical code originated types of bars, a thin one
in Germany and used in and a thick one. It can contain 3 to 12 bars.
a wide range of pack- Input: Decimal Input on: Digits (0 to 9) and a slash
aging and documenta- can be entered : the digits before the slash in-
tion units, such as dicate the number of bars (maximum 12), the
folding boxes, labels, digits behind the slash define the binary value
leaflets, tubes and printed containers. (maximum 4096) of the code. If only the digits
Input: Decimal Input on: digits 0 to 9. behind the slash are keyed in, it will create the
Decimal Input is off: binary values (0 or 1) for a minimum amount of bars required to repre-
single track code and ternary values (0 to 2) sent that value.
for a dual track code. The value of a single Decimal Input off: binary values (0 and 1)
track code must be less than 131070, while Check Digit:None
the value of a dual track must be less than Settings: Magnification, Height, Gap Width
64570080. Options: Corner Marks, Clear Area, Decimal input
Check Digit:None
Settings: Magnification, Height, Gap Width • UPC A / E
Options: Dual Track, Corner Marks, Clear Area, Deci- UPC (Universal Product
mal Input, Miniature Code) is the standard bar
• Plessey code for article number-
The Plessey or MSI ing in the US and Cana-
code, originated in En- da. It is compatible with
gland, is applied in the (but not equal to) the EAN
retail, hardware and 1234566
system. UPC-A is the
grocery sectors. standard version, UPC-E is the abbreviated form.
Input: Max. 12 digits Input: 8 digits for UPC-A and 13 digits for UPC-E
Check Digit:Last digit. Has to be entered Check Digit:Last digit. Has to be entered.
Settings: Magnification, Height Settings: Magnification, Bar Width Reduction, Clear
Options: Corner Marks, Clear Area Area Height
Options: Corner Marks, Clear Area, <>, Use Text Font
• PZN
PZN (Pharmazentral-
nummer) is a bar code • MSI
used by the German The MSI code is devel-
pharmaceutical indus- oped by MSI Data Cor-
PZN -1234562
try, based on Code 39. poration based on the
Input: 7 digits Plessey Code. This
12345674
Check Digit:none code is used primarily
Settings: Size, Bar Width Reduction, Clear Area Height to mark retail shelves
Options: Corner Marks, Clear Area for inventory control
Input: 8 digits for UPC-A and 13 digits for UPC-E
Check Digit:Last digit. Has to be entered.
Settings: Magnification, Bar Width Reduction, Clear
Area Height
Options: Corner Marks, Clear Area, <>, Use Text Font

— p. 118 — Chapter 4 : Draw Manual ArtPro 8.0

 • Code 32 • Data Matrix ECC 200
Code 32 is an Italian Data Matrix is a very area efficient 2D (two dimensional) bar-
pharmaceutical code, code symbology that uses a unique square module perime-
based on the Pharma- A122354677
ter pattern that helps the barcode scanner determine the cell
code. locations.
Input: 8 digits + 1 check digit The Module size determines the size of one module and
Check Digit:Last digit. Has to be entered. hence the size of the entire barcode
Settings: Magnification, Bar Width Reduction, Clear The Minimum Symbol Size checkbox determines the num-
Area ber of modules in a datamatrix. If there is not enough input
Options: Corner Marks, Clear Area data to fill the barcode, padding data is added at the end. If
• Coupon extended there is too much data, the barcode will be larger than spec-
ified.
The Clear Area checkbox will draw a white square under-
neath the barcode which is exactly one module wider than
the barcode (this is also known as the quiet zone)
Underneath are 3 examples : a 10 x 10 data matrix bar code,
a 18 x 18 and a data matrix without Clear Area.

The coupon extended barcode is a supplementary code that • RSS-14

is printed to the right of the UPC-A or EAN 13 barcode. This RSS or Reduced Space Sym-
extended code enables the communication of additional in- bology is a bar code type able
formation, such as offer codes, expiration date and house- to create bar codes on a small-
hold identification numbers. It always exists out of a basic er size. An RSS code can be
part, and an extended part. as small as 30% of the compa-
Basic part: Can be UPC-A or EAN 13 based rable UPC code.
Vendor Code:5 digit number The Module size determines
Family Code:3 digit number the size of one module and
Value Code:2 digit number hence the size of the entire
Extended part: barcode
There are 5 possibilities for the extended part: Format 1 to 5. Of the RSS-14 code, there are
Depending on the format you choose, you have to define one 4 types : Normal, Truncated,
or more of the following settings. stacked (in two parts on top of
NSC: Number System Character, 1 digit each other) and stacked omni-
Offer Code: 5 digits directional (can be scanned in
Household ID:8 digits any direction)
Expiration date:month/year (e.g. 12/01) The Clear Area checkbox will draw a white square under-
Options: Corner marks, Clear Area neath the barcode.
At the right, there are 4 examples : a normal, truncated,
stacked and stacked omnidirectional RSS-14 Bar code

9 900003 001046 (8101)1 12345 1234(21)12345678

Manual ArtPro 8.0 Chapter 4 : Draw — p. 119 —

 • RSS Limited 01234567890123 as the string “(01)01234567890123” in
RSS limited is a version of RSS bar code in a limited version. the EAN-128 bar code dialog.
Module Size
The Module size determines the size of one module and
hence the size of the entire barcode

• UCC & EAN

The UCC and EAN organizations jointly define a standard ar-
ticle numbering system. For retail products, this numbering
system consists of 13 (EAN) or 12 (UCC) digits and is called
EAN-13 or UPC. For trade items, this numbering system
consists of 14 digits and is called EAN-14, UCC-14 or SCC-
14.
If a trade item contains one single retail item, the EAN-14
code will be identical to the EAN-13 or UPC code with lead-
ing zeros. 4.18.2. General concepts
The EAN-14 number can be encoded in a bar code using dif-
ferent symbologies. • Color
A bar code is always created in the color active in the Paint
Style menu. To keep a bar code readable, you need to obtain
a minimal contrast between the dark and light elements so
keep this in mind when creating a colored bar code.
• Position
A bar code is always positioned centered on the ruler. To
create a bar code in the space provided in the job, first center
the ruler on that space.
• Creating a Bar Code
Activate the required code and enter the bar code number in
the bottom right input field. Depending on the bar code you
selected, you can enter digits or characters. For specific info:
See earlier in this chapter. Press enter or the button with the
bar code name in it to generate the objects in the document.
Barcodes are always compounded or at least grouped (e.g.
with life text or Clear Area)
For Bar Codes with a check digit, entering an invalid code will
not only generate a warning, but will also change the last digit
to a correct digit.
The ITF symbology is mostly used when printing or scanning
quality is not good. You can define your EAN-14 bar code 4.18.3. Other settings
using the ITF symbology in ArtPro by defining an ITF-14 bar • Magnification
code that uses the 14 digits from the EAN-14 number. The Magnification factor (scaling of the bar code) is subject
The symbology Code128 is much more compact than the to strict rules. For an EAN-code e.g., the magnification
ITF symbology, and is thus usually preferred. You can define should be between 80 and 200%. From ArtPro 6.0 on, it is
your EAN-14 bar code in ArtPro using this symbology by de- possible to generate codes that are smaller or larger, but an
fining an EAN-128 bar code with an Application Identifier (AI) error message will appear on screen first. The magnification
of 01. You then enter the EAN-14 bar code can be entered with a 0.1% precision.

— p. 120 — Chapter 4 : Draw Manual ArtPro 8.0

 • Adjust Magnification / Output Resolution • Clear Area
Clicking the Adjust Magnification button will change the The Clear Area check box adds a rectangle with the size of
magnification of the bar code to match the Output resolution. the clear area behind the bar code. The clear area is the min-
This means every bar of the bar code will start at a new pixel imum space to be respected for that bar code. The box is
line. created in a white masking color (= all zero).
• Size • Light Margin Indicators < >
For PZN Bar codes, you cannot set the magnification, only With this option on, Light Margin Indicators will be created on
the predefined sizes small, normal and big. the bar code. For EAN13 and UPC-A, only on the right side
• Bar Width Reduction (BWR) a Light Margin Indicator is added, for all others on both sides.
The Bar Width Reduction is given in actual values. The BWR • Generate Borders
is divided over both sides of the bar width. A positive value, With the Generate Borders option on, a stroke is created
usually very small, will make the bars somewhat thinner in or- around the Int. 2 of 5 bar code
der to compensate for the growth during printing. • Use Text Font
Here also there are some limitations to be respected. ArtPro With this option on, the digits in the bar code will be real text,
will check the values and a message will pop up whenever in the font that is active in the Text Character menu at the
the values are not according to the rules. moment of creation.
• Clear Area Height By default Use Text Font is switched off and the digits are
Standard bar codes also have standard heights. Sometimes vectorized from the standard OCR-B font.
a bar code needs to be created on a specific height. Fill in the When the option is not available for a certain code, the char-
exact height in the Clear Area Height field and the bar code acters will always be real text, in the font from the Text Char-
will be created with a clear area of exactly that height. For all acter menu.
codes with the Clear Area Height option (which are unlimited • Omit Character
in height without loosing their readability, e.g. to be placed all With this option on, the EAN code will be created without
the way around a can), you can enter the exact height you text. The direction signs are not affected by this setting.
want for the barcode. When you want to create a bar code
• Create
with standard height, fill in value 0. This field is not checked
After filling out all the exact values, create the bar code by
for validity: Note ‘truncation’ is allowed in certain barcode
clicking on the bottom left Code button.
standards, e.g. ITF-14.
• Remarks
• Height
• UPC-A and UPC-E currently use the dimensions of EAN-13
For bar codes that do not have a standard height, you have
for their bars. Although by definition this is correct, there are
a field to enter the desired height for the bar code. For stan-
small differences between the two standards (caused by
dard bar codes, this is replaced by the clear area height.
conversions of inches to millimeters).
• Gap width • Bar code dimensions are not adapted to the resolution of the
The Gap width allows you to define the distance between the output device. This limits their accuracy. Expose at high res-
bars of a Laetus or a Sick bar code. olution for the best results.
• S min and S max • For UPC-A and UPC-E, the program creates bars with di-
The S min and S max fields allow to specify the H-gauges to mensions in millimeters, which differ slightly from the dimen-
be included in the ITF14 or ITF16 bar code. Values should be sions in inches as defined in the American standard.
integers in the range of 1 to 7. If you enter 0, no H-gauge is
printed and the bar code box is smaller.
• Corner Marks
The Corner Marks check box adds corner marks to the bar
code which define the minimum space to be respected for
that bar code.
• Left / Right Whitespace
Allows you to define the left and/or right whitespace to be
used for EAN 8/13 codes

Manual ArtPro 8.0 Chapter 4 : Draw — p. 121 —

4.19. Stroke... 4.19.3. Corners
• Mitered
A Mitered corner closes in
one point. When the angle
of the original corner is
very sharp, this might re-
sult in a very sharp peak.
Therefore a Miter Limit
(see further in this chapter)
Stroke can be used to put a line around open or closed paths. can be used to cut off the
In ArtPro, a stroke is a separate element, that can be selected, corner at a distance equal
transformed and colored separate from the original element to the miter limit factor
(the parent). ArtPro keeps object information of strokes, also multiplied by the outside/
for strokes that were imported from other applications. This inside stroke width.
means that a stroke can be selected and the Stroke dialog will • Rounded
show the stroke width. When a stroke and its parent are select- A Rounded Corner joins
ed at the same time and the parent is modified (edit path, re- the corners with a circular
trace path,...), the stroke automatically adjusts as well. arc with the diameter equal to the line width.
4.19.1. Making a Stroke • Bevel
• Select the paths you want to Stroke. A Beveled Corner is comparable to a rounded corner, while
• Define the Stroke Width for a symmetrical stroke, or give in it joins the corner segments with a straight line instead of an
values for Left/Outside, Right/Inside for an asymmetrical arc.
stroke. • Square
• Set the Corner type for the Stroke: mitered, rounded, bevel A Square Corner is comparable to a mitered corner. The lim-
or square. With a mitered corner, also the miter limit should itation of the square corner, however, is not controlled by the
be set correctly. Miter Limit. The Square Corner has a maximum distance on
• Set the Caps type for the Stroke: butt, rounded or square a corner of a 90˚ angle = √2 x distance, resulting in a square
• For a plain stroke, click the Stroke button. corner. The minimum appears on a 0˚ and 180˚ angle = 1 x
• For a dashed stroke, give in Dash and Gap values, and the distance. All angles between those values vary between 1x
Dash Offset, and then click on the Dashed Stroke button. and 1.4.x the distance. Angles < 90˚ are cut, angles > 90˚ are
not cut.
4.19.2. Width: / Left/Outside: / Right/Inside:
• PS Mitered
The Width defines the line width for the Stroke. Filling in the
This is the same as Mitered, but if the miter limit is exceeded,
Width will result in a symmetrical Stroke. If you do not want to
bevel is used at that corner.
make a symmetrical Stroke, you can give in:
• the Outside and Inside value for a Stroke on closed ele- 4.19.4. Caps
ments.
• Butt
• the Left and Right value for a Stroke on open elements.
With butt caps, the stroke is squared off at the end point of
the path.
For open paths, left and right is defined by drawing an imagi-
nary straight line between the end points: the right side of this • Rounded
line is considered as the right side of the path. Or, if you go With round caps, a semicircular arc with diameter equal to
from the bottom point to the top point, then Right is at the right the line width is drawn around the end points of the line, thus
side. prolonging it.
• Square
With square caps, the stroke continues beyond the end point
of the path and is squared off at a distance equal to half the
line width.

— p. 122 — Chapter 4 : Draw Manual ArtPro 8.0

4.19.5. Miter Limit 4.19.8. Dash 1 / Gap 1 / Dash 2 / ...
A mitered corner closes in one point. In order to avoid that the The Dash and Gap input
resulting corner becomes too sharp, it can be cut off. fields allow to specify the
The distance where the corner is cut off, is controlled by a fac- dash and gap lengths of the
tor called the Miter Limit. Dashed Stroke (see figure).
If e.g. the Miter Limit is 2, the distance where the corner is cut If some values are not filled
will be twice the Left/Outside and the Right/Inside value of the in, the Dashed Stroke only
Stroke, resp. to the left or outside and the right or inside of the uses the defined values.
path. See figure on the right with
The Miter Limit value should be greater than or equal to 0. values filled in for Dash 1, Gap 1 and Dash 2. As no value is
filled in for Gap 2, the Dash 1 value will serve as Gap 2 and so
4.19.6. Dashed Stroke on.
When making Thus, zero values and blanks give a different result. Zero de-
a stroke with fines the dash or gap value really as a zero distance. With a
Dashed blank the dash or gap value is completely ignored.
Stroke on,
ArtPro cre- 4.19.9. Remarks on Stroke
ates a • The resulting paths of a Stroke are a compound and receive
dashed line the same color as the original.
on the select- • The original path is not deleted.
ed paths. The • A stroke consists of straight lines, even if the original path
dashed line uses Béziers.
characteris- • A stroke is always created in the same layer and just above
tics are controlled by the Width of the stroke, the Dash Offset the selected path.
and the different Dash and Gap values. • If you use Square or Rounded Caps on a Dashed Stroke:,
make sure the gaps are wider than the Width.
4.19.7. Dash Offset When dashes overlap, the result makes one path. If e.g. you
The Dash Offset moves the type in Width = 2 mm with Square or Rounded Caps, the
dashed stroke, offset 0 mm
starting point of the dashed dashes will be united into one Stroke line when the gap is
line. Positive values move the less than the Width distance.
Dash starting point against the dashed stroke, offset 2 mm • In order to create a dotted line, define a Width, a zero Dash
direction of the path. Negative value, a Gap and rounded Caps
values move the Dash starting dashed stroke, offset -2 mm
point in the direction of the
path. The direction of the path
4.20. Plug-ins
depends on how the path was created. In most cases a nega- The Plug-ins menu will allow for the use of some special add-
tive Dash Offset will move the Dash starting point to the left, ons, e.g. the creation of an EMS code.
and a positive Dash Offset will move the Dash starting point to For further information please contact Artwork Systems N.V.
the right. The default starting point of an open path is the left- (see About this application)
most point of the path.
The default starting point of a closed path is random. To spec-
ify the starting point of a closed path:
1. cut the path open with the Cut Path function (Edit menu)
2. close the path with the Join Paths function (Edit menu).

Manual ArtPro 8.0 Chapter 4 : Draw — p. 123 —

— p. 124 — Chapter 4 : Draw Manual ArtPro 8.0
 5. TEXT

5.1. Missing Fonts 5.2. Text Box...

In ArtPro it is possible to use live text or outlines. There are The Text Box... dialog defines the text box position, its size and
tools to create new text boxes or text lines as well as tools to the vertical alignment of the text.
modify the existing text in a file.
When a document is imported it is possible to convert all text 5.2.1. Defining a Text Box:
to paths or to use editable text. In the second case it means Text boxes can be created in a number of ways : see the Edit
that all fonts used in that file need to be installed on the system. function further in this chapter.
When ArtPro documents including live text are opened, by de- In order to create a text box numerically, proceed as follows :
fault the fonts installed on the system will be used. If fonts are • specify the Top and Left
missing, it is still possible to make ArtPro use outline informa- coordinates in relation to
tion, included in the ArtPro job or directly from the hard disk. the zero point of the ruler
Installing fonts is done through e.g. Adobe Type Manager • specify the size of the text
(ATM), Suitcase,... Fonts could even simply be copied in the box in Vertical Size (=
fonts folder of the system. ArtPro supports all common font height) and Horizontal Size
formats: Adobe Type 1, TrueType, MultiMaster fonts. (= width)
• define Scaling in Vertical
• Missing font: Cancel / Continue / Replace / Outlines
and Horizontal direction,
Font names
angle and shearing.
and font out-
lines are sto- • choose the required Verti-
red in the cal Alignment (see below)
• choose the required Writ-
ArtPro file. This
ing direction (see below)
means that the
• click Create
names of mis-
• start typing text into the box immediately
sing fonts are
shown when 5.2.2. Vert. Alignment
opening a file.
The Vertical Alignment defines the vertical position of the text
Thus a Missing
in its box. Therefore, it has no effect when the text box was de-
Font dialog ap-
fined by just clicking a point or by dragging a horizontal line.
pears when you open a file if not all the necessary fonts are
• Top: aligns the ascenders of the first
present. Replace allows you to indicate a replacement font
text line to the top of the text box
for every individual font that is missing, for every font the di-
• Center: aligns the text to the center of
alog will appear. If you click Continue, ArtPro will replace all
the text box.
the missing fonts in the job by the indicated replacement
• Bottom: aligns the baseline of the last
font. If you click Cancel, the job will stop opening. You can
text line to the bottom of the text box.
then close the window again, install the fonts on your sys-
• Justify Lines: justifies the text in the
tem, reload the fonts and reopen the file.
text box, whereby the extra space is
The last option is to Use Contours When available. Files that
divided in between the text lines.
are saved in version 6.0 format or later, will always have out-
• Justify Paragraph: justifies the text in
line information of fonts embedded in the file. When a font is
the text box, whereby the extra space
missing, you can switch this option on and press continue.
is divided in between the paragraphs.
The outline information of every missing font is used from the
The vertical alignment can also be spec-
file, all other fonts remain editable.
ified in the Text Style dialog using the icons (see later).
When opening a file with missing fonts from older ArtPro ver-
sions, this option will automatically be grayed out.

Manual ArtPro 8.0 Chapter 5 : Text — p. 125 —

5.2.3. Writing Direction • Remark:
The writing direction defines the flow of the text in its box. The capital height + the descender height is visible, when
This setting also has effect when the text box was defined by you select text partially, as the highlighted rectangle or the
just clicking a point or by dragging a horizontal line. size of the cursor.
• Left to right: this is the default setting, where the next char- 5.3.3. Par. Leading
acter appears on the right side of the previous. The next line
Sets additional leading between paragraphs.
appears below the previous line.
• Right to left: the next character appears on the left side of 5.3.4. Hor. Alignment
the previous. The next line appears below the previous line.
Horizontal Alignment defines the horizontal position of the text
This can be used e.g. for Arabic text, Hebrew,...
in its text box.
• Top to bottom: the next character appears below the previ-
• Left: aligns the text to the left margin of the text box.
ous. The next line appears on the left side of the previous
• Center: centers the text on the column width of the text box.
line. This can be used for special layout effects, or for Japa-
• Right: aligns the text to the right margin of the text box.
nese text. When using top to bottom, a number of other
• Justify: justifies the text to the column width. The extra space
functions (underline, tabs, indent, ...) are no longer possible.
is divided in between the words. The last line of the para-
5.2.4. Adjusting the text box position and size graph is always aligned to the left.
• select the text box you want to modify
• open the Text Box... dialog : the Top, Left, Vertical Size and
• Force Justify: justifies the text to the column width. The extra
Horizontal Size, Vertical and Horizontal Scale, Angle and
space is divided in between the words. The last line of the
Shear fields shows the values for the selected text box
paragraph (or a paragraph existing of only one single line of
• change these parameters according to your wishes
text) is forced to justification as well.
• click Apply
When setting a paragraph in Justify
5.3. Paragraph... mode, it is now possible to set hy-
The Paragraph Style dialog phenation manually. If in Justify mode,
contains all the parameters a hyphen is followed by an enter (go-
related to a paragraph. ing to the next line), the line ending
Hence all the following items with a hyphen will be justified.
are paragraph bound and In case the line does not need to be justified, a space can be
can only be modified for a added after the hyphen, before hitting the enter key.
whole paragraph, i.e. text
5.3.5. Left / Right Margin
blocks separated by a hard
return. Sets the left /right text margin at the indicated distance from
the text box.
5.3.1. Leading
5.3.6. Indentation
The Leading defines the
amount of space between Will indent the first line of every para-
the lines and is by default graph. The value can be positive as
defined in point (pt.). well as negative. See figure on the
right.
5.3.2. Auto (Leading)
5.3.7. Space Width
With the Auto option, activated by default, the leading is set to
the maximum capital height on the line, plus the maximum de- Sets the width of the space character
scender height. When the vertical alignment is Top, the first line as a percentage of the width specified for this character in the
is on the maximum capital height. When the vertical alignment font file.
is Bottom, the base of the last line is on the bottom of the text
box.

— p. 126 — Chapter 5 : Text Manual ArtPro 8.0

5.3.8. Min. Space - Max. Space ported. Note that this is not really correct as ATM sometimes
The minimum and maximum spaces, by default 66% and transforms fonts to simulate italic or bold type. In this case Art-
200% respectively, are used for horizontal justification. The Pro, just like other programs, is not able to convert those letters
smallest word space that can be used in justified text is the to paths.
Min. Space, the largest one is the Max. Space. They are indi- • Remarks :
cated as a percentage of the normal word space. ArtPro text • Ascender and descender values, as stored in the font, are
can take a new line in between words or on a discrete hyphen used for auto leading, for the position of superiors and inter-
position. (A discrete hyphen indicates the positions on a word nally for indicating the selected text and the bounding box
where hyphenation is allowed - see Typographic Codes further calculations. Some fonts, however, contain obviously incor-
in this chapter). Using the default values, this means that when rect values. Monaco, Geneva, Chicago have values that are
justifying, the space will never be smaller than 66% of the too big. Apple Garamond on the other hand, has values that
Space Width and will never exceed 200% of the Space Width. look more like the x height. ArtPro cannot detect or correct
When ArtPro cannot find any breaking point on the position these mistakes.
where these values are guaranteed, it will take the breaking • If you get messages like “XYZ has no fond ?”, “Truetype font
point closest to these values and use letter spacing to justify has no font resource ?” or “Font has no width table ?” this
the line. In order to avoid letter spacing, set the maximum word can indicate a system memory low condition.
spacing very high. • In some programs “synthetic” fonts can be used, such as
Outline or Shadow. In those cases that text will be vector-
5.3.9. Tabs... ized when the PostScript file is imported.
Four tab stops can be specified, which are
automatically sorted when you enter 5.4.2. Face
them. Tabs only work with left alignment, The Face field gives access to the different styles or faces be-
otherwise a tab functions as a normal longing to the same font family, that is with the same font family
space character. To activate a tab, press name. All the faces of one particular font family are grouped to-
the TAB key. The text will automatically gether in one pop-up. Faces can be changed in the menu or
jump to the first tabulation position to the by shortcuts Ctrl - B, I (see further under Edit Text).
right of the current position. The Clear but- A font on a Macintosh can be bold, for example, in two ways :
ton resets all tab values to zero. • Font Tekton Bold with font number 200 style Roman
• Font Tekton with font number 20 style Bold.
Only in the second case, so if the style is known as Bold, the
5.4. Character... shortcut will work correctly. Nevertheless, in the first case as
The Character Style dialog well the Tekton font will be Bold.
contains all the parameters re-
lated to the actual characters. 5.4.3. Level
This means that these param- • Superior: smaller text above the
eters can change after any baseline, whereby the capital height
character. aligns with the capital height of the
normal text
5.4.1. Font Family • Superscript: smaller text above base-
In the Font Family menu a list line
appears of all Adobe Type • Base: normal text on the baseline
One and Truetype fonts active • Subscript: smaller text below the baseline
on your Macintosh. ArtPro
needs Adobe Type Manager 5.4.4. Pointsize
to use Adobe Type One fonts. The Pointsize field defines the type size of the characters. The
The fonts are grouped by Art- default unit is pica point (pt.).
Pro in font families, so third party filters,e.g. Type Reunion, are
not needed. All Truetype fonts for which an outline description
exists, and PS fonts that can be rendered by ATM, are sup-

Manual ArtPro 8.0 Chapter 5 : Text — p. 127 —

5.4.5. Hor. Scale negative values.
With the Horizontal Scale letters can be expanded or con- • Dash: defines the length of the dashes for a dashed rule. If
densed. The value is expressed in % of em (= a % of the width the Dash value is zero, a continuous line is created instead.
of the uppercase M in the active pointsize of the active font). A • Gap: defines the width of the gaps between the dashes for
100% value means the character will have its original width. a dashed rule. When the Gap value is zero, a continuous line
Values bigger than 100% will expand the selected characters, is created instead.
values smaller will narrow them.

5.4.6. Tracking
The Tracking is the space between the characters, specified by
default in % of em. To modify the tracking between two char-
acters, select only the first character.

5.4.7. Slanting • Leadering

• Character: defines the lead Character to be used.
The Slanting field defines an angle to
• Step: defines the distance from one Character to the next.
slant the text, specified in degrees. Pos-
• Select the spaces or tabulations you want to fill with leaders.
itive and negative angles are allowed,
• Open the dialog and put the Leadering toggle to ON.
which result respectively in slanting to
• Fill in the Character and the Step fields for the leader.
the right and to the left. Slanting is
• Click Apply
mostly used to generate an italic type style for a font of which
you do not have the italic style. Note, however, that slanting a
type never gives the same result as the original italic style. 5.5. Text Style...
When activating Text Style, by using its shortcut q - T or dou-
5.4.8. Vert. Shift
ble clicking the text tool (T), a status bar appears.
Vert. Shift moves the baseline of the text up with a positive val-
ue or down with a negative value, by default in pica point (pt.).
It can be used to create sub- or superscript. It also works for
text placed on path.
The status bar shows the most common text parameters and
5.4.9. Text Units allows to change them immediately, without having to press
By default text parameters are defined in pica point. All other the Apply button.Often it is not even necessary to make a full
units can be used as well (see Units in 1.2. Preferences... on selection. Settings in relation to a paragraph (e.g. horizontal
page 1). justification) can be changed without selecting the whole para-
graph. It is enough that a part of the paragraph is selected or
5.4.10. Underline/Leadering... that the cursor is positioned in the paragraph.
In the Underline dialog you can de- The Status bar contains (from left to right) Font family and face,
fine underlining and leadering on the Pointsize and leading, horizontal scale and tracking, and Hori-
selected text. Leaders are charac- zontal and Vertical alignment.
ters, often dots or hyphens, used to Shortcut: q - T, Text Style
lead the eye horizontally.
• Underline 5.6. Edit
Activate Underline and specify the
Edit allows you to create an area for typing text (= text
necessary parameters.
box) and to modify existing text. The Edit function can
• Position: defines the vertical posi-
be activated by the menu function or by its toolbar
tion of the line. Positive values put
icon. The Edit Text tool can also be activated by double clicking
the line above the text baseline,
an existing text box with the select arrow.
negative values puts it below the text baseline.
• Width: defines the width of the line. It is placed above the po-
sition with positive values and underneath the position with

— p. 128 — Chapter 5 : Text Manual ArtPro 8.0

5.6.1. Creating text common text parameters, which can be changed directly in
A text area can be created numerically (see Text Box... above) the menu without the need for applying. When text with dif-
or manually. ferent parameters is selected, the variable is unknown. This
• Activate the Edit function in order to create a text area man- is indicated by a blank input field for that variable or a check
ually. The cursor changes into the typical text cursor, the I- box marked with a dash. Thus it is possible to change in text
Beam pointer I. with different settings one parameter only without modifying
• Define the text box area: Clicking in the job window will de- the others.
fine a starting position for the text. It will be put on one line, • 2. In order to modify the text color:
unless you type in a hard return. Clicking and dragging hor- Select the relevant text, specify the color in Paint Style and
izontally will define a column width for the text. Its measure- click Apply in this menu, or activate a color from the Color
ments are shown in the Text Box... dialog in the Horizontal Palette. Text in vector mode is always black, in preview the
Size field. Clicking and dragging a rectangle will define a col- text color is shown. A text box which is being edited, is
umn width and depth for the text box. The column width is shown black in Preview. Selected text has the selection col-
reflected by the Horizontal Size field and the column depth or, both in preview and in vector mode. Text can be colored
by the Vertical Size field in the Text Box dialog. with a flat color only, with or without transparency, visible on
• Start typing text into the box immediately. Empty text boxes the screen. In order to color text with a vignette or a picture,
automatically disappear in ArtPro. The text you compose will it will have to be converted to paths before applying the
come in the text parameters which were active on the mo- paint.
ment you created the text area. Afterwards you can modify
the total text area or just the selected parts of the text 5.6.4. Dragging text to another position
By clicking inside a selected text part and dragging it, you can
5.6.2. Selecting text move this selection.
• 1. Selection of the whole text box: If the OPTION (= z) key is down you can copy the selection
To select the total text area (= text box), activate the Select while moving it to another position. This is only possible within
tool (= arrow) (see 3.17. Select on page 101) and click on a the same text box. To move text to another text box you can
character or drag a rectangle around the total area. use Copy, Cut and Paste (see below).
• 2. Selection of part of a text box: 5.6.5. Copy, Cut and Paste
• To select a part of the text box, activate the Text tool and
When editing a text, the commands Copy, Cut and Paste are
then select part of the text by clicking between the charac-
supported.
ters and dragging. This is very similar to the selection of text
Cut = q - X Copies the selected text to the clipboard and de-
in other applications.
letes the text from its original position.
• Clicking puts the text cursor either before or after the letter,
Copy= q - C Copies the selected text to the clipboard.
depending on which side is closest.
Paste= q - V Pastes to the position of the text cursor
Note that there are two different text statuses at positions
These commands keep tabulation and paragraph ends, but
where the status changes.
the typographic state will change to the settings on the position
Example: [font 1]ABC[font 2]DEF
where the text is inserted.
The status behind the C is not the same as in front of D.
Select All= q - A Selects all text in the current text box
• Double clicking selects the word. 5.6.6. Cursor Keys
• Triple clicking selects the line. Left and right arrow keys move the cursor to the left or right of
• Quadruple clicking selects the paragraph. the insertion point. Up and Down arrow keys move the text cur-
• Quintuple clicking selects the text of the complete text box. sor vertically to the insertion point which is closest to the initial
5.6.3. Modifying text position.
If the SHIFT (x) key is down, the range from start to end will be
• 1. In order to modify the text parameters: selected.
Select the relevant text, change the parameters in the Text Cursor keys also work with command or option:
Box, Paragraph, Character, Underline or Tabulations dia-
logs, and click Apply in the respective dialog box. Note again q - Left previous word
the use of the Text Style menu (see above) with the most

Manual ArtPro 8.0 Chapter 5 : Text — p. 129 —

 q - z - Left beginning of line 5.8. Search/Replace
q - Right next word
q - z - Right end of line Makes it possible to look for a certain character string and re-
q - Up beginning of paragraph place it by another. Search and replace only works within one
q - z - Up beginning of text text box at a time. The text box needs to be edited with the Edit
q - Down end of paragraph Text tool first.
q - z - Down end of text 5.8.1. Search Next
Searches from the cursor position to the bottom of the text box
5.6.7. Typographic Codes for the next string matching the text in the Search input field.
Control - - (*) discrete hyphen 5.8.2. Replace, then Search
Control - W elastic whitespace
Replaces the matching item and immediately searches for the
Control - L leadering
next matching text string.
(*) Minus from numeric keypad only.
5.8.3. Replace
5.6.8. Typographic Functions
Replaces the selected string with the text from the Replace in-
q - x - Space Plain type
put field.
Control B Toggle Bold (**)
Control I Toggle Italic (**) 5.8.4. Replace All
q-x-L Left
Directly replaces all the matching text strings with the content
q-x-R Right
of the Replace input field.
q-x-J Justify
q-x-F Forced Justify 5.8.5. Case Sensitive
q - + (*) Superscript (**) By default ArtPro does not search case sensitive. This means
q - - (*) Subscript (**) that the use of uppercase or lowercase characters is irrelevant.
Control U Underline(**) When the Case Sensitive box is activated, only those text items
(*) Plus and minus from numeric keypad only. are selected with upper- and lowercase characters written ex-
(**) B,U, I, plus and minus toggle the function. actly like the search string.
Fixed Spaces The following method is the safest way of searching, as you
The following widths for fixed spaces are available: can decide for each matching text string to replace it or not.
CTRL - SPACE width of normal space You can also change the search or replace text in between the
(= as specified with Space width) actions.
CTRL - 1 width of EM square • Open the Search and Replace dialog.
( pointsize multiplied by horizontal scale) • Type in the text you want to search for in the Search input
CTRL - 0 width of digit field. You can also use Cut, Copy and Paste from or to the
CTRL - . width of decimal point text fields in the job.
CTRL - , width of comma • Type in the text you want to replace it with in the Replace in-
CTRL - 9 1/9 of EM square width put field.
All of these spaces are non-breaking, i.e. no new line will be • Put the cursor on the position where you want to start
taken at these spaces. Their width is not changed by justifica- searching.
tion. • Search Next looks for the first string that matches the search
field, starting from the cursor position to the bottom of the
5.7. Select All Text text box. The program highlights what it has found and now
you can decide to replace it or not.
Makes it possible to select all the text at once in an ArtPro job.
• If you would like to replace the string found, click on Re-
place, then Search. If you do not want to replace it, click on
Search Next again, and so on.
• When no further strings are highlighted with Search Next, all
the matching strings in that text box are found.

— p. 130 — Chapter 5 : Text Manual ArtPro 8.0

5.9. Import Text... Before you can use these disk fonts in ArtPro you still have to
close all jobs and Reload Fonts.
With the Import Text... functionality text can be imported from • Add: will add the font folders to the list
any source program in Macintosh text format, i.e. ASCI text in • Delete: will delete the selected font or font folder
Mac format. DOS text can be converted into Mac text with a • Reset: will empty the window
conversion program (e.g. Apple File Exchange Program, Ma- • PS default fonts: these are the fonts which are inside the 'PS
cLink). font' folder in the ArtPro application folder. In Import PS/PDF
To import text, activate the text tool, create a text area and > Font Settings > Font Folders they are automatically includ-
choose Import Text... A dialog box will appear to indicate the ed. In the disk fonts you have to check them separately be-
text file you want to import. The text will flow into the defined fore you can use them. When checked, they are
text area with the parameters that were active on the moment automatically added to the list
of its creation.

5.13. Put Text on Path

5.10. Reload Fonts
Put Text on Path puts one selected text object on one selected
Makes it possible to update the font list without having to quit open or closed path. Afterwards you can still freely modify the
ArtPro. Thus, if not all the necessary fonts are on the system, text or the path (e.g. using Edit Text or Edit Path).
just install them and activate Reload Fonts. • Select a Path. You can create a path for this function e.g.
Reload Fonts cannot be done while files are open. So as long with Edit Path or you can use an existing path.
as jobs are open, this function remains grayed out. • Select a line of text. If several lines of text are selected, they
will be placed as a single line of text on the path, removing
5.11. Used Fonts... all hard returns.
• Choose Put Text on Path in the Text menu
Used Fonts shows the
fonts used in the file, and al- • Remarks
lows you to show those • Circles or ellipses have a
fonts in the file. Double specific direction. The
clicking a font selects the text will always come on
first text box containing the the outside of the circle
selected font and zooms in and clockwise. Even
on the selection. If only a when cut in half, the di-
part of the text box is in the rection stays clockwise
specified font, the whole text box will be selected. By clicking and to the outside.
the Find Next button, the next text box using that font will be When you want to put
selected and zoomed in on. When this box is open, Update will text on the inside of the
update the list of used fonts to the active file at that moment. A circle, use the ...Other
new font used will not be shown in the Used Fonts list until Up- Way function below.
date is used. (see the picture on the right)
• You can define the starting point of a closed path by cutting
it and joining it again with the functions from the Draw menu
5.12. Disk Fonts... (see 4.15. Cut Path on page 115 and following).
Disk fonts is a function that allows to use fonts in ArtPro, with- • Text and path are grouped. To select only the text or only the
out having to activate them on the system, through ATM or path, remove the check next to Select Compound Paths En-
Suitcase. When a font is activated in Disk Fonts... but not ac- tirely in the Edit Preferences dialog or use the COMMAND-
tive on the system, a job will still open with live text. You can OPTION shortcut (see 3.17.2. Group, compound (object)
select several folders containing Truetype and Type 1 fonts, as and path selection on page 101). To separate the text from
well as PS Default fonts. the path again, use Release Path.
The disk fonts option in the text menu is similar to the font fold- • When you delete the path, the text will return to its original
ers in the import postscript dialog.Only at import, disk fonts are position. To anticipate this you can convert the text to paths
vectorized. before deleting the path.

Manual ArtPro 8.0 Chapter 5 : Text — p. 131 —

5.14. ...Other Way ruler on the text before reflowing. If the text shifts, it can be
placed back on the center of the ruler.
Allows at any time for text to be placed on the other side of a
path if it was positioned there with Put Text on Path.
5.18. Convert to Paths
5.15. Put Text in Path To convert text objects into paths, just select the text box with
the normal selection or the text selection and choose Convert
Makes it possible to put text inside Once a
to Paths.
text has been put
a closed path. : Select the text box in a path, the path and
the text will become a By converting text into paths, colors remain unchanged and
compound.The regular
containing the text you want to put selection functionality will
always select both the each character will be a compound to support the “see-
in a path, create or select a closed path and the text
inside it. through” window in the holes of the characters. Within one text
path, and apply Put Text in Path. Once a box, all characters are grouped together and can be selected
text has been put
• Remarks in a path, the path and
the text will become a separately by using the compound selection (q - CONTROL).
compound.The regular
• The text and the path are selection functionality will
always select both the
Once text is converted, the paths consist of splines and can be
grouped, so normal selection path and the text
inside it. treated as any other ArtPro path. By converting text to paths,
will always select the path as Once a text has
there will be no quality loss.
been put in a path, the
well as the text. To select only path and the text will
become a compound.The
the path or the text, disable Se- rfunctionality
egular selection

lect Compound Paths Entirely in

will always
select both the path and
the text inside it.
5.19. Reset Transforms
the Edit Preferences dialog or Reset Transforms restores the selected text to its original size
use the q - CONTROL short- and orientation before transformation, performed with the
cut. To separate the text from the path again, use Release functions from the Edit menu such as Rotate, Scale, Shear,....
Path. Only the Move distances are kept.
• The text and its path can be modified with the functions from
the Edit menu. Paths can be modified separately with the 5.20. Outline Check
functions from the Draw menu. Text can be modified with
the text functionality. Unlike most other application, ArtPro saves text in a document
as ascii codes and font name, but also the corresponding out-
line information.
5.16. Release Path The Outline Check functionality compares the outline informa-
Separates text and path again after Put Text on Path or Put tion included in the ArtPro document (based on the system on
Text in Path. which the file was saved), with the result of the live text (on the
actual system).
Live text consists of Ascii codes, and a font name. When this
5.17. Reflow Text text has to be rendered (i.e. converting to outline information),
Most applications (Quark, Illustrator, ...) apply tracking, kern- the application will use a system call to the OS (in Mac OS9 us-
ing, etc. in their postscript files by splitting the text in parts. ing ATM) to retrieve the outline corresponding to the Ascii code
Therefore, if you import a file, text is fragmented into small piec- for that specific font.
es or even single characters, instead of in a single text box. As the system calls used by OSX are different than those in
Text Reflow is a function that recombines the selected text in OS9, this might cause a different result.
one text box. This recombination is complex, as it implies de- In short, problems can occur:
riving settings like spacing, tracking, alignment, etc.... from the -when exchanging files between OS9 and OSX.
distance between characters or words. -when some older fonts are used that require ATM to work cor-
Therefore, it is possible that text shifts slightly when this func- rectly
tion is used. But if text needs to be modified, the only other op- -when a font is used on 1 system, and a font with the same
tion is to retype the whole text box and redefine the name is used on another system with different character out-
parameters. lines for some codes (e.g. old Helvetica font without the euro
It is advisable to use Reflow Text only on text that needs to be sign)
changed, and to select no more than the text box that will be -when the appearance of some characters is slightly different.
affected by the change. Also, it could be useful to center the This happens often with characters as “\” and “#”.

— p. 132 — Chapter 5 : Text Manual ArtPro 8.0

5.20.1. Text Checking on Open File The user can respond to any of these errors in two different
When an Artpro file is opened and the Text Checking is activat- ways:
ed in Preferences, all live text is compared with its outlines • Accept (All) Live Text
stored in the file, when differences are detected, a warning is “Accept live text” means the editable text is kept, the outlines
reported and the Outline Checker dialog is opened with differ- for this text are deleted and recalculated, based on the char-
ences will be shown. acters and positions of the live text as shown. Accept Live
Text works on the selected error, on the complete text block.
Accept All Live Text works on the complete file.
• Accept (All) Outlines
“Accept outlines” means the outlines are kept and the live
text is deleted. Since the outlines are just a set of lines and
curves and have neither character nor font information asso-
ciated with them, the live text cannot be recreated. So after
In ArtPro file of any version before 6.0, no outline info is stored. accepting the outlines, the text is no longer editable.
When opening such a file, no Outline Check can be performed, Accept Live Text works on the selected error, on the com-
and a warning is generated. plete text block. Accept All Live Text works on the complete
file.

5.20.2. Text Outline Check Dialog

The Outline Check will be opened when differences are found
when opening a file (see above) , but it can also be opened
manually, in the Text menu.
The List in the top part
of the dialog, contains
all text elements
where a difference
between live text and
outlines was found.
The difference margin
can be set in the Pref-
erences. • Recalculate
The errors are shown The Recalculate button will re-evaluate all text in the Artpro
per text bloc, and by file and remove text objects that have been altered manually
clicking the triangle (who no longer contain an error), and add entries that reap-
next to it, the individu- peared (e.g. after undo-ing text corrections).
al errors can be 5.20.3. S&R Files
shown.
An error or text frame When Artpro files are placed in another Artpro file (Step & Re-
can be selected by peat), every placed file will be checked once when the output
clicking on it. (PS or PDF) is performed. If a text error is detected in a placed
Artpro file then a warning will be reported, informing the user to
• Zoom correct the placed files. The user can choose to cancel the cur-
Double-clicking will zoom in on the selected error, same as rent output to correct the problem or continue, ignoring the er-
clicking the Zoom button. rors.

Manual ArtPro 8.0 Chapter 5 : Text — p. 133 —

— p. 134 — Chapter 5 : Text Manual ArtPro 8.0
 6. CONTONE

6.1. Conventions If the document has to be saved on another volume than the
volume containing the application, or if this volume doesn’t
In this chapter the word Contone means Continuous Tone have enough space available, it is advisable to save the file be-
image. This can be any type of image, e.g. a placed TIFF, a fore you start working in ArtColor. If you want to do CT chang-
mapped TIFF, an EPS, etc. The word Contone will be abbrevi- es to a file on a remote disk (network, removables), it is
ated to CT. An Internal Contone means that the image is an advisable to copy the file to a local hard disk first. On a network
ArtColor Image, this will be abbreviated to iCT. this depends on the size of the image and the speed of the net-
work.
6.2. What is ArtColor?
ArtColor is an optional module that is used for contone editing. 6.4. RAM Caching
For more information, please contact your dealer. ArtPro developed a special system to load images into RAM,
It is designed to perform the typical functions on images which so that the memory usage is more economical. (See later for
are difficult to perform with DTP applications. Some specific further details.)
ArtColor features are making masks, soft masks, transparen- When a TIFF file becomes an internal ArtColor Contone, three
cies, color corrections, shadows, etc. versions of the image are created, all split up in parts or tiles:
ArtColor cannot run as a stand-alone program, but is an add- • the High resolution image with the actual CT information
on to the ArtPro software. Most of the ArtColor functions are • the Low resolution image to work on ( > Screen Reduction)
brought together in the Contone menu. • the RGB preview to visualize the image on the screen.
For more detailed info, see later (Memory Usage).
6.3. Hardware Requirements
The memory allocated to ArtPro is defined in the Finder (Get 6.5. Saving ArtColor files
Info > Memory : Only for OS9). The maximum part of ArtPro’s If you use ArtColor, next to the ArtPro
memory that is allocated to ArtColor functions is set in ArtPro line art file a CT file is written on disk.
(Contone > Memory Usage > Contone Cache). The RAM re- This internal CT file has the same
quirements depend very much on the type of work you are name as the line art file with .CT ap-
handling. Optimally, for ArtColor you need 3 times the amount pended to it. The CT file is always
of RAM as the size of the image to be handled. right next to the ArtPro file (in the same folder). When changes
ArtPro is able to run on RAM configurations that are smaller, are made to the line art, only the line art file will be updated.
which means, however, that ArtColor will swap to hard disk. When changes are made to the iCT, both the CT file and the
This means that the part of data that cannot be kept in the line art file will be modified. It is not possible to open the .CT file
memory is written on disk and read from it again later on. This separately. It is strongly recommended not to move or rename
also implies that the speed of the program will decrease. the .CT file. When opening a document, ArtPro will automati-
As a standard requirement, we suggest 250Mb for ArtPro of cally look right next to the lineart file for the .CT. If it is not there,
which ± 150 Mb for ArtColor. When setting a value for ArtColor ArtPro will pop up a file selector and ask for it. Press cancel to
that is too high (not leaving the necessary 60-70 Mb for ArtPro open the file without its CTs.
itself), the value will be decreased automatically, leaving 60-70 Internal iCTs are tiled to make calculations and previewing fast-
Mb available for the core software. From the moment you start er. The contone tiles are now (ArtPro 7.0) 256 x 256 pixels (64
working with ArtColor, the ArtColor memory will be used entire- Kb per separation per tile). They used to be 128 x 128 pixels.
ly, and will no longer be available to the ArtPro application. As a consequence all calculations are faster (E.g. blur: 50 -
While working on an iCT, ArtColor saves it in a temp file on disk. 70%, open: 400 - 500%,...), but the files will be larger. Also, the
Therefore you will also need about 3 times the amount of free first time a document saved in an older format is opened, it
hard disk space as the size of the image. The temp file cannot needs to be converted, which can also take a few minutes.
be opened or used in any other way separately.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 135 —

6.6. Saving preferences 6.7.1. Name
If you select an internal image, all contone menus that were Allows you to define a name for the iCT. Every internal channel
open when you deselected the previous iCT, will reappear on in ArtColor has a unique number anyway, so typing in a name
the same position. If it is the first iCT you select, menus will is optional. The channels will be named according to the name
open as saved in the preferences. Therefore you can save pref- you entered, e.g. 1.CTname or 5.Opacity.CTname. Through
erences after placing all CT dialogs where you want them. Channel Mapping > More... it is always possible to rename a
Contone cache size is also saved in Preferences. You can set channel later on.
this to the value you want, and apply Save Preferences or save 6.7.2. Resolution
it in your template file (see Edit Menu • Save Preferences on
This defines the resolution of the CT to be created and it can
page 8 ).
be set in lines/inch and lines/cm. The resolution is normally set
to the resolution of the previous selected iCT or to the default
6.7. Create Contone... of 100 l/inch (or the default as saved in the Preferences).

6.7.3. Channels
Defines the number of channels the created iCT should con-
tain. Which separations these channels come in, depends on
the setting of Starting at.

6.7.4. Start at
The first channel will go into the channel defined by Start at,
and the following channels go into the subsequent channels. If
Channels is higher than 1, it defaults to the 1st channel, usually
cyan. If Channels is at 1, it defaults to the 4th channel, as this
usually contains the black separation and one channel CTs are
There are many different ways to get internal CTs in ArtPro. Im-
mostly used for grayscales.
ages can be converted to CTs on import (see Into Opacity in
2.17. Import Postscript/PDF... on page 27 ), they can be 6.7.5. Transparent Opacity Channel
turned in iCTs manually in the file and new iCTs can be created. If this option is switched on, the created image will automati-
Create Contone allows you to create a new ArtColor image cally have the number of channels defined in Channels with an
(comparable to File - New... in Photoshop): extra one in Opacity. An opacity channel is used to make (parts
• choose Create Contone... in the Contone menu; a dialog ap- of) an iCT transparent.
pears The opacity channel is automatically activated
• key in a name for the iCT
• key in the resolution and the number of channels for the iCT 6.7.6. Remark:
• define in what separation the first channel should be If a CT is under edit when you create a new one, the new CT
• you can set the CT to have an extra transparency channel or will default to the same resolution and rotation angle as the one
not under edit. This results in pixel alignment between e.g. image
• click OK, the cursor changes (crossed box) and shadow. Pixel alignment is not obligatory, but the result is
• define the CT path by dragging a rectangle which should be nicer.
filled with the iCT or by clicking in an existing path which
should be filled with the iCT.
If you dragged a rectangle, it is filled with the iCT paint. If you 6.8. Insert Contone...
clicked in a path, a copy of the path is made, and filled with Insert Contone... allows you to convert a TIFF or JPEG file into
the iCT an internal ArtPro contone. Insert Contone is a combination of
• the iCT is automatically selected (= CT under edit) performing a Place Picture of a TIFF or JPEG file and Selecting
the CT (see below). The selected image is placed on the bot-
tom right quadrant of the ruler and made internal. To reposition
the image, it needs to be deselected first.

— p. 136 — Chapter 6 : Contone Manual ArtPro 8.0

6.9. Create Shadow... 6.10. Select
ArtColor contains a The selection tool can be activated through the Contone menu
function to automati- or by clicking on its icon in the toolbar. This tool has two func-
cally create shadows. tions: selecting an iCT or converting a TIFF or JPEG picture into
To create a shadow: an iCT and selecting it. To select or convert, click somewhere
• select one or more on the image surface. This selection is based on area selection.
paths for which you If you use the Select tool on an area where two CT’s are on top
want to create a of each other, ArtPro will start by selecting the CT on top. If this
shadow is not an iCT, it will be converted into an iCT. By clicking again,
• select Create Shad- ArtPro will select the CT on top, but as the CT under Edit is not
ow... from the Con- available for selection, this will actually be the second CT. This
tone menu way you can toggle between the two topmost CT’s.
• define the Shadow
Color: by double 6.10.1. Flatten and select
clicking the color Shift - Select allows you to pick a lineart object and turn it into
window, the ArtColor toolbox, containing the separation slid- a iCT, by flattening and selecting.
ers and value fields, will open • choose Select in the Contone menu, or its toolbar icon
• enter other values like Shadow (crossed circle)
Resolution, Blur value and meth- Offset V + H • hold down the shift key and click on the lineart object you
od, Shear angle and the vertical want to select
and horizontal offset for the • the object you click on will first be flattened, according to the
shadow, whether the shadow settings of the Flatten dialog.
should be set to overprint or not, • the CT which is the result of the Flatten operation will be se-
and press Apply Blur lected.
• the contone created for the
shadow is immediately deselect-
6.10.2. CT under Edit
ed in the process. The CT under edit is the current selected iCT. You can see that
a CT is being edited at a particular moment because all func-
A normal black shadow is tions in the Contone menu are enabled (black instead of gray).
created with 100% black, 1 2 3 To see which CT is under edit, you can read the channel infor-
resolution 300 dpi and Opacity channel mation in the Channel Mapping menu or you can use one of
overprint on. Blur and off- Black channel the dimming possibilities in the Preferences dialog, so that the
set differ from job to job. rest of the job is dimmed or hidden when a CT is under edit.
Background
The color can be modified Also, when a CT is under edit, you can only perform CT manip-
by changing the opacity ulations from the Contone menu on it. You cannot use normal
Result
of the black channel in ArtPro functionality on its path (e.g. move it). However, all func-
Paint Style (see ). The tions remain available for all other paths.
shadow is created with a full black channel and a special opac- The CT under edit has a colored rectangle around the size of
ity channel (see example image above). the full CT (the full size of the CT can be different from its fram-
Where the Opacity channel is black, the complete image is vis- ing path). The color is set by the Mediabox preview color in the
ible (2), where the opacity channel is white, the image becomes Preferences, 1.2.4. Display on page 5 . To release a CT under
completely transparent (1). A 40% tint in the opacity channel edit, Deselect it (or Select another CT).
results in a partial transparency (3): 40% of the image together
with 60% of the background. 6.11. Deselect
Deselect will deselect the iCT that is currently selected in Art-
Color. When the iCT is deselected, its Undo buffer is complete-
ly cleared. The object becomes editable with ArtPro tools
again.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 137 —

6.12. Export TIFF... 6.13.4. Creating new channels
Export TIFF allows you to create an external TIFF image (CMYK Clicking on the pencil next to a separation, Mask or Opacity
with alpha channels or grayscale) of all or some channels of the that doesn’t contain a channel, creates a completely new emp-
iCT under edit. ty channel (filled with 0%). The size and resolution of this chan-
Export TIFF exports all the channels with the pencil on in Chan- nel is the same as the iCT channels under edit. The name of
nel Mapping, in the order they appear, to a TIFF file with as the channel is the next free number. In most cases, if no chan-
many channels. Mask channels are only exported if you put nel is selected, the pencil tool is invisible. If you click on the
them in a separation, with the pencil on. place where the pencil should be, a new channel will be creat-
The image that is exported is an uncompressed tiff, that can be ed. If you hold down the shift key when creating a new channel,
opened in Photoshop or that can be used in other applications. the channel will be full (100%) i.o. empty.

6.13.5. Opacity Channel

6.13. Channel Mapping
6.13.1. Channel mapping
The Channel Mapping dialog
shows the separations of the ac-
tive internal contone. The chan-
nel pop-ups can be used to
remap channels in other separa-
tions, in the mask or in the opac-
ity channel. One channel can be
used several times. All iCT chan-
nels of the same size and resolu-
tion can be chosen, so not only
the channels of the selected im- Original Image Image + Mask
age. The color sample and the
number on the left indicate the
separations.

6.13.2. Show / hide channels

Using the eyes next to each channel, they can be shown and
hidden. The eyes in Channel Mapping are linked to the ones in
Show Separations ( 7.13. View Options on page 161 ). Use the
eye on the top of the column, to hide or show all the channels
at .

6.13.3. Activate / Deactivate channels

Using the pencils next to every
channel, you can activate or Deactivated Channel
deactivate a channel. All con- Activated Channel Opacity Channel Final Result : The white
tone manipulations, as well as (inverse of the mask) parts of the opacity
No channel : click on
channel make the sky
the exporting of channels, are this button to generate
transparent
only applied to the active chan- one.
nels. E.g. to change the curve The opacity channel is used for transparencies. This channel
of the magenta channel only, switch all pencils off except the defines which parts of the image in the ink channels are trans-
one next to magenta, then go to Gradation Curve. Even though parent and which are visible. The opacity channel is a grayscale
all channels are visible, only the magenta can be affected by channel like all the others. Where it is 100% or black, the final
this function. image will be completely visible (opaque); where it is 0% or

— p. 138 — Chapter 6 : Contone Manual ArtPro 8.0

 white the image will be completely transparent. Any value in 6.14. Channel Tools
between will result in a partial transparency, meaning we’ll see
part of the image and part of the background. In many cases,
the opacity channel is built as a mask first and then mapped
into the opacity. As a mask, the channel is visible and so easier
to create. See images on the left.

6.13.6. Mask
A mask can be used for two reasons. The first is to build a
transparency channel in the image (e.g. to create soft edges on
an image), the second is to temporary mask part of the image
so that it won’t be affected by color corrections.
When a mask channel is used in opacity or in any of the color
channels, it automatically inverts (unless the option Invert is on,
see 6.13.6. Mask on page 139 ). See images on the left.

6.13.7. More... The Contone Tools dialog combines all the functions that are
necessary to modify the channels. Each time, three parame-
By clicking on the More... button in
ters need to be defined to make a correct modification:
Channel Mapping, a new window
• What do you want to do?
opens up. Here the names of all
Add paint, remove paint, Copy, Gradation Curve, color cor-
channels are listed and can be
rection,...
modified. We suggest the number
• How much do you want to apply? How much pressure?
is left at the start of the internal
• Where do you want to apply it on the image? Everywhere,
channel name, in order to make a
inside a selected path, using a brush,...
clear distinction between the exter-
nal and internal channels. 6.14.1. What?
Add Picture allows you to add the
• Add Paint
channels of a completely different
Add Paint allows you to brush with the active brush
external image, providing the image
color on an iCT. The result will be depending on the
size and resolution match exactly. It
opacity and color of the area you apply Add Paint on.
is also possible to export tiff images
If you apply Add Paint on an area that is transparent (e.g. a
here.This can be useful when the
newly created iCT with the Transparent option on), the pres-
shadow of a picture was scanned
sure will be applied in the opacity channel, while the defined
separately into a one channel grayscale TIFF, or to add earlier
brush color will be applied completely in the image channels,
created masks to the image (e.g. masks saved with Export Tiff).
e.g. brushing 100% black with 50% pressure will apply
6.13.8. Remarks 100% in the black channel, and 50% in the opacity channel.
The visual result will be 50% transparent black (see images
• ICTs also have a mapped paint style, when selected with a
below).
normal selection. They can be distinguished by the number
If you apply Add Paint on an area that is not transparent, the
in front of the channel name. External CT channels (regular
original image and the brush color will be mixed, according
mapped TIFF channels) do not start with a number.
to the setting of the pressure.
• Selecting a channel in an empty separation will create a new,
e.g. If you brush 100% black with a 60% pressure, the orig-
non-printing white separation.
inal image will be reduced to 40%, and 60% black will be
• If you make all separations empty, all channels used in the
added. If you brush 60% black with 100% pressure, the orig-
complete file will become available, as there is no size or res-
inal image will be replaced completely with a 60% black. This
olution set for that CT. If you choose one channel, only the
means brushing 100% black with 50% pressure on a white
channels with the same size and resolution will be available.
(newly created) CT, will result in 50% black.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 139 —

 • Remove Paint
Although a new shadow created by ArtPro is very
New Created CT New Created CT nice, it is usually not as natural as the original sha-
Without an With an
dow in the image. Remove Paint is used to filter the original
Opacity Channel Opacity Channel
shadow out of a picture, rather than creating a new one. Re-
Black Channel move Paint removes the picked color from the iCT and
makes it completely transparent. All colors which are lighter
than the pick color are removed and become completely
transparent. All colors darker than the pick color become
partially transparent and the colors are modified to obtain the
same visual effect.
To use Remove Paint, the CT should have an active Opacity
channel. When none is available, ArtPro will give you a warn-
ing that says one needs to be created.
In practice, the aim is to remove a flat colored background
from an image, making it transparent so that the background
Opacity Channel
can be replaced by another color, without creating a visual
change to the shadows which might be on the original back-
ground.

Example
We will explain the Remove Paint function by the use of an
image containing a linear gradation from 0% to 100% black
• Create the opacity channel: if your contone does not have an
opacity channel yet, you should create one and make it ac-
tive (clicking on the place of the pencil with no channel se-
The Final Result : lected).
• Pick a color (see image 2; the vertical line represents the
picked color) The pick color defines what color has to be re-
moved. This means for best results, you should pick the
darkest background color, the darkest color that has to be
removed completely. If you pick a darker color, more of the
image (or shadow) will be removed. If you pick a lighter color,
less of the image will be removed, with the possibility of not
removing parts of the background.
• Put the pressure at 100% (this function is pressure sensitive,
but it might be better in the beginning to keep pressure at
100%)
On an existing image :
• Apply the remove paint (in this case we used Complete Pic-
70 % K, 100% pressure 100 % K, 70% pressure ture - more about Brushes in Where?). This function changes
the opacity channel as well as the active separation chan-
nels.
• The Opacity Channel: (see image 3): All colors lighter than
the pick color get 0% opacity, thus completely transparent,
so that the contents of the separation channel for the lighter
colors is of no importance. All colors darker than the pick col-
or become partially transparent: in our example, we get a vi-
gnette in the opacity channel. On the place where you had
50% black, and you pick 20%, the result after remove paint

— p. 140 — Chapter 6 : Contone Manual ArtPro 8.0

 will be 100% black, and approx. 30% opaque, resulting in • Copy
the same shade of gray, but transparent to the background. Copy allows you to copy image pixels of the select-
• The color channels: (see image 4): Everything lighter than the ed iCT to another position on that image. This func-
picked color remains as it was. All the darker colors are tion can only be executed by means of a brush. It is often
changed to get the same visual effect: in this example, all used to remove dirty spots.
darker colors become 100%. To copy pixels:
The result shows an image where everything lighter than the • activate Brush•shift click defines the copy start position
picked color is transparent. The darker areas are partially • click defines the copy position
transparent. (See image 5). • brush
As long as you do not pick another point, the copy start po-
Original Image sition will remain fixed in relation to the brush position. As
long as you brush, ArtPro will copy the original pixels, even if
you have copied on top of those pixels already.
If you release the mouse button in between, the new pixels
will be copied instead. It is not possible to copy (or brush in
any way) outside the original size of the image.

• Revert
The Revert tool allows you to copy back from the
last saved version of the image. This is like undoing
Image. Vertical line represents pick color all the previous steps up to the last saved version, at a spe-
cific pressure and in specific areas (e.g. with brush).
When brushing Revert with 100% pressure, the modified im-
age will be replaced completely with the saved version.
With a pressure lower than 100%, the saved image will be
mixed with the modified image, according to the setting of
the Pressure field.
Revert only works after saving, closing and reopening the file.

Image Channel (left) and Opacity channel (right) • Undo

after Remove Paint The Undo tool allows you to copy back from the im-
age in the undo buffer. The Undo buffer contains the
iCT which would appear when using the “normal” Undo
function (q - Z).
This tool can be used several times in a row, the image in the
undo buffer remains the same until the image is changed
again with another tool.

Remarks :
• A “normal” Undo (q - Z) on the Undo tool always refers back
Result after Remove Paint to the complete image in the undo buffer at the moment you
started working with the Undo tool.
• For the same reason no Redo is possible.
• The Undo tool only applies on the channels activated in
Channel Mapping (with pencil).
• Whereas 100% Pressure results in a “complete” Undo, a
Pressure lower than 100% cancels the function only “partial-
ly”.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 141 —

 • Gradation 6.14.2. How Much ?
Gradation allows you to manipulate the gradation How much the image is altered depends on the setting for
curve of all active separations. To edit the settings Pressure in the Channel Tools dialog. Other settings, such as
for the gradation curve, click the Parameters button, or go to Pick color, can also have influence, depending on the type of
Gradation in the Contone menu. For more info on these set- CT function you are applying. So the Pressure defines by what
tings and the gradation function, see 6.16. Gradation on amount the Contone editing function will be applied to the pic-
page 147 ture and can be set between 0% and 100%.
• Density Correction If the pressure is 100%, the contone correction is fully applied.
Density Correction allows you to change one or With a lower pressure, e.g. 40%, ArtPro mixes 60% of the orig-
more color ranges to other colors. To edit the set- inal picture with 40% of the image after correction.
tings for the Density Correction, click the Parameters button,
or go to Density Correction in the Contone menu. For more • Pressure Sensitivity
info on these settings and the Density Correction function, The pressure can be made ‘Pressure sensitive’ for
see 6.17. Density Correction on page 148 working with a drawing tablet, which means the
• Color Removal harder the operator presses on the pen, the higher the pres-
Color Removal allows you to replace the gray com- sure will be.
ponent out of a color with black. To edit the settings Pressure is by default pressure sensitive when working with
for the Color Removal, click the Parameters button, or go to a drawing tablet.
Color Removal in the Contone menu. For more info on these Pressure sensitivity can be switched off by clicking on the
settings and the Color Removal function, see 6.18. Color Re- pencil next to the Pressure input field (white pencil means not
moval on page 149 pressure sensitive).
• Channel Remix Some examples:
Channel Remix allows you to mix channel informa- • Sharpen – Pressure 20%: will result in a combination of 80%
tion. To edit the settings for the Channel Remix, click of the image before sharpening (original) and 20% of the im-
the Parameters button, or go to Channel Remix in the Con- age after sharpening.
tone menu. For more info on these settings and the grada- • Add Paint - Brush color 100% Black - Pressure 50% on CT
tion function, see 6.19. Channel Remix on page 150 with Opacity: applies 100% black paint with 50% transpar-
• Blur ency, resulting in a 50% transparent black paint.
Blur allows you to apply a blur on the selected im- • Add Paint - Brush color 100% Black - Pressure 50% on CT
age. To edit the settings for the Blur, click the Pa- without Opacity: applies 50% of the 100% black paint to the
rameters button, or go to Blur in the Contone menu. For image, thus 50% black.
more info on these settings and the Blur function, see 6.20. • Copy - Pressure 30%: the original image at 70% will be
Blur on page 152 . mixed with the copy image at 30%.
• Sharpen 6.14.3. Where ?
Sharpening allows you to increase the focus or de- The third parameter that needs to be defined is where the cor-
tail and the local contrast on the picture. Sharpening rection needs to be applied. On the complete image, by a
can only be done through the Channel Tools. brush,....?

Remarks on Blur & Sharpen:

• Complete Picture
• More or less sharpening is defined by the Pressure
By clicking on this button, the correction is immedi-
• Blur and sharpen are calculated on each sep. separately.
ately applied on the complete image. It is the same
• Applying a Blur modification after a Sharpen modification is
as pressing the Apply button in Channel Remix, Color Re-
not the same as doing nothing to your iCT. We suggest using
moval, Density Correction, or Gradation Curve. The only dif-
Undo instead.
ference between Apply and Complete Picture is that Apply
• Blur or Sharpen twice with pressure 50% is not the same as
always uses 100% pressure, whilst with Complete Picture a
once with pressure 100%.
lower pressure can be defined.
• If you keep on sharpening, theoretically you may end up with
a checkerboard, due to the noise present in all pictures.

— p. 142 — Chapter 6 : Contone Manual ArtPro 8.0

 • Brush • Edit params
The correction can be applied using a brush. Define By clicking on this button, the parameters of the selected
the brush size, spacing and softness in the Toolbox, function in Channel Tools will be shown, if they are available.
then click on the brush icon and start brushing in the image. For Add and Remove Paint, the Toolbox Color Picker is
With brushing, again a lower pressure can be used to make opened.
smoother corrections. When using the Copy function, you For Copy, Undo, Revert and Sharpen there are no additional
can only use the brush. parameters, only the pressure and the place where they are
applied can be defined.
• Rectangle For e.g. Gradation Curve, the same dialog as Gradation
It is also possible to use a rectangle to define which Curve in the Contone menu opens up.
parts of the picture need to change. First press on • Use Mask - Ignore Mask
the Rectangle icon to activate it, then click and drag a rect- Defines if the Contone function has to use or ignore the ac-
angle on the selected iCT. The correction is applied immedi- tive mask. If use mask is on, the function will not be calculat-
ately. ed on areas completely masked and only partially on areas
with a certain percentage mask, with a pressure according
• Fill Path to the density of the mask.
The correction only has effect on the parts of the If no mask is available, ArtPro will give the warning ‘Contone
picture that fall inside a selected contour. The path has no mask’. Go to Channel Mapping to put the correct
needs to be closed, if not, nothing happens. channel back in mask or create a new one.
This is comparable to making a selection and a correction to • Preview
an image in Photoshop. Use Fade Distance in the Toolbox to Shows the result of the active contone function, without ac-
get a fade out at the edges of the path. tually changing the image. If you are in preview, you can only
A positive value will make the correction fade to the outside make changes in the dialog where you clicked preview, and
of the path, a negative value to the inside (see Toolbox later every change will be shown immediately.
in this chapter). The checkbox next to Preview allows you to switch very fast
(without any calculation) between before and after the pre-
• Follow Path viewed function.
Follow path will automatically brush around a select- You can get out of preview either by applying the function on
ed path. This path can be both, open or closed. Art- the complete picture, or by clicking Cancel. Until you use Ap-
Pro uses the settings that are active in the Toolbox for brush ply or Cancel, you cannot change anything outside the con-
(size, spacing, softness). tone tool menu.
Preview is always calculated on the full image. As all Where
settings immediately execute the contone function, preview
6.14.4. Other settings cannot take in account the Where factor. The only exception
• Current Brush Color to this, is the mask usage. Preview will follow the setting of
For some brushes (like Add or the Mask Usage, and will adjust immediately if you change its
Remove Paint) you need to define Densitometer setting.
a color first. Press the color sam- ø 3 pixels • Toolbox
ple next to Current Brush Color to Click on the Toolbox button to open the ArtColor Toolbox.
activate the densitometer. Then Densitometer Here some important parameters can be set, like brush size,
click somewhere in the selected ø 1 pixel brush softness, brush color, fade distance,...
iCT to choose a color. When
choosing a color, the default diameter is 3 pixels, of which
ArtPro calculates the average value. To pick more accurate-
ly, hold the option key down. The icon changes and the di-
ameter of the densitometer is now 1 pixel.
Another way to define the color is by double clicking on the
sample. The Toolbox will appear and a color can be defined
in CMYK or HSL.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 143 —

6.15. Mask Tools 6.15.1. What ?
The Mask Tools dia- In this pop-up menu you need to define what ArtPro needs to
log contains all the do on the mask channel. We can Add to the active mask, Re-
tools you need in or- move or Replace it.
der to create or • Add
modify a mask Adds to the surface of the
channel on the ac- mask where the When and
tive iCT. A mask is Where conditions are met.
used to apply con- This means that all the pixels
tone corrections on with a mask value lower than
specific areas of the the pressure will be put on
CT or to build an that value. The example represents a mask channel that
opacity channel, to goes from 0% mask on one side of the picture to 100% at
make certain parts the other side. It shows add 25% mask. All values lower than
of the image (partial- 25% are brought up to 25%. All values that are higher, re-
ly) transparent. Before you start working on a mask, you will main untouched.
need to create or select a channel in the Mask channel in the • Remove
Channel Mapping dialog. This will be the active Mask. You can Removes the parts of the
create a new channel (see 6.13. Channel Mapping on page mask where the When and
138 ) or take an existing channel. When you create a new mask Where conditions are met.
channel by clicking the pencil next to mask, you will get a full All pixels with a mask value
Mask (100%). When you create a new mask channel by shift- higher than the pressure val-
clicking the pencil next to mask, you will get an empty Mask ue are reduced to that value.
(0%). In the example below 25% of mask is removed. Only the val-
ues higher than 75% are changed to 75. All the lower values
If a mask is used to make an opacity channel, keep in mind that remain as they were.
where your mask channel is 100%, the underlying picture will • Replace
be completely transparent. See also 6.13.5. Opacity Channel Replaces the parts of the
on page 138 . mask where the When and
Where conditions are met.
On one image, you can have multiple mask channels, e.g. a All pixels get the value that
mask for color correction, a mask for brushing a shadow, etc., was used for pressure. In
but you can have only one channel active mask channel. For the example below the mask
opacity it is the same. You can use only one channel as an is replaced with 25%. All pixels are put on 25%.
opacity channel. Therefore, all the transparencies within one
iCT, need to be generated with one single mask channel. 6.15.2. How Much ?
The Pressure field defines how much mask will be applied to
To create a mask, you need to answer four questions first to the picture. Depending on the What setting, this value defines
execute the mask function: how much you will remove, add or replace to the mask (see
• What do you want to do? Add mask, remove mask or re- above). The Pressure can be typed in manually or it can be de-
place mask. fined using the sliding bar or the arrows. Holding the option key
• How Much mask do you want to add, remove or replace down while clicking, will increase or decrease the value by 5%.
• When do you wan to do this? Under which conditions? Only Like in the Channel Tools, Pressure can be pressure
if the pixels in the image are in a certain color range? Or just sensitive when working with a drawing tablet. More
always, disregarding the colors or channels? pressure on the pen will result in more mask when add-
• Where do you wan to apply the mask? You can use a brush, ing to the mask and vice versa. Pressure sensitivity can be
a path, a rectangle, ... switched off by clicking on the pencil next to the Pressure input
field (a white pencil means not pressure sensitive)

— p. 144 — Chapter 6 : Contone Manual ArtPro 8.0

6.15.3. When ? • Out Density Range
The creation of the mask can be dependent on the contents of All color areas not matching the picked color and its range
the underlying image. This allows us to build a mask based on will be affected.
specific colors or densities found in the image. Out Hue = 1 - In Hue
• Always • In Channel
The change of the mask is independent of the underlying im- This allows you to mix a channel with the active mask chan-
age. Mask is applied everywhere in the image (or depending nel. If you use In Channel, the channel defined in the Which
on the Where factor - see further) at full pressure. pop-up, will be adding to, removing from or replacing the
original mask (depending on the setting of What) completely
• In HSL Range
or partially, according to the pressure. The channel you de-
All colors in the de-
fine in Which has to be selected in a separation.
fined HSL Range
will be affected. To • Not In Channel
define the HSL Not in Channel works the same way as In Channel, but in-
range press the stead of mixing the mask channel with the channel in Which,
HSL Parameter the mask channel will be mixed with the inversion of the
button above channel set in which. The channel you define in Which has to
When. HSL is the be selected in a separation.
abbreviation for • HSL/Density based mask changes.
Hue Saturation If you use In HSL Range, Out HSL Range, In Density Range
and Lightness. or Out Density Range, some additional settings have to be
The base color, as made: Base Color, Range and Softness. The parameters are
well as the range also explained in the drawings below. The first drawing
and Softness are shows a big color range, in the next example the range is
defined with HSL. smaller. The last three drawings show respectively 0%, 50%
• Out HSL Range and 100% softness. With a higher softness, less pressure is
All color areas not applied towards the edges of the color range.
matching the
picked color and • Base Color
its range (see below) will be affected. For HSL or Density
Out Hue = 1 - In Hue based mask changes,
you need to define a col-
• In Density Range
or before you can edit
All colors in the
the mask. Defining a
defined Density
base color can be done
Range will be af-
by clicking on the sam-
fected. To define
ple and clicking inside
the range press
the active iCT or by en-
the Density Pa-
tering the base color by
rameter button
filling out the percentag-
above When. The
es in the parameters di-
difference with
alog. There is a separate
HSL masking is
dialog for Density and
that the base color is defined in CMKY. There is one value for
for HSL. Pick uses the
Range and one for Softness.
Densitometer Diameter
Both density and HSL range are used often to create masks
from the Densitometer
on a document, when no clipping path is available. E.g. A
dialog, and calculates
picture of a sailing boat on a blue ocean. Pick the blue back-
an average color value of the picked diameter. Option allows
ground color to mask the boat.
you to pick the color of one pixel. The base color can be de-
fined in cmyk (density masking) or in HSL (HSL masking).

Manual ArtPro 8.0 Chapter 6 : Contone — p. 145 —

 • Range path. A positive value will make the mask fade to the outside
Defines how big an area in color space will be affected ac- of the path, a negative value to the inside (see Toolbox later
cording to the picked color. A low range will only affect colors in this chapter).
that look very much like the base color. A higher range also Fill path is used often to make soft edges on image instead
affects colors that differ more. of using clipping paths and to make images fade out into the
For density masking, one single Range value is set between background.
0% and 100%. For HSL masking, a separate range can be • Follow Path
set for every value: the hue range, the saturation range and Follow path will automatically brush around a selected path.
the lightness range. This path can be both open or closed. ArtPro uses the set-
tings that are active in the Toolbox for brush (size, spacing,
• Softness softness).
The softness defines if at the edges of the range the same
pressure needs to be applied as in the middle of the range or 6.15.5. Other Settings
less. Softness 100% means that from the middle of the color • Mask <-> Opacity
range to the edges, the pressure fades out, resulting in Clicking Mask <-> Opacity takes the channel out of
smoother masks. the Mask and puts it into the Opacity, and vice ver-
In some cases, it is not possible to mask an area of a picture sa. If you use the mask channel to create the opacity chan-
in one go. Sometimes the mask needs to be applied partially nel, you can modify it in Mask and put it in Opacity to see the
and in a second step another part needs to be added. result. By clicking Mask <-> Opacity again, you put the opac-
Use previews to check if the settings are OK. Usually, when ity channel back into mask, where you can do further modi-
they are, it is handy to grab the brush and brush on the parts fications. This is easier than manually switching the channels
of the image where the mask needs to be applied. in Channel Mapping.
If you put the Mask channel into the Opacity, parts of the im-
6.15.4. Where ? age that are fully masked (100%) will be fully transparent.
The third parameter that needs to be defined is where the Parts with 0% mask will be completely opaque, while parts
mask needs to be applied. On the complete image, by a that are partially masked will be partially transparent.
brush,....? • Mask To Path
• Complete Picture The active mask channel of the iCT can be convert-
By clicking on this button, the mask is immediately ed into a path using the Mask To Path button.
applied on the complete image, taking the what, This conversion is a vectorization of the mask channel with a
when and how much factor into account. threshold defined by the pressure, dirt margin 2 scan pixels,
• Brush reduction factor 2 and straighten margin 0,5. These settings,
The mask can be applied using a brush. Define the except for the threshold (pressure), cannot be modified. Vec-
brush size, spacing and softness in the Toolbox, torizing a mask can be useful if no clipping path is available
then click on the brush icon and start brushing the mask in and the mask needs to be modified. Note that when vector-
the image. Brushing is often used when creating density or izing a soft mask, the edges are not very precise.
HSL masks. Use a preview to check the mask on the com- • Preview settings
plete picture, then brush it on the areas where it needs to be In the middle of the Mask Tools dialog, there are some set-
applied. tings regarding the visualization of the Mask. These settings
• Rectangle have no influence on the actual channel information. Press
It is also possible to use a rectangle to define which preview to see a preview of the mask with the current set-
parts of the picture need to mask. First press on the tings. The preview is shown on the complete iCT, as the
Rectangle icon to activate it, then click and drag a rectangle where factor has not been defined yet. Using the toggle next
on the selected iCT. The mask is applied immediately. to preview it can be switched on and off very quickly without
• Fill Path recalculating. Use Cancel or apply to leave the preview
The masking only has effect on the parts of the pic- mode. In preview mode only parameters that change the
ture that fall inside a selected contour. The path preview can be modified, everything else is locked in ArtPro,
needs to be closed, if not, nothing happens. Use Fade Dis- even picking a new color.
tance in the Toolbox to get a fade out at the edges of the

— p. 146 — Chapter 6 : Contone Manual ArtPro 8.0

 • Show • Intensity
With this checkbox you can choose to show the active mask By clicking on the up and down ar-
or not. It is the same option as the eye in the Channel Map- rows next to Intensity, you can
ping dialog. modify the intensity. This means
If you choose not to show the mask, the preview will not that the complete curve is moved
show it, but it remains active and you are able to modify it. up or down.
Therefore, this option is mainly used to see the result of a • Contrast
contone function while using a mask, without being dis- By clicking on the up and down ar-
turbed by the display of that mask. rows next to Contrast, you can
• Transparent modify the curve to add or remove
With this checkbox you can choose to show the active mask contrast. Adding contrast moves
transparent or opaque. Transparent has the advantage that the 25% point down and the 75%
you still see the image underneath 100% masked areas, point up. Removing contrast does
Transparent off has the advantage of getting a more accu- the opposite. This allows changing
rate preview of the mask. the contrast of the midtones.
• Invert • Before and After %
If the Invert checkbox in Mask tools is on, the opacity channel Shows the values of the last insert-
is inverted if you use Mask <-> Opacity. The opacity channel ed or moved point.
is NOT inverted if you switch the channels manually in the • Invert
Channel Mapping menu. Inverts the active curve. This
• Empty means the curve is mirrored verti-
Makes the active mask channel completely empty, so 0 % cally around the horizontal 50%
mask. This is the same result as applying Always - Remove line. This function can be used to
- press.100% - Calculate. invert images or just the selected
Original channels.
• Full curve
Makes the active mask channel completely full, so 100% • Mirror
mask. This is the same result as applying Always - Add - Mirrors the active curve. This
press.100% - Calculate. means the curve is mirrored
Intensity around the diagonal line through
Higher the (0,0) and (100,100) point. In
6.16. Gradation other words, the values for before
Gradation allows you to manipulate the gradation curve of all and after are switched.
active separations. This function can be selected and applied Contrast • Keep 0% at 0%
directly from the Contone menu or it can be selected in the Higher
This check forces 0% to remain
Channel Tools menu. In the first case, it is always applied at 0%, even if the gradation curve
100% pressure and on the complete iCT. In the second case does not cross this point. This has
it is possible to define the pressure and the area of the image Invert no effect on the other gray values,
where the correction needs to be applied. (negative it only influences the 0% as such.
The horizontal axis of the gradation graph represents the gray image)
• Keep 100% at 100%
values before the gradation manipulation, and the vertical axis
This check forces 100% to remain
represents the gray values after the gradation change.
100%, even if the gradation curve does not cross this point.
By clicking and dragging you can place and insert points on the
This has no effect on the other gray values, it only influences
gradation curve. Points can be deleted by dragging them (to
the 100% as such.
the left or to the right) outside the square area containing the
curve. • Load Dot Gain...
By clicking the up or down arrows under the graph, you can Load Dot Gain allows you to load a text file which contains
change the 0%, 25%, 50%, 75% or 100% point by 1%, or 5% the values for the gradation curve as described in Save Dot
when holding down the option key. Gain.
• Save as Dot Gain...

Manual ArtPro 8.0 Chapter 6 : Contone — p. 147 —

 Save as Dot Gain allows you to save the gradation curve val- 6.17. Density Correction
ues to a text file. This text file is in the same format as the Dot
Gain files made from the Dot Gain dialog in the Screening
menu (see 7.17.12. PS : Dot Gain Compensation... on page
168 ).
If you need to perform the same gradation correction on
more than one internal CT (even in different ArtPro files), it
might be better to save the gradation curve in a separate text
file (Save as Dot Gain...) which can be reloaded to perform
the gradation (Load Dot Gain...).
• Mask Usage
Defines if the gradation has to use or ignore the active mask.
If Use mask is on, the gradation will not be calculated on ar-
eas completely masked, and only partial on areas which are
softly masked.
• Preview
Shows the result of the active curve, without actually chang-
ing the image. If you are in preview, you can only make
changes in the gradation menu, and every change will be
shown immediately. The checkbox next to Preview allows
you to switch very fast (without any calculation) between be- Color Correction allows you to change one or more color rang-
fore and after the previewed function. es to other colors.This function can be selected and applied di-
You can get out of preview either by applying the curve on rectly from the Contone menu or it can be selected in the
the complete picture, or by clicking Cancel. Until you use Ap- Channel Tools menu.
ply or Cancel, you cannot change anything outside the gra- In the first case, it is always applied at 100% pressure and on
dation dialog. the complete iCT. In the second case it is possible to define the
• Apply pressure and the area of the image where the correction needs
Applies the gradation curve to the complete picture (with or to be applied.
without the mask), always with 100% pressure. This is slight- Through the dialog, four different color corrections can be de-
ly different from the Complete Picture button from the Con- fined at once. Every time a From and To color can be defined
tone Tools dialog, which takes into account the Pressure as well as the range and the softness.
value. A specific color correction color can be switched on or off, by
• Reset switching the pencil alongside that row off.
Sets the gradation curve back to a diagonal line. The con- • From / To
tone will not be modified by changing the curve, only when it These samples are used to define which original color needs
is applied. to be changed and the color it needs to be changed into, by
• Remark clicking on the sample and then somewhere in the iCT or by
A gradation curve is not kept as a characteristic of a certain double clicking on the color sample. In the second case the
image, but is applied immediately on the image channels. Color Picker in the Toolbox is automatically opened. A color
This means that : can be defined in CMYK or HSL. Four different color correc-
• changing the curve after applying it does not affect the image tions can be performed at the same time.
• if you apply a gradation on an image you already applied a • Range
curve on, you execute the second gradation on the resulting The Range defines the part of the color space which will be
values of the first gradation. modified. The figures below shows a symbolic representa-
tion of the pick color and the color range.
The top drawing shows a high color range. The three below
have a lower Color Range. The softness is respectively 0%,
50% and 100%.

— p. 148 — Chapter 6 : Contone Manual ArtPro 8.0

 6.18. Color Removal
A high softness means
that the color correction Color Removal allows you to re-
has less effect towards place the gray component out
the edges of the range. It of a color with black. The Color
also illustrates that the Removal dialog can be opened
color correction is rela- via the Contone Menu or by
tive to the pick color and clicking on the Edit Params but-
the Range. Typical range ton next to the function pop-up,
values for color correc- if Color Removal is selected. It is
tions are 10 to 20%. A used to reduce the ink layer.
range of 0% changes When there is too much ink in a picture, the prints dry slower.
only the pixels with ex- Especially when printing at very high speeds, this can cause
actly the same color. problems, e.g. newspaper printing. Color Removal is com-
This can be useful for monly known as Under Color Removal or UCR.
synthetic images in the • When more than
textile industry. To calculate the Color Removal, ArtPro starts by adding up
the values of all separations per pixel and compares the total
value with the value set in When more than.
• Mask Usage If the total value is higher than the When more than value, the
Defines if the color correction has to use or ignore the mask. color removal is applied.
If Use mask is on, the color correction will not be calculated If the total value is less, the Color Removal will be applied
on areas completely masked, and only partially on areas with partially, depending on the difference between the total value
a certain percentage mask. and the When more than setting.
• Preview
Shows the result of the active color correction, without actu-
The drawing on the left is
ally changing the image. If you are in preview, you can only
the original on which UCR
make changes in the color correction menu, and every is applied. The total ink
change will be shown immediately. layer of the original is
The checkbox next to Preview allows you to switch very fast 235%
(without any calculation) between before and after the pre- Below on the left shows
viewed function. the result of 100% UCR -
You can get out of preview either by applying the color cor- ink layer 105%. The one
rection on the complete picture (Apply), or by clicking Can- on the right shows 60% -
cel. Until you use Apply or Cancel, you cannot change ink layer 163%
anything outside the color correction menu.
• Apply
Applies the Color Correction to the selected iCT, without tak-
ing into account the Pressure field in the Contone Tools dia-
log. In this case, the Pressure is always 100%.
• Reset
Sets the To color back to the From color, so there is no dif-
ference. You can then enter a positive or negative value in the
difference fields, to make well controlled subtle changes.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 149 —

 • Remove
ArtPro will look for the lowest value in the CMY channels.
This value is multiplied by the Remove factor, and substract-
ed from the CMY channels. The same value is added to the
black separation (see drawings on the left).
• Mask Usage
Defines if the Color Removal has to use or ignore the mask.
If use mask is on, the Color Removal will not be calculated on
areas completely masked, and only partially on areas with a
partial mask.
• Preview
Shows the result of the active Color Removal, without actu-
Channel Remix can be used to make ‘overall’ color corrections
ally changing the image. If you are in preview, you can only
rather than the ‘selective’ color corrections from Density Cor-
make changes in the color removal dialog, and every change
rection. The Channel Remix dialog can be opened via the Con-
will be shown immediately. The checkbox next to Preview al-
tone Menu or by clicking on the Edit Params button next to the
lows you to switch very fast (without any calculation) be-
function pop-up, if Channel Remix is selected.
tween before and after the previewed function.
The first 5 columns represent 4 channels and opacity before
You can get out of preview either by applying the color re-
Channel Remix, while the rows represent the resulting chan-
moval on the complete picture (Apply), or by clicking Cancel.
nels after Channel Remix. The last field of every row (constant)
As long as you don’t use Apply or Cancel, you cannot
is an absolute change that can be added to the separations
change something outside the color removal dialog.
• Apply 6.19.1. Relative Change
Applies the Color Removal to the complete picture (with or The relative change could be
without the mask), always with 100% pressure. compared to the density you
This is slightly different from the Complete Picture button in enter in the Mapped Picture
the Contone Tools dialog, which takes into account the dialog. However, Channel
Pressure value. Remix changes the iCT,
• Remark : where the Mapped Picture
As Color Removal replaces combinations of CMY by their K densities do not change any-
equivalent, this function can only work if there is a K separa- thing to the original data. The
tion defined and if the CT has a channel defined for that sep- channel remix fields allow
aration. Relative change
values bigger than 100%
In general applying too much Color Removal will result in a (e.g. 120% or 200%, etc.).
loss of contrast. This is because black is a transparent ink
and prints more like dark gray (that’s also why ‘rich black’ is 6.19.2. Absolute Change
used in printing > 100%K + 40%C). Also the gray compo- The absolute change adds a
nent of CMY is never exactly the same as that same value in flat color to the respective
black. 100% of C and M and Y is in fact a very dark brown, separation, e.g. +20% adds
not black. 20% to every gray value in
the picture.
Absolute change
6.19. Channel Remix 6.19.3. Examples
Channel Remix allows you to mix channel information. This • Example 1
function can be selected and applied directly from the Contone The result of the menu as shown below will be :
menu or it can be selected in the Channel Tools menu. In the • The cyan separation will be 80% of the original cyan + 20%
first case, it is always applied at 100% pressure and on the of the original yellow.
complete iCT. In the second case it is possible to define the • The magenta will not be changed.
pressure and the area of the image where the correction needs • The yellow will be 50% of the original magenta + an absolute
to be applied. value of 25%.

— p. 150 — Chapter 6 : Contone Manual ArtPro 8.0

 • The black channel will be completely empty. • Example 4: making grayscale from CMYK
• The opacity will be inverted You can also use channel remix to calculate a grayscale from
a 4-separation color image.
The new image should consist of one black separation, e.g.
containing 60% of the original C separation, 30% M and 15%
Y, and, of course, the original black film too. These values
give quite good results with most CMYK images.

• Example 2: inverting a channel

In this example the black channel of a grayscale tiff was in-
verted.
In the 4th column (K) we put the negative values of the black
channel and we added 100% absolute in the last column.
e.g. 20% became -20% + 100% = 80%
6.19.4. Mask Usage
Defines if the Channel Remix has to use or ignore the mask. If
Use Mask is on, the Channel Remix will not be calculated on
areas completely masked, and only partially on areas with a
certain percentage mask.

6.19.5. Preview
Shows the result of the active Channel Remix, without actually
changing the image. If you are in preview, you can only make
changes in the Channel Remix dialog, and every change will be
• Example 3: adding 2 channels shown immediately. The checkbox next to Preview allows you
In this example the M and Y channels were added to a new to switch very fast (without any calculation) between before
5th Red channel. In the modified image, the M and Y sepa- and after the previewed function.
rations are made empty as well. You can get out of preview either by applying the Channel Re-
If a separation should remain unchanged, 100% has to be mix on the complete picture (Apply), or by clicking Cancel. Until
entered in the field where the column and row match the you use Apply or Cancel, you cannot change anything outside
same separation. the Channel Remix menu.
When you empty this value (see where column 2 M crosses
6.19.6. Apply
row 1 M), this channel will be empty after modification.
The fifth separation (= Red) contains 50% of the original Ma- Applies the Channel Remix to the selected iCT, without taking
genta and 50% of the original Yellow. into account the Pressure field in the Contone Tools dialog.
The Pressure is always 100%.

6.19.7. Reset
Sets all values back to standard, no change (100% where a
separation column crosses a separation row, all other fields
empty).

6.19.8. Clear
Clears all fields, all fields contain zero.

Manual ArtPro 8.0 Chapter 6 : Contone — p. 151 —

6.20. Blur 6.21. Toolbox
Blur allows you to The toolbox combines all additional parameters needed to
apply a blur on the work on contones. The dialog is divided in 6 tabs: general iCT
selected image. info, densitometer, brush settings, color picker CMYK and
This function can HSL, Fade Distance and general ArtColor settings.
be selected and The Toolbox can be opened from the Contone menu or by
applied directly pressing the Toolbox button in the Channel or Mask Tools di-
from the Contone alogs.
menu or it can be
selected in the 6.21.1. General iCT Info
Channel Tools In this tab, general infor-
menu. In the first mation about the iCT un-
case, it is always applied at 100% pressure and on the com- der edit is shown. It
plete iCT. In the second case it is possible to define the pres- displays the image resolu-
sure and the area of the image where the correction needs to tion, the number of verti-
be applied. cal (columns) and
• Distance horizontal (rows) pixels,
In Distance, you can define what pixel radius ArtPro has to the number of channels,
use to calculate the blur. The value can be defined in the Dis- the image size in Mb as
tance field or by using the sliding bar. Clicking on the arrows well as a small preview.
holding the option key down, will increase or decrease the No parameters can be
blur distance with 5 pixels. modified here.
• Method 6.21.2. Densitometer
• Blur: uses half the distance on the outside and half the dis- • To measure
tance on the inside of the image. The Densitometer allows
• Inner Fade: The image is only blurred to the inside. you to pick and measure
• Outer Fade: The image is only blurred to the outside. the channel values of the
• Mask Usage active iCT at up to 4 differ-
Defines if the Blur has to use or ignore the mask. If Use Mask ent points. To activate the
is on, the Blur will not be calculated on areas completely densitometer, open up the
masked, and only partial on areas with a certain percentage toolbox, go to the Densito-
mask. meter tab and click on one
• Preview of the samples. This acti-
Shows the result of the active blur, without actually changing vates the area densitome-
the image. If you are in preview, you can only make changes ter which picks an average
in the blur dialog, and every change will be shown immedi- density value of a circular
ately. The checkbox next to Preview allows you to switch area defined by the Densi-
very fast (without any calculation) between before and after tometer Diameter. Using
the previewed function. OPTION allows you to
You can get out of preview either by applying the blur on the switch to the dot densito-
complete picture (Apply), or by clicking Cancel. Until you use meter which measures only one pixel of the image.
Apply or Cancel, you cannot change anything outside the To measure in another color, you select another square in
blur menu. the top of the dialog, and measure a spot in the image. This
• Apply way, you can have the values of 4 different places at the
Applies the Blur to the selected iCT, without taking into ac- same time. If you select a swatch of a previously measured
count the Pressure field in the Contone Tools dialog. The color, a cross in the image will show the place where the col-
Pressure is always 100%. or was picked from.

— p. 152 — Chapter 6 : Contone Manual ArtPro 8.0

 The Densitometer measures the density values of the active • Spacing
iCT with the intensity changes of the mapped picture paint When brushing a line in ArtColor, internally the brush is just
dialog applied to them. an overlapping of individual brush dots. Spacing defines the
Transparency is also calculated in the densitometer. e.g. if distance between 2 brush dots. The result of different spac-
you measure a place with 100% black and 50% opacity, the ing values is shown in the image below. A higher Spacing re-
densitometer will show 50% Black. The Densitometer dialog sults in faster brushing (less calculation), but a poorer quality.
shows the active channels in the same order as in the Chan- A lower spacing gives you smooth brush edges, however
nel Mapping dialog. calculation is slower. By default Spacing is set to 25%, which
• Diameter gives you a nice balance between speed and quality. The
Using Diameter, you can set the diameter for the densito- picture below shows different brush Spacing settings.
meter to ø3, ø5, dot or brush. If you select ø3 or ø5, the den-
Spacing 100% - hard brush
sitometer will show an average density value of a circular
area of 3 or 5 pixels. If you select dot, the area densitometer
will measure only one pixel, thus there will be no difference Spacing 100% - soft brush
between area and dot densitometer. If you select brush, the
densitometer will show an average density value of a circular Spacing 50% - soft brush
area defined by the brush size (see Brush menu, later in this
chapter). Spacing 25% - soft brush

6.21.3. Brush Settings

6.21.4. Color Picker

• Type
The brush type defines the softness of the brush: hard - soft
- medium - fine. The different brushes are displayed below
(from left to right : hard, soft, medium, fine).

• Diameter
The diameter of the brush can be changed with this value. It
can be done in three ways. Use the sliding bar, fill in the value
When using Add Paint, Remove Paint or Density Correction
in the diameter field or define a size manually. This last one is
with the Channel Tools, or when using Density or HSL mask-
done by pressing the Ø button and then clicking and drag-
ing, the brush color or base color can be defined here. There
ging a size on the iCT. The result will be displayed in the Di-
are two modes. The first is the CMYK mode, the other is the
ameter field. The diameter of the brush is relative to the
HSL mode. When working in the CMYK mode, a color can be
resolution of the image. A 20 pixel brush on a 300dpi image
defined by settings a value for every channel in the iCT, usually
is smaller than a 20 pixel brush on a 100dpi image.
CMYK. In the HSL mode, a color is defined by setting its hue,
saturation and lightness. In the CMYK mode there are two but-

Manual ArtPro 8.0 Chapter 6 : Contone — p. 153 —

 tons, to make all values in the dialog 0% or 100%. Click on the 6.22. Links
color sample in any of the two modes to pick a color in the im-
age. The cursor changes into the densitometer icon and allows
you to click in the file.

6.21.5. Fade Distance

Fade Distance is only used Although iCTs have nothing to do with the original image on
when making a mask or per- disk, ArtPro does remember where the original is on disk. In
forming a CT correction using this dialog it is possible to update the internal or external image
‘Fill Path’. This parameter de- or to define a new link. Unlike the Used CT tools, these tools
fines how the mask or correc- are only available for the CT under edit.
tion should be applied on the
edges of the path. You can make a hard edge by filling in 0 6.22.1. Define Link
mm. A positive distance makes the mask or correction fade out When creating an image in ArtColor, or if the original image is
on the outside of the selected path and vice versa. Fade dis- removed, it is possible to define a new link from ArtColor. The
tance is used a lot to make soft edges on images. Define Link function will create a new Tiff file and link the Art-
Color image to it.
6.21.6. Display
This dialog shows a 6.22.2. Update Internal CT
few general parame- Update Internal CT will reload the CT from disk and replace the
ters for working with ArtColor image with this version. This can be used to update
ArtColor. They can an image of which the original image has been corrected in an
be defined and saved external application, e.g. Photoshop. This can also be used as
in ArtPro’s preferenc- a “Revert to Saved” function. Keep in mind that the external im-
es. age needs to have the same name, resolution and size as the
• When CT under edit internal image that is updated. Update Internal CT will only af-
This setting can also be found in the Preferences (see 1.2. fect the channels found in the file on disk, so it will not affect
Preferences... on page 1). There are three options. Show masks and opacity channels added in ArtPro.
Others is the default setting and means that the complete job
is displayed in a normal way when editing one iCT. Hide oth-
6.22.3. Update External
ers will automatically hide all other elements in the ArtPro job Update External writes a new tiff file from the ArtColor image
when selecting an iCT, to make previewing of this CT faster. over the original file. This can be useful for images that are used
The third option is to dim all other elements in the file to be in different jobs. If the image was modified in one job, the ex-
able to see the iCT under edit better. ternal image is updated to modify the other jobs as well. If other
• Display Color for Mask jobs should not be affected, a new link can also be defined.
By default masks are displayed in a bright green. But that
color can be modified by pressing this button and selecting 6.23. Memory Usage
a new color in the Finder’s Color Picker. The display color for
masks is the same for all iCTs in the whole document. 6.23.1. Screen Reduction
Changing the color is useful for masking images containing The Screen Reduction de-
lots of green. The color can be changed to a more conve- fines the display resolution
nient one. of all iCTs in the ArtPro
• Screen Reduction document. It is the ratio be-
The screen reduction is used to change the display resolu- tween the display resolu-
tion of iCTs in the ArtPro file. It can also be found under Con- tion of an image and the
tone Memory. See 6.23.1. Screen Reduction on page 154 . actual high resolution. The
Screen Reduction is impor-
tant for the calculation of
the LR tiles per separation

— p. 154 — Chapter 6 : Contone Manual ArtPro 8.0

 and the RGB LR preview tiles. The lowres tiles use 1 pixel out for Contone Cache should be at least 50Mb less than the
of 2, 4, 8 or 16 pixels of the high res tiles, depending on how amount of memory assigned to ArtPro in the Finder.
the Screen Reduction is set. For more details, see 6.4. RAM Caching on page 135 .
The pixel used in the Screen reduction 1/4
lowres images is the most 6.23.3. Cache in Use
top left pixel (first pixel) of Shows the amount of memory of the Contone Cache which is
2x2, 4x4, 8x8 or 16x16 in use at that moment.
pixels square. Obviously
previewing becomes a lot
6.23.4. Display Queue & Background Queue
faster this way. In 1/16 When a function is performed on an internal CT, first of all the
mode, ArtPro is only display is calculated on the LR RGB tiles. The Display Queue
LR
showing 1/256 pixels. HR counts down the number of tiles which still need to be pro-
cessed to be able to show the effect of the last ArtColor func-
• Example
tion on the iCT. After the display has been calculated, ArtPro
When the Screen Reduction is 1, the image resolution on
will calculate the effect of the ArtColor function on the high res
screen is the same as the high resolution image on the hard
tiles. This happens in background, when the processor is idle.
disk, therefore no LR tiled image is built.
The Background Queue counts down the number of HR tiles
When the Screen Reduction is 1/4, the low resolution image
which still need to be processed to update the iCT for all re-
which is previewed on screen only contains 1 out of 4 pixels
maining ArtColor functions. When you Undo an ArtColor func-
in vertical and horizontal direction. This means that the
tion or Deselect an iCT, the Background Queue will be dealt
lowres RGB tiles and the LR tiles per separation will be 16
with and finished first. Thus, in some cases you will have to wait
times smaller than the high res CT file.
for a few moments before you can perform the next function.

6.23.5. Flush Queue

When calculating contone corrections, ArtPro still needs to di-
vide its processor time between this calculation and other Art-
Pro tasks (e.g. previewing). By pressing Flush Queue, ArtPro
will only calculate the correction and do nothing else. This
makes calculating a lot faster, but in the mean time the opera-
tor cannot do anything else.

6.23.6. Optimize CT file

This function writes a new .CT file, eliminating all channels not
• Usage assigned to a separation or used as opacity. Channels set as
Screen Reduction automatically switches to 1 when zoom- mask channels will not be kept either. An ArtPro CT file always
ing in, and to 1/4 when the resolution of the image is more contains one completely empty and one completely filled CT
that 4 times the resolution of the screen pixels. tile. These tiles are used for example if you create a new chan-
There is a certain zoom factor where the screen resolution is nel or a new CT. This tile is stored only once, which explains
exactly 1/4 of the actual image resolution, so only one out of why a new channel or new CT hardly takes any RAM or disk
16 image pixels (4 by 4 square) is shown on screen. When space, as long as you don’t modify those channels.
zoomed at this factor, or further zoomed out, the Screen Re- This is exactly what ArtPro does when unused channels are
duction will be set to 1/4. When zooming in more than the cleared: the empty tile is used, and the original image tiles are
described zoom factor, the screen reduction will switch to 1. removed.
This will allow you to work faster and with less memory, when As the file size cannot be reduced on the file itself, clearing
zoomed out. channels will not reduce the size of the CT file immediately. If
you re-open the file, select at least one CT, and save the file,
6.23.2. Contone Cache the CT file will be re-created, and the size will be reduced.
Contone Cache is the part of the ArtPro RAM memory which
will be reserved specifically for tiled ArtColor images.
A good hint is to keep min. 50Mb free for ArtPro, so the value

Manual ArtPro 8.0 Chapter 6 : Contone — p. 155 —

6.24. General Remarks 6.23. Memory Usage on page 154 ). A low resolution tile is
made for each separation. The tile size depends on the
6.24.1. Working in ArtColor Screen Reduction factor (see 6.23.1. Screen Reduction on
page 154 ), but always takes 64 Kb/separation/tile. E.g.
• Opaque inks
Screen Reduction: 1/4, means that one LR tile represents
Opaque inks are not supported in ArtColor. The preview will
4x4 HR tiles. When the Screen Reduction is 1, no LR tiles are
always represent contones with transparent inks, even if the
created, but the HR tiles are used instead (as they are iden-
inks are defined as being opaque in the separations menu.
tical).
• Transparent shortcut Thirdly, an RGB tiled image is created from the LR tiled im-
A handy shortcut is q - z - T which changes the paint style age. These RGB tiles will go into the Contone Cache of the
of the selected paths to flat color, All Trans. Usually when RAM memory. As these tiles are not per separation but in
making a softmask based on a clipping path, the image itself RGB, they contain 4 times more information. Therefore 1 tile
is copied in a rectangle and the clipping path is put on top of is 4 times smaller to keep it also at 64 Kb.
it, completely transparent.
• Contone Tools on the active Mask RGB Tiles
To perform Contone tools like softening or blurring on the ac- • are necessary for previewing the job
tive Mask, it is sometimes easier to temporarily put the Mask • only the tiles visible on the screen will be calculated
channel in a separation channel (in Channel Mapping dialog), • in the Contone Cache memory
or temporarily switch mask to opacity. For brushing some
last modifications on a Mask, it might be easier as well to use LR Tiles
some Contone Tools. • are necessary to work on
All contone tools are executed on the opacity channel, if the • this is in fact the internal contone (iCT) under edit
pencil next to the opacity channel is switched on. • only the tiles visible on the screen will be calculated
• Output of transparent CT’s • in the Contone Cache memory
Transparency of CT’s to underlying images can only be cal-
culated if the underlying CT information is internal or HR Tiles
mapped. This means, if a partial transparent CT is lying on • contain the real high resolution CT information
top of another CT, this one should be made internal as well • are calculated completely and stored in a temporary CT file
or at least a mapped TIFF or JPG. Otherwise, the transpar- on the hard disk
ency will not be visible on film, although it will be shown on • when there is space, a copy of all HR tiles is stored in the
screen. Contone Cache.

6.24.2. Memory Usage • Example

This first part gives a detailed explanation on how ArtPro han- When a function is performed such as brushing, it is done live
dles its iCTs. This completes the shorter explanation we gave on the LR tiles. After performing the brush, ArtPro calculates
before this in Memory Usage. it again on the HR tiles, but this happens in background. This
• About Ram Caching action is queued until ArtPro gets free processing time. The
ArtPro developed a special system to load images into RAM, LR tiles are also used to recalculate the LR RGB image.
so that the memory usage is most economical. • About Contone Cache
When a TIFF file becomes an internal ArtColor Contone (with Contone Cache is the part of the ArtPro RAM memory which
the Insert CT or Select CT functions), a few things happen in will be reserved specifically for tiled ArtColor images.
the background. The amount of RAM assigned to ArtPro is set in the Get Info
First of all, the TIFF is converted into High Resolution (HR) dialog (Preferred Size) in the Finder. Select the ArtPro icon
tiles of 256 x 256 pixels (64 Kb per separation per tile). This and select Get Info. To find out how much RAM is available
high resolution tiled image is written to a temporary CT file on on your Macintosh, choose About this Macintosh or About
the hard disk. This Computer in the Finder Apple menu. The amount next
Second, from the HR tiled image, a Low Resolution (LR) CT to Total Memory is the amount of RAM available on your
is calculated. Low resolution tiles go completely into the computer. As ArtColor has its own RAM caching system, we
RAM memory of ArtPro reserved as Contone Cache (see strongly recommend you to turn off the virtual memory usage

— p. 156 — Chapter 6 : Contone Manual ArtPro 8.0

 late the iCT preview. From these tiles a screen buffer is cal-
culated which contains the preview both for the iCTs and for
the line art of the job. This screen buffer is copied to the part
Tiff image of RAM which is generally used by the application. When
1024 x 1024 pixels there is not enough free RAM for the screen buffer, checker-
board patterns may occur. This is, however, a safe situation,
C meaning that the preview is wrong but the file is still correct.
M Reducing the Contone Cache will make more space avail-
Y
K able for the application RAM so that the correct preview will
show up again.
HR tiles Cyan HR Tiles
1 tile = 128x128 stored in temporary • How does the Contone Caching work?
contone file on When you bring a TIFF file into ArtColor, the TIFF file is trans-
hard disk formed into an internal CT (iCT). This means that all the tiles
are created.
The HR tiles are written to a temporary CT file which is cre-
ated in the same folder as the ArtPro line art file. If no ArtPro
C
M file is saved yet, the temporary CT file is created next to the
Y application. The HR tiles are also copied into the Contone
K
LR tiles Cyan Cache.
1 tile = 128x128 LR tiles The LR tiles and RGB LR tiles are calculated for the visible
screen red. 1/4 depending on part of the image on screen. These tiles too are put in the
Screen Reduction Contone Cache. When you take another view of the image,
Factor stored in the LR and RGB tiles are erased from the Contone Cache
Contone Cache and recalculated.
When the Contone Cache is filled up, ArtPro swaps HR tiles
(which are modified) back to the temporary CT file on the
hard disk, or ArtPro can also clear LR tiles and RGB tiles.
RGB Tiles From these 3 possibilities ArtPro chooses the tiles which are
4 x smaller than not used for the longest period of time, to swap out (HR) or
RGB tiles to throw out (LR or LR RGB). HR tiles can be read from the
LR Tiles
1 tile = 64 x 64 hard disk if necessary and LR tiles are recalculated.
stored in
Contone Cache When you save the “ArtPro” file, the line art ArtPro file is writ-
ten to the hard disk, and the temporary CT file is renamed to
“ArtPro”.CT file. All the tiles of the deselected iCTs remain in
the Contone Cache until ArtPro swaps the tiles out. The tiles
on your Macintosh (see Memory Control Panel). Never as- which are not used for the longest period of time are
sign all the RAM to applications. Always leave some free swapped out first.
RAM for System usage. • Undo Tiles
From the amount of RAM assigned to the ArtPro application, Once an iCT has been modified, ArtColor also has one undo
you can reserve a portion to work with in ArtColor. This is the image, existing of the HR Undo Tiles (only for the modified
Contone Cache. Reserving part of the RAM like this prevents tiles). These HR Undo Tiles are added to the temporary CT
ArtColor from taking all the RAM assigned to the ArtPro ap- file and swapped in and out Contone Cache memory when
plication, so that you can still perform other tasks like au- necessary. When you Undo, the active HR image is replaced
totrapping, importing PostScript files, placing pictures, etc. by the Undo HR image and the LR tiles are recalculated.
In the Contone Cache we find the different iCT tiles. In the line
art RAM we find the application, the line art file, previews of
images other than internal CT’s, screen buffers, etc. We
would like to draw your attention to the screen buffer. We
have seen before that the LR RGB tiles are created to calcu-

Manual ArtPro 8.0 Chapter 6 : Contone — p. 157 —

— p. 158 — Chapter 6 : Contone Manual ArtPro 8.0
 7. VIEW

7.1. New View • Panes: all the open windows are pane-wise divided over the
full screen. This function can also be used if only one file is
New View opens a new window for the active job. It can be ac- open. In that case, the job window will be changed to match
tivated from the View menu or by its shortcut q - z - V. New the screen size. This view is the only one with a shortcut
View allows you to have multiple windows in one or more jobs, Shortcut: q - z - F, Tile Views, Panes
up to a maximum of 9 in total. Thus, it is possible to have mul- • Stack: all the open windows are piled up one on top of an-
tiple jobs open on the screen. The number of windows and other so that only the topmost one is completely visible.
their position is saved with the file preferences.
Each window can have its own preview settings and per win-
dow Undo View is available. By default, a new window takes 7.4. Undo View
the settings of the current one. Thus, it is possible, for example, Undo View cancels the last View change. This could be zoom
to display the job in outline mode in one window and to see it in or out, or a pan. Preview, Preview Options and show sepa-
in color in another window. In the title bar every window gets a rations are not changed with Undo view. A 2nd undo will undo
number appended to the file name, e.g. Test:1, Test:2, Test:3 the 1st, so it can be used e.g. to switch between a zoom and
for three windows of a job called Test. a total view. It can be activated in the menu or by its shortcut.
Only one window can be active at a time. A window can be ac- Shortcut: q - Undo View
tivated by clicking in it, by clicking on its title bar or by activating
it in the Windows menu (see below). The current window can
be closed by clicking on the close button in the title bar or by 7.5. Fit in Window
using the shortcut q - x - W. Fit in Window displays the ArtPro document as big as possible
For each window, even if it is hidden under another one, an off- in the active window. ArtPro puts the bounding box of all ob-
screen memory buffer is created. The size of this buffer de- jects visible in the file as big as possible in the window. If the
pends on the window size and the preview mode. For exam- job size is bigger, then the jobsize will be fitted in the window.
ple, a 20 inch full screen has a 0.5 Mb outline preview and a 4 So it is either the job size or the job size + the bounding box of
Mb color preview. During contone editing the color preview is the elements running off the jobsize that is fitted. The function
three times as big. Therefore it is advisable to use Panes from can be activated in the menu or by its shortcut.
Tile Views, when working with multiple windows or jobs. Shortcut: q - F, Fit in window
Shortcut: q - z - V, New View Fit Selection in Window displays the selected objects as big as
possible in the active window. The function can be activated by
choosing Fit in Window in the View menu, holding the shift key
7.2. Windows down or by its shortcut.
The Windows dialog allows you to activate the required win- Shortcut: q - x - F, Fit selection in window
dow. All the windows that are open will appear in the list (see
also above under New View). Click on one to make it active.
7.6. Actual Size
Actual Size shows the job with its 100 % size in the window.
7.3. Tile Views
The Tile Views menu defines how the
multiple windows will be displayed. Four 7.7. Zoom In
standard display options for multiple win- Zoom In enlarges the document display. Each time it’s
dows are available : applied, the job is displayed twice as large as before. In ArtPro
• Vertical: displays all the windows you can zoom in until you see internal resolution (12.000 dpi).
equally sized and vertically. (The zoom factor can go as high as 2mio %). It can be activated
• Horizontal: displays all the windows by choosing Zoom In in the View menu or by its shortcut.
equally sized and horizontally. Shortcut: q - =, Zoom in

Manual ArtPro 8.0 Chapter 7 : View — p. 159 —

7.8. Zoom Out 7.12. Preview
Zoom Out reduces the document view. Each time you Displays the ArtPro job in vector mode or in col-
click, the document is displayed at half the size factor of the or mode. In ArtPro there are two modes of view-
previous view. Zoom Out can be activated by the function in ing the document.
the View menu or by its shortcut. The first is the vec-
Shortcut: q - -, Zoom out tor or outline mode
where only the tech-
nical lines of the
7.9. Pan paths are visible.
With the Pan function the ArtPro document can be The second color
moved around in the active window. Pan can be used mode or preview
in two ways: where the filled ver- Outline mode Preview mode
• by clicking a point and dragging it in the direction and over sion of the file is dis-
the distance that the document should move in the window. played. Vectors can be shown in color mode as well, when the
• just by clicking, whereby the point you click on will move to option Show Outline is activated in the Preview Options dialog
the center of the window. This can be used to scroll through (see below). Functions can be executed both in preview mode
the document. and in vector mode. Switching between the two modes can be
The Pan function can be activated in the View menu, by its done with the Preview function in the menu or by its keyboard
toolbar icon (= hand) or by the OPTION key. shortcut. Another possibility is using the toolbar buttons for
preview and outline mode.
7.10. Zoom Rectangle Shortcut: q - Y, Switch between preview and outline
mode
Zoom Rectangle enlarges or reduces the indicated
part of the job in the window. • Picture Preview
The Zoom rectangle to enlarge can be activated: • During on screen preview, EPS files are displayed with their
• by the menu function PICT preview.
• by its toolbar icon (= the magnifying glass) • TIFF files are displayed with reduced resolution: the file reso-
• with the CONTROL key lution is repeatedly divided by 2 until it is lower than the Pic-
It can be used in two ways: first just by clicking in the window, ture Display Resolution in the Preferences menu (see •
whereby the point you clicked is kept at the same place in the Picture Display Resolution on page 6), by default 100 ppi. In
window. The job is displayed twice as large. Second by clicking that case e.g. a 72 ppi low resolution preview file is displayed
and dragging a rectangle around the part you want to zoom in unmodified, a 300 ppi high resolution file is displayed at 75
on. The job is displayed as large as possible with the dragged ppi.
rectangle at the center of the window. Changing Picture Display Resolution once a TIFF has been
The Zoom rectangle to reduce can be activated: previewed does not change the display resolution any more,
• by the menu function in combination with the OPTION (=ALT) except for mapped TIFF, where the resolution will be updat-
key ed on the next internal preview recalculation (e.g. when
• by the toolbar icon (= magnifying glass) in combination with switching on/off a separation in show seps - see later in this
the OPTION (=ALT) key chapter, or by switching preview off and on ).
• by the CONTROL button and the OPTION key. • ArtPro files are displayed with the preview saved with the file.
It will reduce the job view, whereby the point you clicked is kept The resolution depends on the setting of Preview Resolution
at the same place. The job is displayed at half size. in preferences at the moment the file is saved. If no preview
is present, a 50% gray rectangle is used.
• Vignettes are previewed with the number of steps set in the
7.11. Repaint Preferences. Default this is 24 steps.
Repaint forces the computer to repaint (= refresh) your com- • Small text is previewed as rectangles if it becomes too small
plete job window. It can be activated by clicking on Repaint in to display (small font size or small zoom factor).
the menu or by using its shortcut.
Shortcut: q - , (comma), Repaint

— p. 160 — Chapter 7 : View Manual ArtPro 8.0

7.13. View Options • Colors / Black / Negative
By default a separation is displayed in color. In order to see
• Outline / Preview a separation as it would appear on film, you can switch to
The Outline / Preview allow to switch between Outline and “Black”. By switching to “Negative”, the visible separation will
Preview mode. See 7.12. Preview on page 160 be shown negative in black. As both “Black” and “Negative”
• Use Separations are most usefull on a single separation, switching to one of
This option, which is toggled off by default, allows the check- those two will switch on “ Show Single” . It is still possible to
ing of the separations in vector mode as well as in color switch on more than one separation, which simulates putting
mode. Without the option, showing or hiding separations films on top of each other, but digitally
only has effect in color mode.
7.13.2. Objects
• Anti-Aliasing
• Show Selections
Anti-Aliasing can be applied on the colored preview, to give
This checkbox allows
a smoother preview. Of course, the higher the Anti-Aliasing
you to hide or show
factor, the more time it takes to calculate the preview
the selections.
7.13.1. Separations • Show Notes
The Show Separations This checkbox allows
dialog allows you to hide you to hide or show
or show some or all sep- all the notes.
arations on the screen. • Show Deleted
• Show All By enabling this tog-
Clicking the All button gle, all the deleted
will select all separa- paths that are still within the Undelete limit appear on the
tions. If the All button screen (see 3.7. Undelete on page 91), as well in preview
was already selected, mode as in outline view.
all separations will be This option is activated automatically by clicking on the Un-
switched off, as well as delete function and is switched off automatically when
the “All” button. choosing another function again.
• Show Single • Show Borders
The Single button will This checkbox allows you to hide or show the job borders.
deselect all separa- • All
tions except for one. If the All checkbox is on, along with the Show Borders op-
If the Single button is on, switching on another separation will tion, not only the active Job border is shown, but all defined
always deselect the one that was switched on. If the visible job borders will be visualized. (see 2.14. Job Size... on page
separation is switched off, the Single state will also switch 22)
off.
• Show Transparent
If the Single button is clicked while it is on, both the Single
With this option de-activated, the paths with paint style 'all
and the All button will switch to indecisive state ( - ). The sep-
transparent' will be hidden when you are in lineart mode.
arations will not change.
With this option activated, they will be shown as before.
• Separations
• Show Outline
Clicking the eye button in front of a separation will switch the
With this option on, all paths are visible in color preview
separation visible or invisible.
mode. In Outline mode, this option is always on and dis-
If the Single button is on, switching on another separation will
abled.
always deselect the one that was switched on. If the visible
separation is switched off, the Single state will also switch • Show Center
off. All center points of path bounding boxes are indicated by a
Switching a separation off if the “All” button is on will switch little cross. This option can only be used if the Show Outline
the All and Single button to indecisive state ( - ) option is on too.

Manual ArtPro 8.0 Chapter 7 : View — p. 161 —

 • Show Grid 7.14.1. Active Layer
The Show Grid toggle switches the grid from PowerWarp on The active layer is indicated by the pencil to the right of it. In or-
and off. This toggle can also be found in the Grid Warp dia- der to activate another layer, just click with the cursor in the
log. PowerWarp is an optional module in ArtPro. zone to the right of its name. Note that the result of some func-
• Highlight Traps tions, such as Unite, Intersect,... from the Arrange menu, is
The Highlight Traps check box highlights all automatic traps created in the active layer, which might not be the one re-
in the file. The areas are shown in the highlight color from the quired. Furthermore, the objects that are being created, will
Finder (Control Panels > Appearance). Highlight Traps is very have the current state of the layer, i.e. (in)visible, (un)locked and
useful for checking your trapping. (un)printable. As a consequence, for instance, an object that is
being created in the active hidden layer will disappear immedi-
ately.
7.14. Layers...
7.14.2. Selections
Allows the use of layers in When objects in a job are selected, a little red square to the
an ArtPro job. The Layers right of the layer name indicates in which layer the selection is
dialog can be opened by made. To clean up the layers, you can Select All (q - A) ele-
selecting Layers in the ments and check if all layers are used. The layers with no red
view menu, by clicking on square are not used. Obviously you need to make sure that no
its toolbar button, or by elements or layers are hidden or locked. You can also use the
using its shortcut. Layers option Delete unused Layers
can be viewed, locked
and printed to proofer/im- 7.14.3. Layer order
agesetter individually by The layer order ranges from top to bottom as listed, the first
(de)activating the respec- one in the list being the topmost layer. To change the order of
tive check boxes under the eye, lock and printer icons. Clicking a layer, activate it and drag the pencil up or down to the re-
on the icon itself (de)activates all layers at once for that option. quired position.
Use the scroll bar to the right to move through the list. Up to 64
layers can be used. 7.14.4. New
With the New button a new layer will be created on top of the
If you vectorise without opening a file first, the resulting paths other layers. ArtPro uses a default name “New Layer x” and
are put in a “Vectorized Tiff” layer. If you import a CFF2 file, the numbers the new layers automatically.
resulting paths are put in a “CFF” layer. If you import a HPGL
file, the resulting paths are put in a “HPGL” layer. 7.14.5. Delete
By pressing this button, the selected layer is deleted from the
When making a new job, there will be only one layer called Lay- layers list, together with all the elements that were placed on it.
er 0. You can change the name by selecting it and typing an- ArtPro gives no warning before deleting, though Undo (q - z)
other one. When PostScript files from Illustrator are imported, can bring the elements back.
all layers can be kept as in the original Illustrator file. Depending
on the setting of the Merge Equal Layers, layers with the same 7.14.6. To Current
name are put together or not. If the option Recognize Illustrator To move elements from one layer to an other, select the ob-
Layers is not active, the file is imported in the current layer. If jects, put the pencil on the correct layer and press To Current.
there is no current layer, a new layer called “Postscript Import” All the selected elements are moved to the active layer.
is generated. When using Step & Repeat, the repetition is cre-
ated in a layer named “Repetition”.
7.14.7. Delete unused Layers
Clicking the Delete unused Layers button will remove all layers
Opening a file can merge all layers with the same name, if the that are completely empty.
Merge Layers with same name option is on.
Shortcut: q - SHIFT - L, Layers...

— p. 162 — Chapter 7 : View Manual ArtPro 8.0

7.15. Magnetism... By default the Activate Angle option is on, with an angle of 90˚,
making it possible to manually move objects along their vertical
In the Magnetism dialog all possible magnetic items can be de- or horizontal axis when the Shift key is pressed. The angle is
fined and activated. Magnetic items are useful for aligning and defined from the zero line clockwise (see fig. beside). Use the
positioning objects. When all toggles are on, priority ranges negative angle for counterclockwise.
from top to bottom. The menu can be activated in View, by
double clicking the Ruler icon in the Toolbar or by its shortcut. 7.15.4. Activate/Show Ruler
Shortcut: q - OPTION - G, Magnetism... The ruler is shown or hidden by switching the toggle on or off.
When the ruler is visible, it is also active and will be used in re-
7.15.1. Activate Magnetic Objects
lation to functions from the Edit menu (scale, rotate,...).
Any ArtPro path can be a magnetic object. By activating the
checkbox, the use of magnetic objects will be available. Select 7.15.5. Lock Ruler
the path(s) and click on Set to make it magnetic. In order to use With the Lock Ruler option on, it is not possible to move the rul-
it as such, check the toggle next to Activate Magnetic Objects. er. If you use the Move Ruler tool with this option on, and there
All the magnetic paths will then be shown in the Display Color is no guide selected, you will get a preview of the ruler moving,
for Magnetic Objects (see • Display Colors: on page 5), by de- but when you release the mouse button, the ruler will not be
fault bright green. Even to a magnetic object, all normal func- moved.
tions, such as transformations, coloring, etc., can be applied.
The Lock button (cfr. the 7.15.6. Activate Guides
same function in the Arrange With this option on, it is possible to see, create and move
menu) will fix (lock) all mag- guides in the ArtPro document. Guides are also used to posi-
netic objects (selected or tion and align elements.
not) in the job so that they Guides can be created with the Ruler Tool (see 3.8. Ruler on
cannot be selected and ma- page 92). Just click and drag with the ruler tool as if you are
nipulated accidentally. Use moving the ruler, then hold down the option key to create a
Unlock All in Arrange (8.8. guide. Depending on whether you move closer to the horizon-
Unlock All on page 180) to tal or vertical part of the ruler you will get respectively a vertical
return it to its unlocked state. or horizontal guide. Let go of the mouse button to create the
Release deactivates the guide. The guide remains selected after creation.
magnetism from the select- A selected guide is a dashed line with small dashes. If it is
ed path(s). shown with long dashes, it is not selected. You can reselect a
guideline by clicking on it with the Ruler Tool and deselect it by
7.15.2. Activate Grid
clicking on another guide, by clicking on the ruler or by select-
A Vertical and Horizontal grid ing another tool (e.g. press the command key and deselect
can be defined, by default in with the regular selection tool). You can add to the selection by
mm, and activated separately. Switch on the Activate Grid op- holding down the shift key. If one or more guides are selected,
tion to visualize the grid. You can enter the distance between they can be moved with the arrow keys.
the vertical or horizontal grid lines in the Vertical and Horizontal If you move a guideline manually, holding down Shift will have
field. The grid can be used to snap to with the SHIFT key and it snap magnetically to selected objects or to the job size. Mag-
the Move and Create functions. netism does not apply when moving a guide by using the cur-
By default the grid points are shown as crosses. With the Full sor keys.
Grid option the grid lines appear. Clicking on Grid Origin places
the zero point of the grid on the zero point of the ruler. With the Move button, you can move the selected guide(s) over
the vertical or horizontal distance set in the Position fields. This
7.15.3. Activate Angle
will only work if there is a guide selected.
With this option is on, the selected paths can be moved man- With the Create button, you can create a new guide on the po-
ually, in combination with the SHIFT key, along the specified sition (vertical or horizontal) set in the Position fields. If only a
Angle. If a point is being moved exactly along the angle, a filled vertical value, or both values are entered, a horizontal guide will
square will be shown on the point, when moving off the angle be created. If only the horizontal distance is entered (so vertical
an outline square will appear. is zero), a vertical guide will be created.

Manual ArtPro 8.0 Chapter 7 : View — p. 163 —

7.15.7. Lock Guides to Ruler 7.16.1. Transparency vs. Overprint
With the Lock Guides to Ruler option on, the position of the In order to avoid any misunderstanding, some basic terms are
guides in relation to the ruler is locked. This means if you move explained here
the ruler, all guides are moved with it. • Transparency
7.15.8. Key Step Transparency is a part of the paint parameters of an object
or group. Transparency can be a blend mode, an opacity
In the Key Step fields, you can enter the distance the ruler or percentage or an opacity mask, or a combination of these.
the selected guide has to move when using the arrow keys
(Vertical for up and down key, Horizontal for left and right). • Overprint
OverPrint is set as part of the Paint Style, by entering “trans”
7.15.9. Position in some separations.
The Position field is used to create or move a guide (see
7.16.2. Selected Objects
above).
• Type
7.15.10. Magnetism to guides The Type gives the type and shape of the selected object(s).
When moving an object, magnetism is activated by holding This can be opened path, closed path, compound, group,
down the Shift key. When moving manually, the object will text or “multiple objects”. If available, the shape can be
snap to the ruler and to guidelines. When moving with the ar- shown as well : box, polygon, ..., based on the creation info.
row keys, the object will only snap to the ruler. When drawing • Preview
objects, the endpoints can snap to the guides also by holding The Preview rectangle on the right will draw a small preview
the Shift key down. of the selected objects. By default, preview will only be
drawn when 1 single object is selected. By increasing the
7.16. Object Parameters “Paths for selection preview” value in the Display tab of the
Preferences, you can get a preview of multiple selected ob-
In ArtPro 8.0, jects. Be aware that increasing this value to high numbers,
there are 3 can create nice thumbnails of large selections (even com-
parameters : plete jobs), but in some cases the thumbnail generation can
the Paint become rather slow.
Style (as be-
fore), the • Number
Screen The number of selected objects. In case the selection con-
(which used tains groups or compounds, the number of objects shown
to be part of will always be the lowest level objects : individual paths, and
the paint text. Keep in mind that a text object is counted as a single
style) and the object, even if it is a complete paragraph.
Transparen- • Level
cy. This indicates the level of the object. If the selected object(s)
In earlier versions of ArtPro, the Paint (Style) was always at- are regular objects in the layer, the level will be 1. An object
tached to a path, while a compound or group does not have which is part of a group or compound will have level 2. If this
any parameters. In ArtPro 8.0, a group can have a Transparen- compound itself is part of a group, the compound will have
cy, which can be different from the Transparency of the en- level 2, and the objects will have level 3, etc. If objects with
closed object(s). How Transparencies for groups are different levels are selected, no level will be shown
calculated, can be found in 7.19. Group Parameters on page
175.
The Object Parameters is the dialog containing all parameters
for one or more objects. The dialog can be opened using its
shortcut, q - i. This is the same shortcut for paint style, mean-
ing it will toggle between the Paint Style and Objects Parame-
ters dialog.

— p. 164 — Chapter 7 : View Manual ArtPro 8.0

 • Layer Clicking the apply button in the Group Paint tab will apply the
This indicates the layer on which the selected objects are. If current transparency on all selected Groups, whereas clicking
objects from different layers are selected, this is left blank Apply in the Object Paint, the Paint Style, the Screening Dialog
• Indicator and the Transparency dialog, always sets the parameters for
The Indicator (a red square with exclamation mark) is shown every individual object, whether or not they are enclosed in a
if the selected object is part of a group that has a blend mode group.
or transparency. This will explain why e.g. the thumbnail pre- The settings in the Group Paint are described in 7.18. Trans-
view of an object has a different color than the screen pre- parency on page 171 for the general transparency settings,
view, even though the selected object has no transparency. and in 7.19. Group Parameters on page 175 for the specific
group settings.
7.16.3. Object Paint If you select a single Group, and this group contains any Blend
The Object Paint is the paint of the last object that was selected or Transparency, the object parameter dialog will automatically
or clicked (cfr Paint Style behavior in earlier versions). If multiple switch to Group Paint.
objects are selected at the same time (by shift-clicking), the
7.16.5. All Transparent
paint of the last object clicked on, is shown. Dragging a selec-
tion does not change the paint. Creating new objects will apply A path can be made completely transparent with q - option -
all object paint parameters to the newly created objects. T. This changes the paint style of selected paths to flat color,
completely transparent.
• Style
It will also reset the blend mode to “Normal”, clear any opacity
The Style indicates the type of paint. These are based on the
mask, and set Opacity to 100%.
various tabs from the Paint Style dialog : flat paint, Linear gra-
Note that this is not the same as the “All Transparent” button
dation, Linear Multistep gradation (when set using Set Verti-
in the Paint Style. This button only changes the values in the
cal or Set Horizontal), Irregular Multistep gradation (when
Paint Style (without applying the change), while the shortcut q
based on a shape), Pattern, Placed Picture or Mapped Pic-
- option - T is applied immediately, and also resets the blend
ture.
mode, opacity and opacity mask.
Clicking the ... button on the right will open the paint style di-
alog. For more info on the Paint Style Dialog, see 9.1. Paint
Style... on page 187 7.17. screening
• Screen ArtPro applies screening on
The Screen shows the pull-down with all defined screens, an object base, not on a
and indicates the screening of the current paint. document base. This means
Clicking the ... button on the right will open the Screen dia- that in theory each object
log. See 7.17. screening on page 165 can have a different screen-
• Transparency ing. As the screening, meaning the dots themselves, is not vis-
This indicates the Blend mode applied on the current paint, ible in the job window, there are two functions within the Paint
and the transparency percentage. menu that can help you to select and to modify only the
Clicking the ... button on the right opens the Object Trans- screening from selected paths, Modify Screen and Select by
parency dialog. See 7.18. Transparency on page 171 Screen. For every object, you can set what screen type should
be used.
• Apply Screening can be defined for each object in the single docu-
Clicking Apply in the Object Parameters dialog will apply all ment or for each placed picture in a S&R job, When defining
Object Parameters (Paint Style, Screening and Transparen- screening in a S&R job, all screening in the single file is over-
cy) to all selected objects. written. To avoid this, just leave the Screen setting in Object
7.16.4. Group paint Parameters empty for every placed ArtPro file.
The Group Paint allows to define, see or change settings on a 7.17.1. Screen
Group. Unlike the Object Paint tab, this tab only contains set- In the Screen field in Object Parameters, you can select a
tings for transparency, to be applied on a group. If the selection screen from the list of screens defined in the active job. If an
does not contain any groups, clicking Apply in the Group Paint object should not have any screening, it should be set to the
tab will result in an error “No Groups Selected”. empty space at the top of the list.

Manual ArtPro 8.0 Chapter 7 : View — p. 165 —

7.17.2. Screening... ed Screening instead.
To define or change the parameters for one screen set, press The Settings for Nexus Screening are explained further in this
the ... button next to Screens in the Object Parameter dialog. chapter, in parts 8.2.11 to 8.2.14
If no screen set is selected, only the top of the dialog is shown • Extended Nexus
(see top image). As soon as a screen is selected, the rest of the Extended Nexus screening is selected with the 'Nexus Ex-
dialog appears. The dialog is different for PostScript and Nexus tended' tab in the screening dialog. Nexus Extended pro-
Screening. Nexus Screening is only used to print to Artwork vides the user with the same options as the screening in
Systems’ own NexusRIP. To use Nexus screening, you will Nexus 8.0.
need to print to a NexusRIP workflow, which allows for Post- Most options are the same as in the Nexus Make Separation
Script screening (option PostScript Object Screening Control activity : Device, Resolution, Dot Shape, Ruling. For a com-
on). For a complete overview of Nexus Screening, we refer to plete overview of Nexus Screening, we refer to the NexusRIP
the NexusRIP manual. manual. The Settings for Nexus Extended Screening are ex-
• Postscript plained further in this chapter, in parts 8.2.xx to 8.2.xx
PostScript 7.17.3. Screen
screening is
selected with Screen shows you what screen is edited. In the list, the default
the 'Post- screen will always be on top, even if its name was changed.
script' tab in The other screens will be sorted in alphabetical order.
the screening 7.17.4. Name
dialog. PS
In the Name field, you can change the name of the active
Screening is
screen.
available for
every device 7.17.5. Duplicate
that executes
Using the Duplicate button, you can add a screen, based on
PS Screening
the active screen. The name will be the name of the original
Settings for
screen, with a space and a number (1, 2, ...) attached to it. Af-
PS Screening
ter duplication, the new Screening can be set as needed.
are explained
in parts 8.2.5 7.17.6. Merging Screens
to 8.2.10. When inserting an ArtPro job into another ArtPro job, the sets
• Nexus of screens of the two jobs will be merged. Screens that are
Nexus screening is selected with the 'Nexus' tab in the compatible will be put together as one screen. A screen set is
screening dialog. The screening parameters of this dialog compatible if there is no difference in the settings and in the
can be organized into 4 groups: name for the screen. If a value is left blank in one screen and
• output device parameters; entered in another, the screens are compatible for that setting,
• dot family parameters; and the resulting screen will have the value as entered in the
• plate cell parameters; second screen.
• hybrid parameters • Example
Nexus Screening is only used to print to Artwork Systems’ In Job 1, there are 4 screens:
own NexusRIP. To use Nexus screening, you will need to Lineart, Diamond dot shape, freq. 133
print to a NexusRIP workflow, which allows for PostScript CTs, ellipse dot shape, freq. 133
screening (option PostScript Object Screening Control on). Line, Line dot shape, freq. 120
For a complete overview of Nexus Screening, we refer to the Gradations, Ellipse dot shape, freq. 120
NexusRIP manual. In Job 2, there are 4 screens:
The Nexus screening is calibrated with calibration files resid- Lineart, round dot shape, freq. 133
ing on the NexusRip. This calibration should be done with CT, ellipse dot shape, freq. 133
calibration files from FastCalibrator. Calibration files from Line, Line dot shape, freq. 120
Symphony Calibrator can NOT be used. Use Nexus Extend- Gradations, dot shape field is blank, freq. 120

— p. 166 — Chapter 7 : View Manual ArtPro 8.0

 phase of the line ruling.
• “Lineart” from Job 1 is not compatible with “Lineart” from To use PowerLock screening, make screening sets which use
Job2, so these screens will remain. the locked dot shapes and apply them in your ArtPro file as
• “CTs” and “CT” are not compatible, as the name is different with regular screening. Output can be generated on all output
• “Line” is the same in both jobs, and will b merged devices that accept PostScript screening.
• “Gradations” is compatible : the dot shape is empty in job 2, • Authenticity checker
so the value of Job 1 will be used. To make PowerLock screening visible on the film or in print,
The resulting screen list will be: an authenticity checker is used. An authenticity checker is a
Lineart, Diamond dot shape, freq. 133 piece of film that is used to generate moiré patterns on the
Lineart 1, round dot shape, freq. 133 area(s) of the job which contain security screening. Due to
CTs, ellipse dot shape, freq. 133 the shift of the locked screen dot, this dot will generate dif-
CT, ellipse dot shape, freq. 133 ferent moiré patterns than the regular screening applied in
Line, Line dot shape, freq. 120 the job, and thus becomes visible.
Gradations, Ellipse dot shape, freq. 120 To create an authenticity checker, make a job containing a
7.17.7. PS : Dot Shape flat paint area with a value between 20 and 50% with the
same screen ruling and dot shape as in the ArtPro file (regu-
In the Dot Shape field, lar or locked dot, makes no difference), and output it nega-
you can select the de- tive. e.g. If the ArtPro file contains areas of a 150 lpi round
sired dot shape. You can dot in combination with locked round dots, your authenticity
choose between a Circu- checker should be a negative output from a e.g. 30% 150 lpi
lar, Elliptical, Diamond, round (or locked round) dot. Following this rule, moiré pat-
Line or Helio dot shape terns will be the easiest to see.
for all the separations of
the ArtPro document. • Tips & tricks
The dots are inverted • Use PowerLock in combination with microtext. As ArtPro’s
with Negative output. If internal resolution is so high (12.000 dpi) microtext is avail-
the Dot Shape field is able simply by defining very small pointsizes e.g. 0.4 pt.
empty, the default dot • When using microtext, make sure to adapt the exposure res-
shape of the RIP is used. olution, e.g. expose the job on 3600 dpi or higher.
The Diamond dot starts • Making security screening become visible, through copying
round and grows to a di- a printed sample, is done by using a combination of two
amond shape in the 50% screen rulings. When copied, one screen ruling will have dif-
screen zone. The Helio 2 ferent dot gain than the other one and will become more vis-
halftone screen, devel- ible.
oped by Antonio de Lla- • The easiest way to hide this type of screening is by using this
mas, starts with a smaller in a kind of pattern where the two areas of screening do not
dot in between two regu- physically touch.
lar dots. As this dot • PowerLock screening is most difficult to hide in flat paints
grows to the same size of and in angles identical or close to the screen angle of the
the regular dots (values above 25%), the screen frequency be- separation it is in.
comes 1.4 times its original value, and the screen angle is ro- • PowerLock screening will work with Nexus FlexoCal if you
tated over 45º. The dots with Lock behind the names are use a PostScript round dot instead of the Nexus round dot.
PowerLock screen dots. • PowerLock probably cannot be used for gravure jobs as
most gravure systems do not accept PostScript screening.
7.17.8. PS : PowerLock (Optional)
PowerLock is an optional module for ArtPro, to include security
screening within a package. PowerLock screening is based on
a set of new dot shapes included in ArtPro. All PowerLock dot
shape names end with the word 'Lock'. These dot shapes are
identical to the ones without 'Lock', but are shifted over half a

Manual ArtPro 8.0 Chapter 7 : View — p. 167 —

 The image below shows an example of regular screening on shapes, these dotshapes are kept when the option 'keep
the left. The image on the right shows PowerLock screening. screenings' is checked in the Import Postscript dialog 2.17.
The gray value, dotshape, frequency and angle are the same, Import Postscript/PDF... on page 27.
but the dots are shifted half a phase.
7.17.10. PS : Frequency
In this field, the screen frequency can be entered. if this filed is
left empty, the default frequency (150 lpi) will be used.

7.17.11. PS : Angle
In Angle, you can define the screen angle for every separation.
An angle between 0 and 360º can be chosen, e.g. 7,5º for
flexo. If this field is empty, the default angles of the RIP will be
used.

On the left you see the checker. When the checker is placed 7.17.12. PS : Dot Gain Compensation...
on top of the PowerLock screening, two different moiré patters Dot Gain Compensation is by de-
appear, making the logo visible fault applied on all separations. If
the All Separations checkbox is
switched off, the Dot Gain com-
pensation can be set for every sep-
aration individually. In that case,
the dotgain is defined for the active
separation of the Separation menu
(see 9.15. Separations... on page
198). Dot gain is used in the Post-
script File if the Dot Gain Compen-
sation in Print Settings is on (see
7.17.9. PS : Dot Code 2.32. Print : General Settings on
page 62)
In the screening
dialog, under
Dot Shape, • DGC Graph
there is a shape The X-axis of the graph repre-
called ‘cus- sents the values after printing,
tom’. When se- and the Y-axis represents the
lecting custom values on film. By clicking and
from the dot dragging you can place and in-
shape pop-up, sert points on the Dot Gain Com-
the edit field pensation Curve. Points can be
below will be- deleted by dragging them (to the left or to the right) outside
come editable. the square area containing the curve. By clicking the Resize
In this edit field, button, the Dot gain compensation menu will extend to show
a custom Post- all used values.
Script function
can be entered. • Keep 0% at 0%
This function is This check forces 0% to remain 0%, even if the Dot Gain
then used Compensation curve does not cross this point. This has no
when output- effect on the other gray values, it only influences the 0% as
ting to PS. such. This can be very helpful if you want to bring all values
When importing postscript files which contain custom dot to a minimum of 5%, without changing the places with 0%

— p. 168 — Chapter 7 : View Manual ArtPro 8.0

 • Keep 100% at 100% 7.17.14. Nexus & Nexus Extended:
This check forces 100% to remain 100%, even if the grada- Output device parameters: 'Device' and 'Resolution'
tion curve does not cross this point. This has no effect on the As with all
other values, it only influences the 100% as such. screening, the
• Load Curve. Nexus screen-
Load Curve allows you to load a text file which contains the ing changes
values for a gradation curve as described in Save Curve. depending on
• Save Curve. the selected
Save Curve allows you to save the gradation curve values to output resolu-
a text file. If you need to have the same Dot Gain Compen- tion. To give a
sation curve on more than one file, it can be useful to save true preview of
the DGC curve in a separate text file (Save Curve) which can the exact rul-
be reloaded in another file (Load Curve). ings and the
The Dot Gain files are text files that can be edited or created exact screen-
in a text editor or spread sheet application. In that way you ing angles that
can avoid having to reenter all values, by copying them from can be created
another text file into an ArtPro Dot Gain Compensation file. at a given out-
put resolution,
• Clear
defining the
Clear removes all values, setting the curve back to a diagonal
device and se-
line, so no Dot Gain Compensation will be calculated.
lecting one of
• Load All Curves. its resolutions
Load Curve allows you to load a text file which contains the for output will
values for all gradation curve as described in Save All Curves. modify the
• Save All Curves. contents of the
Save All Curves allows you to save the gradation curve val- different pop-
ues for every gradation curve in the job, to a text file. If you up menus in
need to have the same set of Dot Gain Compensation curves this dialog, and
on more than one file, it can be useful to save the Dot Gain only reflect val-
Compensation curves in a separate text file (Save All Curves) ues which can
which can be reloaded in another file (Load All Curves). truly be
The text file created with the Save All Curves function will achieved.
contain a Dot Gain compensation curve for every separation. Both parameters (device & resolution) will be stored when sav-
ing the ArtPro file, as this is output dependent. Next time you
• On Film / Printed
might output on a different resolution and a different device
In the input fields, you can enter up to 20 pairs of values. In
which can result in different angles and screen rulings. Choos-
the example, a 20% point on film, will be 33% on print. The
ing the appropriate device and resolution before defining the
application will use this list to lower the values on film, so you
other parameters in this dialog, will reduce the pop-up menus
get the exact value on paper. e.g. If a value of 40% is asked
in this dialog to only real achievable values. Make sure the files
in the file, ArtPro will put 25% on film, so the actual result on
'Device Contexts.aeo' and ABScreens.txt are right next to the
paper will be 40%.
application on your hard disk. In the end, it is still the resolution
7.17.13. Remark of the output device defined in the assembler module of the
The Screen Angle, Screen Frequency and Dot Shape values Nexus workflow that will control the screening. However, put-
you fill out, are included in the ArtPro PostScript output. A lot ting the resolution in the screening dialog to the same value as
of imagesetters override these values and expose the films with the assembler will guarantee that you see the real parameters
their own values. Others have an option like Override Post- for the dots created and no approximation.
script Screening, so if this option (or a similar option ) is on, the
default settings will be used i.o. the settings made in ArtPro.

Manual ArtPro 8.0 Chapter 7 : View — p. 169 —

7.17.15. Nexus & Nexus Extended : already a plate cell or hybrid setting defined. Hybrid is disabled
Dot parameters if either the FM screening or a CQS screening with a noise pa-
rameter other than zero is selected.
For an explanation of the different Nexus dot families and dot
shapes we refer to the Nexus manual. As you select one fre-
quency, all exact angles and rulings for the selected resolution
are listed for the first four separations in the bottom part of the
dialog. You can define the start angle, this is the angle the first
separation should start with. Additional separations will get the
same angles as the first four separations, in the order that they
appear in the separations list. The order of the angles cannot
be modified, but the order of the separations can be modified
in the separations dialog.

7.17.16. Nexus : Plate Cell parameters

The goal of introducing a plate cell into the job is to print more
saturated full tones with less ink. Plate Cell is a special screen-
ing for the 100% areas in the job and is only used in flexo. The
type of plate cell you choose from the pop-up, and its cell value
depend on the anilox roller used, the output resolution, the
printing process, etc. Defining which plate cell to use can only
be done through a test procedure for which we refer to the in-
stallation process of PlateCell.

7.17.17. Nexus : Hybrid parameters

These parameters define the hybrid type, the mutation be-
tween the fm screening and the conventional screening, and
the size of the fm dot. For more information we refer to the in-
stallation of Hybrid Screening.

7.17.18. Nexus : Calibration

The calibration part allows to select a default calibration file, a 7.17.22. Nexus Extended: Extra Cutbacks
CT calibration file and a Hybrid Calibration file. The Extra Cutback dropdown contains “Linear”, and all Flexo-
Using the Clear button removes the selected calibration file. Sync and LithoSync curves. The dropdown will also contain all
The Calibration file should be located on the Nexus Server end. names defined in the Extra Cutback Curves section in the Pref-
You can only use FastCalibrator files (Nexus 7.5 or earlier) here. erences (see • Extra Cutback Curves on page 8). When send-
If you want to use calibration files from Symphony Calibrator ing this info to Nexus, only the text string with the names of the
(Nexus 8.0), it is necessary to use Nexus Extended Screening. curves will be taken. In the Assembler, Nexus will search in the
Extra Cutbacks folder for a file with the exact name as that text
7.17.19. Nexus Extended: Dot / Hole Centered string.
This popup allows to control the generation of Rosettes (dot
centred or hole centred)

7.17.20. Nexus Extended: Nominal

The Nominal checkbox allows to define if Rulings should be de-
fined in Nominal or in Actual values.

7.17.21. Nexus Extended: Plate Cell / Hybrid

The Plate Cell and Hybrid settings can be accessed through
the Set Plate Cell / Set Hybrid… button. The name of this but-
ton similarly changes to Change Platecell / Hybrid… if there’s

— p. 170 — Chapter 7 : View Manual ArtPro 8.0

7.18. Transparency • Multiply
Looks at the color
The Transparen- information in each
cy dialog can channel and “multi-
only be access- plies” the base col-
ed by clicking or by the blend
the ... button in color. The result
the Object Pa- color is always a
rameters dialog, darker color. Multi-
next to Trans- plying any color
parency. with black produces black. Multiplying any color with white
ArtPro 8.0 fully leaves the color unchanged.
support transparencies. This means when importing a pdf file Blend color = blend + base - (blend * base)
containing transparencies, these will remain after import.
When exporting to a file that doesn’t support Blend modes
(such as ArtPro 7.5, Postscript, PDF 1.3), the Flattener will be • Screen
used (see 8.23. Flatten Transparencies on page 183 for more Looks at each
info on the flattener). channel’s color in-
The Transparencies dialog defines the Blend mode, Opacity formation and mul-
and Opacity Mask to be used on the selected objects. The tiplies the inverse of
same settings can be applied to Groups in the Group Paint tab the blend and base
(see 7.19. Group Parameters on page 175). colors. The result
The shortcut q - z - T sets the transparency to default (Blend color is always a
mode Normal, Opacity 100% and no Opacity Mask), and the lighter color.
Paint Style to flat paint, all transparent (see • All Transparent on Screening with
page 194) black leaves the color unchanged. Screening with white pro-
duces white. The effect is similar to projecting multiple pho-
7.18.1. Blend Modes tographic slides on top of each other.
A Blend Mode makes a combination between the blend object Blend color = Blend * Base
(object on which the blend mode is applied) and a base object
(underneath the blend object), resulting in a blend color. The fi- • Overlay
nal result will depend on the base object, the blend color and Multiplies or
the opacity (see below) All Blend modes and their formulas screens the colors,
(when available) are shown below, with an example. depending on the
Blend modes have no effect on spot colors. ArtPro always base color. Pat-
uses spot color values of the blend object. terns or colors
• Normal overlay the existing
Normal means the pixels while pre-
blend color will sim- serving the high-
ply replace the lights and shadows
base color. At of the base color. The base color is not replaced but is mixed
100% Opacity, this with the blend color to reflect the lightness or darkness of the
gives the same re- original color.
sult as it would If (Base < 0,5) => Blend color = 2 * Blend * Base
without any trans- Else => Blend color = 2 * (Blend + Base - Blend * Base) - 1
parency.
At other percentages, this will result in a mix of the base and
the blend object
Blend color = Blend object color

Manual ArtPro 8.0 Chapter 7 : View — p. 171 —

 • Soft Light • Color Burn
Darkens or lightens Looks at the color
the colors, depend- information in each
ing on the blend channel and dark-
color. The effect is ens the base color
similar to shining a to reflect the blend
diffused spotlight color. Blending with
on the image. white produces no
If the blend color change.
(light source) is
lighter than 50% gray, the image is lightened, as if it were If Base < (1 - Blend) => Blend Color = Base / (1 - Blend)
dodged. If the blend color is darker than 50% gray, the image Else If Base = 0 => Blend Color = 0
is darkened, as if it were burned in. Painting with pure black Else => Blend Color = 1
or white produces a distinctly darker or lighter area but does
not result in pure black or white. • Darken
Looks at the color
• Hard Light information in each
Multiplies or channel and se-
screens the colors, lects the base or
depending on the blend color (which-
blend color. The ef- ever is darker) as
fect is similar to the result color.
shining a harsh Pixels lighter than
spotlight on the im- the blend color are
age. replaced, and pixels darker than the blend color do not
If the blend color change.
(light source) is lighter than 50% gray, the image is lightened, This Blend mode is often used for traps.
as if it were screened. This is useful for adding highlights to If Base > Blend => Blend Color = Base
an image. If the blend color is darker than 50% gray, the im- If Blend > Base => Blend Color = Blend
age is darkened, as if it were multiplied. This is useful for add-
ing shadows to an image. Painting with pure black or white • Lighten
results in pure black or white. Looks at the color
If Blend < 0,5=> Blend Color = 2 * Blend * Base information in each
Else=> Blend Color = 2 * (Blend + Base - Blend * Base) - 1 channel and se-
lects the base or
• Color Dodge blend color (which-
Looks at the color ever is lighter) as
information in each the result color.
channel and bright- Pixels darker than
ens the base color the blend color are
to reflect the blend replaced, and pixels lighter than the blend color do not
color. Blending with change.
black produces no If Base < Blend => Blend Color = Base
change. If Blend < Base => Blend Color = Blend

If (1 - Base) < Blend => Blend Color = 1 - (1 - Base) / Blend

Else If Base = 1 => Blend Color = 1
Else => Blend Color = 0

— p. 172 — Chapter 7 : View Manual ArtPro 8.0

 • Difference causes no change.
Blend object color • Color
and Base object This is a non-sepa-
color are subtract- rable Blend, based
ed from one anoth- on HSL values (see
er and the absolute below). Creates a
value is taken. Art- result color with the
Pro uses this blend luminance of the
to calculate the dif- base color and the
ference between hue and saturation
two jobs. of the blend color.
Blend Color = 1 - |Blend - Base| This preserves the gray levels in the image and is useful for
coloring monochrome images and for tinting color images.
• Exclusion • Luminosity
Creates an effect This is a non-sepa-
similar to but lower rable Blend, based
in contrast than the on HSL values (see
Difference mode. below).Creates a
Blending with white result color with the
inverts the base hue and saturation
color values. of the base color
Blending with black and the luminance
produces no of the blend color.
change. This mode creates an inverse effect from that of the Color
mode.
Blend Color = 1 - Blend - Base + (2 * Blend * Base)
• Non-Separable Blends
There are currently 4 non-separable blend modes in PDF
• Hue and Artpro: Hue, Saturation, color and luminosity. These
This is a non-sepa- blend modes operate on a 3 component color space. This
rable Blend, based means that to calculate the resulting color of such a blend
on HSL values (see mode, we have to convert CMYK color into 3 components,
below). Creates a calculate the resulting blended color, and go back from 3 to
result color with the 4 (CMYK) components.
luminance and sat- However, no instructions are given on how these conver-
uration of the base sions from/to different colorspaces should happen. This re-
color and the hue sults in different behaviors and different color results in
of the blend color. different applications/RIPs.
• Saturation Non-separable Blends doesn’t mean these blends can not
This is a non-sepa- be separated ! It only means the blend is not calculated
rable Blend, based based on CMYK information.
on HSL values (see If a non-separable blend mode is encountered in the PDF file
below).Creates a during import, or in the AP file during PDF1.4 export, a warn-
result color with the ing will be displayed : “PDF (or AP File) containing Nonsepa-
luminance and hue rable Blendmodes may be displayed differently from other
of the base color Applications.”
and the saturation
of the blend color. When flattening non-separable blends, the result of the flat-
Painting with this mode in an area with no (0) saturation (gray) tening will match the color on the ArtPro Screen

Manual ArtPro 8.0 Chapter 7 : View — p. 173 —

7.18.2. Opacity the object, the second will be applied to the group.
The Opacity de-
fines how much
of the Blend re-
sult 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. • Show
An object with “Normal” blend mode and 50% opacity will mix Show will recreate the Opacity Mask object, making the ob-
50% of its color with 50% of its background. ject available for editing again.

7.18.3. Isolate Blending / Opacity & Mask Define ... • Clear

Clear will remove the Opacity Mask from the current trans-
The Isolate Blending and Opacity & Mask Define Knockout parency paint.
Shape are two options that can be used on groups. However,
when placing an ArtPro file, these options can be useful as well, • Clip
treating the complete ArtPro file as a group. If the Clip option is switched
For an explanation on the function of these options, see 7.19. on, the masked objects will
Group Parameters on page 175 become completely trans-
parent outside the bound-
7.18.4. Opacity Mask aries of the Masking object.
Opacity Masks allow to make objects partially transparent, In the example on the right,
based on the grayscale value of the mask. The object used for the red polygon will be visu-
the Opacity Mask is shown as a thumbnail next to the Opacity ally clipped by the contours
Mask section, indicating an Opacity Mask is defined, and what of the ellipse.
object is used. • Invert
• Make Opacity Mask function The Invert option reverses the luminosity values of the mask-
To define a mask, select two or more objects, compounds ing object, and so also reverses the opacity of the masked
or groups. The topmost object will be used as Opacity Mask objects. Below you see the result without “Invert” (left) and
for all other selected objects. with the invert option clicked on (right)
If the other object is a group, the Opacity Mask will be ap-
plied in the Group Paint tab, otherwise it will be in the Object
Transparency.
Use the Make Opacity Mask function in the Paint menu. The
object used to define the mask will no longer be available as
an object, but will (internally) be kept. A representation of the
used shape will be shown next to the Opacity Mask section
in the Transparency dialog. The underlying objects will be
transparent, based on the luminosity of the mask.
If an object to which an opacity mask is applied, already con-
tained an opacity mask, this will be replaced by the new one.
In order to apply two Opacity Mask to one object, either
group the Mask object before applying the Make Opacity
function, or apply the first, group the object and apply the
second. In that case the first Opacity Mask will be applied to

— p. 174 — Chapter 7 : View Manual ArtPro 8.0

7.19. Group Parameters Second possibility is to apply the same blend, but now to the
group. Therefor, the two objects has to be grouped, and the
The Group Paint tab of the Object Parameters is very compa- group needs to be selected. Next the desired Transparency
rable to the earlier explained Transparency dialog. For most needs to be set in the Group Paint tab. This should be applied
options (Blend Mode, Opacity, Opacity Mask) we refer to by clicking Apply in the Object Parameter dialog in the Group
page 171. Paint tab (and NOT in the Transparencies dialog, as this would
However, the Group Parameters are assigned to a group, and apply the blend to the individual objects)
not to individual objects. In that case, the group will be (inter-
nally) calculated to a one level object,
knocking out all overlapping areas (in
this example, the magenta under-
neath the cyan will be disregarded).
Next, the blend is calculated between
the group result, and the back-
ground. In that case, the result will be
50%C 50%Y in all areas that were
100%C (including the intersection between the square and the
circle)

7.19.2. Blends inside a group

The default way to calculate blends, is to first calculate the
blends on the individual objects to whatever is underneath, and
blend the result with whatever is underneath the group.
7.19.1. Multiple objects vs. groups In this example, we have a
In the example as shown on the right pink line pattern, a blue
(start situation) we have a yellow frame and a green arrow.
background, and a cyan square and A Screen blend is assigned
magenta circle on top. to the green arrow, at a
70% opacity. You can
First possibility is to apply a blend (in clearly see the screen blend
this example a Normal blend at a 50% is calculated both to the
opacity) to the individual objects (by pink lines as to the blue
applying the Blend in the Transparen- frame.
cy dialog, or in the Object Parameters in the Object Paint tab). Next the blue frame and
First the Blend between the Magenta circle and the yellow green arrow are grouped,
background is calculated. The result will be 50% magenta and and a Multiply blend is ap-
50% yellow. Next the cyan rectangle is blended with the result plied to the group. The Mul-
underneath tiply is calculated from the
The result in the overlapping area will group (the result after the
be 50 % cyan (50% of the color to be first blend) to the pink
blended) and 50% of the background strokes.
(which is 50% yellow and 50% ma-
genta), thus the final result in the inter-
section will be 50%C, 25%M and
25%Y.

Manual ArtPro 8.0 Chapter 7 : View — p. 175 —

 • Isolate Blends The example underneath shows :
The Isolate Blends option is an option that can be used for 1. the original shapes : pink bars, a yellow star and a cyan el-
blends applied to a group, or on placed ArtPro files. When an lipse.
object inside a group (or Placed AP file) has a blend assigned 2. A Multiply transparency is applied on the blue ellipse : the
to it, this will affect all objects underneath. If the “Isolate cyan ellipse is multiplied with the yellow star and the pink bars.
Blends” option is on, blends assigned to objects inside a 3. An ellipse is drawn on top, with a horizontal gradation from
group, are only calculated to objects within the same group 0% white to 100% black.
(or within the placed ArtPro file) and not to objects outside 4. The gradation is used as opacity mask for the blue ellipse.
the group. The opacity however will also affect the objects The blue ellipse is faded from right to left, based on the lumi-
underneath. nosity of the gradation.
In this example you can 5. The blue ellipse and the yellow star are grouped, and the
clearly see that the “Knockout Groups” option is switched on (for the group). You
Screen blend on the can see the blue ellipse is blocking out the yellow star under-
green arrow is only ap- neath, before calculating the blend from the blue ellipse.
plied from the green ar- 6. The circle is selected out of the group, and the “Opacity &
row to the blue frame. Mask define knockout shape is switched on. You can see now
The Screen blend is not that the blue ellipse is knocking out the yellow star, based on
applied on the pink the applied Opacity Mask
strokes. The 70% opacity
however is calculated on
the complete green ar-
row.
• Knockout Groups
The “Knockout Groups”
option is an option that
can only be used in the
Group Paint.
With the “knockout
groups” option on, ob-
jects 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 ob-
ject (which is inside the group) and the group’s background
(which is outside the group).
In this example you can see that the green arrow blocks out
the blue frame, so the Screen blend of the arrow, and the
multiply blend of the group only affects the green arrow to-
wards the pink strokes.

7.19.3. 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.

— p. 176 — Chapter 7 : View Manual ArtPro 8.0

7.20. Show Toolbar 7.24. Scrolling
The Show Toolbar function shows or hides the toolbar. Art- Live scrolling is performed when, for any function, the cursor is
pro’s toolbar, contains all frequently used functions or buttons. dragged outside the active window. As the cursor approaches
If ArtPro is executing a function, a progress bar is shown on the any edge of the edit window, the display will automatically shift
right side in the toolbar. in the direction of the cursor to show a new viewing area.
When another application is selected in the finder, the toolbar Scrolling is not applied if the arrow keys are used to move (as
slides up a bit, so only the bottom part of it will remain visible. in that case the cursor is not dragged outside the window.)
This makes it easy to reactivate ArtPro. Just click somewhere
on the toolbar.

7.21. Navigation window

The navigation win-
dow is used to de-
fine the preview of
the file. Use the slid-
ing bar at the bottom
to zoom in or out of
the document. The
value at the right
shows the zoom fac-
tor and can also be
filled in manually. A
small preview of the
job is shown above.
The red rectangle represents the area of the job that is currently
previewed. Click inside and move it to scroll through the job.
There is a button for Full Picture, which is the equivalent of Fit
in Window (q - F), Actual size and Actual Pixels, which puts the
ArtColor screen reduction on 1/1.

7.22. Show Sessions

The Show Sessions function is only available when working in
Certified Mode. This function opens the Session Dialog. For
more info on Certified ArtPro and the Session dialog, see 1.4.
Certified ArtPro on page 12.

7.23. View Session Comments

The View Sessions comments function is only available when
working in Certified Mode. This function opens the Session
Comments. These are the same Comments opened when
saving a Certified ArtPro file. For more info on Certified ArtPro
and the Session comments, see 1.4. Certified ArtPro on page
12

Manual ArtPro 8.0 Chapter 7 : View — p. 177 —

— p. 178 — Chapter 7 : View Manual ArtPro 8.0
 8. ARRANGE

8.1. Make Compound 8.1.3. Manipulating compounds

With Make Compound all the selected paths will become one • Copy (or Move, Rotate, Scale or Shear with OPTION
single object. Where paths are overlapping, a look-through pressed) of an entire compound creates a new independent
window to the background is created. compound in the level just above the original compound.
As a compound is one object, it can have only one color (Paint • Copying a part of a compound creates new paths inside the
Style), so when paths with different colors are compounded, same compound.
they will be filled with the paint style of the object at the bottom • The Arrange commands, to change the order of objects (see
of the selection. When making a compound of objects placed 8.9. Bring to Front on page 180 and following) treat com-
on different labels, the compound will be on the bottom layer. pound paths as one object.
Make Compound can be activated by the menu function or by 8.1.4. Spreading & Choking compounds
its shortcut.
Spread & Choke of compound paths take into account the
Shortcut: q - G, Make Compound
even-odd rule: e.g. Spread, spreads outer parts to the outside
8.1.1. Use and inner parts to the inside. ArtPro will not allow spreading or
Every ArtPro path functions as a choking of partially selected elements of a compound. Inter-
different object on a different level. secting paths should not be compounded. The trapping func-
In vectorization for instance, the tions (Spread & Choke) may have trouble handling them. If you
order of the paths runs from bot- insist on compounding intersecting paths, perform a Unite af-
tom/largest to top/smallest in a terwards. The Unite will make sure that any following trapping
Before After functions work fine.
pyramid-like structure (see also ). compound compound
So this is particularly useful for the 8.1.5. Releasing paths from a compound
creation of holes in characters: both the outside and the inside
To remove certain paths from a compound it is not necessary
of the character should be selected and compounded to see
to Release Compound first.
the background through.
• Select the paths you want to release by removing the check
After making a Compound, paths are treated as one object for
next to Select Compound Paths Entirely in the Edit Prefer-
coloring. They are filled according to the even-odd rule (See
ences dialog box. or by using the keyboard shortcut q - z
PostScript Language Manual, 2nd edition, page 162 for an ex-
(see 3.17.2. Group, compound (object) and path selection
planation of the even-odd rule).
on page 101).
• Make Compound, q - G. A new compound is created with
Even areas actually work as holes : everything underneath is
only the selected paths, which no longer have any connec-
visible. A Compound is positioned in the bottommost level of
tion to the original compound
all the compounded paths. This means that the selected path
.
can be moved out of its compound, group or layer.

8.1.2. Selecting and deselecting compound paths 8.2. Release Compound

• (De)selecting a path belonging to a compound normally re-
Release Compound releases the paths of the selected com-
sults in the (de)selection of the entire compound.
pounds so that all paths return to individual objects. When a
• If you want to select one path of a compound only, remove
compound is released, all the individual paths keep the color of
the check next to Select Compound Paths Entirely in the Edit
that compound. There is no need to release a compound in or-
Preferences dialog (see 1.2. Preferences... on page 1), or
der to take paths out of an existing compound and put them in
use the shortcut q - OPTION (see 3.17. Select on page
another one. Select the necessary paths separately and just
101).
make a new compound instead (see above). Release Com-
pound can be activated by the menu function or by its shortcut.
Shortcut: q - U, Release Compound

Manual ArtPro 8.0 Chapter 8 : Arrange — p. 179 —

8.3. Make Group 8.5. Hide
With Make Group all the selected paths will be grouped togeth- This function hides the selected paths. Hidden paths are no
er. Grouping makes it easier to manipulate paths that belong longer visible and cannot be selected nor modified. Still, they
together, such as an entire logo. All the paths in a group keep are saved with the file, so they will become visible again, when
their own color and order. A group can consist of individual the file is next opened, or when you make PostScript output.
paths, compound paths and groups. The resulting group is po- Hide can be activated in the menu or by its shortcut.
sitioned on the topmost level and topmost layer of all selected Note that it is not possible to select a full compound or a group
objects. Make Group can be activated by the menu function or if a part of it is hidden. Instead all other objects inside the group
its shortcut. If a selected object is already in a group, the group or the compound are selected, but not the group or compound
function is not valid, and you will get a warning message. To itself.
make a group in group structure, you can regroup (select) the Shortcut: q - 3, Hide
highest level of groups.
Shortcut: q - x - G, Make Group
8.6. Show All
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 some-
thing and then immediately Hide them again. It can be activat-
ed by the menu function or by its shortcut.
Shortcut: q - 4, Show All
8.3.1. Selecting and deselecting groups
• (De)selecting a path belonging to a group normally results in
the (de)selection of the entire group.
8.7. Lock
• If you want to select one path of a group only, remove the This function locks the selected paths. Locked paths are fixed
check next to Select Groups Entirely in the Edit Preferences in the job so that they cannot be selected nor manipulated.
dialog, or use the shortcut q - z (See 3.17.2. Group, com- They are still visible and can therefore be used as a reference
pound (object) and path selection on page 101). or a guide.
Note that it will not be possible to select the full compound or
8.3.2. Manipulating groups group if part of it is locked. Instead, all other objects inside the
• Copy (or Move, Rotate, Scale or Shear with OPTION group are selected (but not the group itself). Lock can be acti-
pressed) of an entire group creates a new independent vated in the menu or by its shortcut.
group in the level just above the original group. Shortcut: q - 7, Lock
• Copy of part of a group creates new paths within the same
group.
• Taking elements out of a group can be done by selecting
8.8. Unlock All
them and using the Bring to Front or the Send to Back func- Unlock All releases all the locked paths. The magnetic objects
tion. that would have been locked in the Magnetism menu (see
7.15. Magnetism... on page 163) will be released as well. All
the locked paths return to their normal unlocked state. It can
8.4. Release Group be activated in the menu or by its shortcut.
Release Group cancels the group so that it no longer exists. All unlocked elements will become selected right after unlock-
When a group is released, its components return to their nor- ing.
mal state as path, compound or group. To release a group, it Shortcut: q - 8, Unlock All
has to be selected entirely. Release Group can be activated by
the menu function or by its shortcut.
When releasing a group containing Group Transparency, a
8.9. Bring to Front
warning will be generated, saying that the transparency will be Bring to Front places the selected objects on top of
lost when releasing the group. their layer. If more than one object is selected, the rel-
Shortcut: q - x - U, Release Group ative order between the selected objects does not change. If

— p. 180 — Chapter 8 : Arrange Manual ArtPro 8.0

 objects are selected from different layers, the object will each 8.13. Restore Natural Order
move on top of their own layer. Bring to Front can be activated
by the menu function, by its shortcut or by its toolbar button. The function Restore Natural Order puts the selected objects
This function can also be used to take objects out of a group. in the order they would have obtained during vectorization,
Shortcut: q - 5, Bring to Front ranging from largest at the bottom to smallest one on top in a
pyramid-like structure.
Using Restore Natural Order will not work on groups or com-
8.10. Send to Back pounds. In stead, double paths will be created!
Send to Back places the selected objects at the bot- Use this function to sort paths if you have accidentally changed
tom of the layer. If more than one object is selected, their order. The Restore Natural Order function can also be
the relative order between them does not change. If objects are helpful e.g. if you use the spread and choke functions not for
selected from different layers, the objects will move to the bot- normal trapping but for creation purposes.
tom of their own layers. It can be activated by the menu func-
tion, by its shortcut or by its toolbar button. This function can 8.14. Unite
also be used to take objects out of a group.
Shortcut: q - 6, Send to Back Unite creates the union of the se-
lected paths. Select the necessary
paths and click on Unite. You can
8.11. Move Forward use elements from different layers
Move Forward moves the selected objects one level upwards or different groups. You cannot
in the layer. If more than one object is selected, the relative or- use individual paths inside compounds. Only complete com-
der between them does not change. You cannot use this func- pounds are allowed.
tion on selected objects from different groups.
When you move a selected element forward, the element will The original paths are kept intact and the result appears as a
first climb within its own group. Once it has reached the top- selected path (or compound in the case of several resulting
most level of its group, it will automatically move into the paths) on top of the active (!) layer. The color of the resulting
groups parent, or outside its original group when there is no object is that of the frontmost selected path.
group higher than its own. The highest level that a selected el-
8.14.1. Why?
ement can reach with Move Forward, is the top of its own layer.
Move Forward can be activated by the menu function or by Uniting objects is particularly useful to create varnish or white
clicking on the Bring to Front toolbar button whilst holding plates on packaging or labels. To make a complete varnish, se-
down the option key. lect all objects, unite and color the new path in 100% varnish
and trans for all other separations. As a separate object, the
varnish is easy to spread or the other way around, a white
8.12. Move Backward would be easy to choke.
Move Backward moves the selected objects one level down-
8.14.2. Resulting paths
wards in the layer. If more than one object is selected, the rel-
ative order between them does not change. The result of this function will consist of splines. When live text
When you move a selected element downwards, the element was used, the original text will remain unchanged, but the re-
will first descend within its own group. Once it has reached the sulting text will be vectorized.
bottommost level of its group, it will automatically move into the
underlying groups, or outside its original group when there is 8.15. Intersect
no group lower than its own. The lowest level that this element
Intersect calculates the common
can reach is the bottom of its own layer.
part of all the selected paths. Se-
Move Backward can be activated by the menu function or by
lect the necessary paths and per-
clicking on the Send to Back toolbar button while holding down
form the Intersect function. You
the option key.
can use elements from different
layers or different groups.
You cannot use individual paths inside compounds. Only com-

Manual ArtPro 8.0 Chapter 8 : Arrange — p. 181 —

 plete compounds are allowed. 8.18. Front minus Back
The original paths are kept intact and the result appears as a
selected path (or compound in the case of several resulting Front minus Back subtracts all low-
paths) on top of the active (!) layer. The color of the resulting er selected paths from the front-
object is that of the frontmost selected path. most selected path. Select the
necessary paths and execute the
• Resulting paths Front minus Back function.
The result of this function will consist of splines. When live You can use elements from different layers or different groups.
text was used, the original text will remain unchanged. The You cannot use individual paths inside compounds. Only com-
result will be vectorized. plete compounds are allowed. The original paths are kept in-
tact and the result appears as a selected path (or compound
8.16. Exclude in the case of several resulting paths) on top of the active (!) lay-
er. The color of the resulting object is the same as that of the
Exclude performs a unite minus an
frontmost selected path.
intersect. It calculates the areas
belonging to just 1 path. Select the • Resulting paths
necessary paths and execute the The result of this function will consist of splines. When live
Exclude function. text was used, the original text will remain unchanged. The
You can use elements from different layers or different groups. result will be vectorized.
You cannot use individual paths inside compounds. Only com-
plete compounds are allowed. The original paths are kept in- 8.19. Clip
tact and the result appears as a selected path (or compound
in the case of several resulting paths) on top of the active (!) lay- Clip uses the frontmost selected
er. The color of the resulting object is the same as that of the path as a cutting form to adjust the
frontmost selected path. shape of the underlying paths. Any
part of the underlying paths that
• Resulting paths falls outside the frontmost one will
The result of this function will consist of splines. When live be cropped. Thus it masks out the selected paths underneath.
text was used, the original text will remain unchanged. The The original paths are modified!
result will be vectorized. Select the necessary paths and perform the Clip function. You
can use elements from different layers or different groups. You
8.17. Back minus Front can not use individual paths inside compounds. Only complete
compounds are allowed.
Back minus Front subtracts all
The result will be the topmost shape itself and the underlying
higher selected paths from the
paths adjusted to this shape. Each new path is at the same lev-
backmost selected path. Select
el as the original and has the same color as the corresponding
the necessary paths and perform
original path.
Back minus Front.
Clipping live text will result in vectorized text after clipping.
You can use elements from different layers or different groups.
You cannot use individual paths inside compounds. Only com- 8.19.1. Why?
plete compounds are allowed. The original paths are kept in- Clip is often used to clip objects that run of the bleed size of a
tact and the result appears as a selected path (or compound job. Clipping can also be done through the Job Size dialog
in the case of several resulting paths) on top of the active (!) lay- (2.14. Job Size... on page 22), based on the correct size, with-
er. The color of the resulting object is that of the backmost se- out having to draw an extra box first.
lected path. In DTP applications this is usually done by masking the back-
ground. The advantage of masking is that the original objects
• Resulting paths can still be edited, e.g. moved around.
The result of this function will consist of splines. When live With ArtPro’s clipping, you need to keep a backup copy of the
text was used, the original text will remain unchanged. The original file to do this. On the other hand, the print file from Art-
result will be vectorized. Pro will be more compact and cleaner, because all the redun-
dant information, was actually deleted from the file.

— p. 182 — Chapter 8 : Arrange Manual ArtPro 8.0

8.20. Trim... that those contours are not completely inside it and they do
not carry any transparency significant to the underlying path.
Trim is a function • Paths that are completely hidden underneath other paths will
that can be used to be deleted.
adjust the size of • Text cannot be optimized, only contours can. Text is taken
placed pictures, es- into account, though, during the process.
pecially in step and
repeat jobs. When
you select all placed
labels and enter for example, 4 mm at the top, 4 mm will be
clipped of the top of each placed picture in the selection.
This function actually works in the exact same way as automat-
ic trimming from Step & Repeat Nested (see 2.26. Step & Re-
peat Nested... on page 48).
Before optimize After optimize
8.21. Crop...
The Crop function is similar to the
Trim function. It also works on
placed images only and is mainly
used for S&R jobs. In this case, the
entered value will make the picture
boxes bigger (+) or smaller (-), de-
pending on the setting below. The
activated square indicates in which
direction the Crop has to happen.
8.23. Flatten Transparencies
8.22. Optimize The Flatten Transparencies function should not be confused
with the “Flatten” function in earlier versions of ArtPro. The lat-
Optimize deletes (parts of) the contours that are not needed to ter is now renamed to “Convert to CT”, and its functionality has
produce correct print output. The function makes it possible to not been changed.The Flatten Transparencies function replace
“clean” or flatten a file, removing all the superfluous and unnec-
essary paths. For each path the program checks all the con-
tours on top of it and decides which objects should be cut,
united or left untouched to maintain the same structure in the
job.
Optimize is especially useful to eliminate unnecessary contours
from an imported PostScript file, in order to perform faster trap- all blend modes and transparencies by “normal” objects, main-
ping, faster printing,... Keep in mind though, that the objects taining the final result, i.e. the blend will be calculated to what-
may be less editable after optimization than before. (see bot- ever is underneath at that moment, and will be adepted in a
tom example). lineart object (if possible) or an image.
• Remarks Flattening is done automatically when outputting PostScript,
• Although only selected paths will be modified, the optimiza- when saving in ArtPro 7.5 format, or when exporting PDF with
tion takes into account the paths that are not selected and the “Enable Flattener” option on. Flattening can also be done
the locked paths in order to calculate the new contours. interactive, with the function in the Arrange menu. In any way,
Paths which are open, hidden or deleted are not taken into flattening is calculated for the complete job.
account. The settings used when flattening (either interactive, or through
• Paths are united if they carry the same color information and the Print, Save As or Export PDF function), can be set in the
if no other paths with a different color are lying in between. Flatten Transparencies tab of the Preferences. This dialog can
• A path is cut with the contours on top of it on the condition be opened in the Preferences, or by clicking the Flattener Set-

Manual ArtPro 8.0 Chapter 8 : Arrange — p. 183 —

 tings in Export PDF or Print Dialog. In the first case, only the Multiply blend has been flattened.
Keep in mind that placed PDF or placed ArtPro files can not be The magenta outside the cyan is now solid magenta without
flattened ! blend mode, and a rectangle has been created (the intersec-
tion of both rectangles), of which the paint style is the blend
8.23.1. Flatten Overprints color (in this case 100 Cyan and 100 Magenta.
If the Flatten Overprints is on, not only objects containing blend In the second, the yellow in overprint is replaced by the inter-
modes will be flattened, but also objects containing overprint, secting rectangle, containing 100 Cyan and 100 Magenta.
i.e. “trans” in the Paint Style. This can be used to get a correct The yellow is no longer overprinting.
preview in Acrobat. In the last, the black rectangle has been modified in the same
way as the yellow.
8.23.2. Flatten Black Overprints
If Flatten Overprints is on, the Flatten Black Overprints allow to 8.23.3. Color Management
decide whether only “color” overprints should be flattened (op- The Color Management button opens the Color Management
tion off) or also the objects containing only black, and “trans” settings. It doesn’t make any sense to apply Color Manage-
for other separations. For Acrobat Reader preview, this will not ment on images on which Blend Modes or Transparency is ap-
make much difference, but it will force every black overprinting plied. In fact, doing so would result in wrong results.
object to be flattened, and consume a lot of time. It is advisable Therefor CM can only be applied on the flattened job, and
to only use Flatten (Black) overprints if it is really necessary. therefor CM is now part of the Flatten dialog.
• Example
8.23.4. Flattening Options
In the example as shown underneath, no ct will be created,
as the result of the blend modes can be achieved using lin- The Flattening Options button opens the Flattening tab in the
eart only. The original (first line) is a cyan rectangle, with 3 Preferences.
rectangles on top, a magenta rectangle with a Multiply blend
mode, a rectangle with 100% yellow and “trans” for the other
separations and no blend mode, and the same for the last
rectangle, but in black. In order to see the result, the black is
shown in a dark grey i.o. black.

The Flattening options contain options to be used when a CT

Original needs to be created in order to flatten the transparency.
• Resolution
The Resolution (in l/inch or l/cm) defines the resolution of the
Flattened, with Flat- images to be created.
ten Overprints off • Noise for Gradations
This determines how much noise has to be applied on the
gradations (linear, circular or multistep) that are flattened.
The default value is 0%. Noise is applied to make vignettes
Flatten Overprints smoother and thus to avoid banding.
on, and Flatten For more information on noise : see 2.33. Print : More set-
Black Overprints off tings... on page 67.
• No Noise from / To
Flatten Overprints This allows to define a range in which no noise should be ap-
on, and Flatten plied to gradations. This can be very useful for Autoblend
Black Overprints on Screening.

You can see (as it has been moved to show the result) that a
new object is created, containing the result color of the blend
/ overprint.

— p. 184 — Chapter 8 : Arrange Manual ArtPro 8.0

8.23.5. Flatten 31.25% - 37.5% - 43.75% - 50% - 56.25% - 62.5% -
When using the interactive flattener, you will be asked to define 68.75% - 75% - 81.25% - 87.5% - 93.75% - 100%).
the name and location for the images that will be generated. All The example on the right shows a pixel as calculated at a 4
these images will be external images, and will be mapped. For times higher resolution, and the resulting pixel at output res-
Flattening during PDF1.3, PS or ArtPro7.5 output, temporary olution. You can see 9 out of 16 pixels are black, resulting in
files will be created on the hard disk in the system temporary a pixel of 56,25%.
folder. Underneath it, you can see the resulting oblique line without
and with oversampling,

8.24. Convert To CT... 8.24.2. Resolution

Convert To CT is a func- This determines the resolution of the internal channels. The
tion that creates an iCT resolution can be set in L/inch or L/cm.
to replace the selected
8.24.3. Noise for Gradations
objects. It merges the
selected objects (lineart, This determines how much noise has to be applied on the ob-
text, CT, ...) into one ob- jects that are converted. The default value is 3%. Noise is ap-
ject. The paint style of plied to make vignettes smoother and thus to avoid banding.
the new object will be a For more information on noise : see 2.33. Print : More set-
mapped picture of inter- tings... on page 67.
nal channels, one for each separation used in the original ob- 8.24.4. Apply noise to
jects, and an opacity channel. The internal channels are the
Noise can be applied to gradations only or to everything, in-
result of a render operation on the selected objects.
cluding images. By default it is only applied to gradients, but in
This can be used to replace a number of objects by a single
some cases it is necessary to apply it to other elements as well.
CT, e.g. to replace a blend by a single CT. During this calcula-
This could be the case when background vignettes were cre-
tion, the opacity channel of internal CTs is ignored.
ated as images in Photoshop or for blends. Blends are not gra-
To convert to CT, just select the necessary objects and press
dients, but a series of paths filled with flat color. Although they
Convert Selection.
look like gradients, noise would not be applied to them without
8.24.1. Oversampling the Everything settings.
Oversampling means that ArtPro calculates the CT at a resolu- 8.24.5. Keep Original Objects
tion which is x times higher than the one needed. Afterwards it
By default, Convert creates a CT that will replace the selected
is ‘averaged’, this means that it is converted to the required
objects. This means all selected objects will be deleted.
resolution by calculating the average of each group of lines.
If the option Keep Original Objects is on, the original objects will
This gives a kind of “blurred” effect (see example below).
remain unchanged, and the newly created CT will be placed on
• Example top.
If you have an oblique
black line on 360 lpi (= 8.24.6. Convert Blends to CT
140 l/cm), the edges are By default, the popup is set to Convert Selection to CT, mean-
very much pixelized (see ing that the complete selection will be converted.
figures beside). Over- By choosing Convert Blends to CT, ArtPro automatically looks
sampling 4, means that up all the blends in the selection and converts them to CTs.
the image is calculated This option is similar to Convert Blends to CT at... from the im-
at 4x the resolution (360 port menu.
lpi) = 1440 lpi. Every line
is divided by 4. So there
are 16 pixels read (4x4)
for one output pixel. The
output pixel gets one of
16 + 1 gray values (0% - 6,25% - 12.5% - 18.75% - 25% -

Manual ArtPro 8.0 Chapter 8 : Arrange — p. 185 —

— p. 186 — Chapter 8 : Arrange Manual ArtPro 8.0
 9. PAINT

9.1. Paint Style... defined by the vertical size of the bounding box of the selec-
tion. Color 1 will come at the top of the bounding box, color
The Paint Style dialog defines, together with the trans- 2 at the bottom, and a linear vignette will be created between
parency and the screen, the Paint of the selected ob- the two. Outside these two positions the color stays plain
ject. The dialog displays the Paint Style of the last object that color 1 and color 2, respectively above and below the
was clicked on (not click and drag). The Paint Style dialog can bounding box.
be activated by the menu function, with its button in the toolbar
or by its shortcut. In every Paint Style menu (except patterns), • Procedure
there is a preview of the entered colors or images. • Select the paths you want to color.
Paint Style can be opened from the Paint Menu, from the Ob- • Select Vertical Gradation in the Paint Style dialog.
ject Parameters (see 7.16. Object Parameters on page 164) or • Fill out the percentages for the different separations. The left
by its shortcut q - i. This is the same shortcut as for the Object column defines the top color for the vignette , the right one
Parameters. This means if q - i is hit a first time, it will open the the bottom color
Paint Style. When hit again, or if the Paint Style was already • Click Apply or press the Enter button.
open, it will open the Object Parameters. 9.1.3. Horizontal Gradation
Shortcut: q - i, Paint Style
With Horizontal Gradation the Paint Style dialog box shows two
9.1.1. Flat Color columns for screen percentages. The column on the left repre-
Flat color is the normal plain sents the first vignette color, the column on the right the sec-
color definition. This could ond color.
be cmyk as well as pantone • Position and Size
colors. You can fill in any The width of the horizontal
mixture of cmyk and pan- gradation is defined by the
tone colors. There is only horizontal size of the bound-
one column of input fields for ing box of the selected paths.
the different separations in Color 1 will show at the left of
which you can define the the bounding box, color 2 at
color composition. the right, and a linear vignette
• Procedure is created between the two
• Select the paths you want positions. Outside these posi-
to color. tions the color stays plain col-
• Select Flat color or 1 and color 2, resp. to the left and right of the bounding
• Fill out the % or trans for the different separations. box.
• Click Apply or press the Enter button. • Procedure
• Select the paths you want to color.
9.1.2. Vertical Gradation • Select Horizontal Gradation in the Paint Style dialog.
With Vertical Gradation the • Fill out the percentages for the different separations. The left
Paint Style dialog box shows column represents the left color for the vignette, the right one
two columns for screen per- defines the right color.
centages. The column on the • Click Apply or press the Enter button.
left represents the first vignette
color, the column on the right
the second color.
• Position and Size
The length of the gradation is

Manual ArtPro 8.0 Chapter 9 : Paint — p. 187 —

9.1.4. Circular Gradation 9.1.5. Multistep Gradation
With Circular Gradation the Paint Style dialog box shows two Multistep gradation allows you to create non-linear vignettes
columns for screen percentages. The left column represents numerically with up to 10 colors and based on a completely
the first vignette color, the right column the second color. free shape.
• Position and Size
• Position & Size The position of the vignette is that of the shape which is be-
The diameter of the circular gradation is defined by the cor- ing followed. The size depends on the number of colors de-
ners of the bounding box of the selected elements. The color fined and their numerical positions.
gradation completely fills the bounding box. Color 1 is de- • Procedure
fined at the outside edge of the circle, color 2 at the inside of
the circle, and a linear vignette is created between the two.
Outside the diameter the color stays plain color 1.
• Circular Gradations Normal
Inside Bounding Box: Gradation Col1
defines the diameter of
the circular gradation to
be the shortest side of
the bounding box of the
Col2
selected elements. The
circular gradation lies Col1
completely inside the
bounding box rectangle. Circular gradation
inside bounding box
By default, the diameter
of the circular gradation
is the longest side.
• Procedure
• Select the paths
you want to col-
or.
• Select Circular
gradation in the
• Create the shape to be followed. The baseline (= shape) may
Paint Style.
be one path or one compound and must be closed.
• Fill out the per-
• Select the paths you want to color (not the shape!).
centages for the
• Select Multistep gradation in the pop-up menu in the Paint
different separa-
Style dialog.
tions. The left
• Press Set Horizontal, Set Vertical or Set Shape. When press-
column defines
ing Set Shape, the cursor changes into a cross. With the
the circle color
cross, click on the shape. Visually nothing happens, but Art-
on the outside
Pro now knows that’s the path the vignette needs to follow.
edge, the right
• Define the number of colors using the Add and Remove but-
column the cen-
tons. The minimum is 2 the maximum 10. When only two col-
ter point color.
ors are defined, the Remove buttons gray out. When the
• set Circular Gradations Inside Bounding Box. as needed.
maximum is set, the Add button grays out.
• Click Apply or press the Enter button.
• Define the Positions for the different colors. ArtPro will always
order the columns of colors in the order of their positions.
The smallest comes first, the largest last. The position of the
shape is 0 mm. A gradient always starts from the inside (neg-
ative values) at right angles to the shape and goes towards

— p. 188 — Chapter 9 : Paint Manual ArtPro 8.0

 the outside (positive values). ArtPro displays the colors as • Set shape
they appear on this ‘line’ (see drawing on the right). The po- You can define the fill object as its own shape. This means
sitions can be changed by grabbing the triangles under the that the vignette will follow the contours of the object itself.
vignette sample and dragging them to the left or right. Still in this case, the position of the shape is 0 mm.
Double-clicking a triangle below the bar opens the Color Anything on the inside of that is negative, anything to the out-
Book menu and allows any color to be picked from the indi- side positive. As the inside of the shape is all you use, all val-
cated book. ues have to be smaller than or equal to 0mm.
• If you want you can change the midpoint between every two • Get shape
colors. The midpoint indicates a percentage of the distance Once a multistep gradient is created, the shape is copied in-
between two colors. The midpoint can be changed from ternally in the file. So the original object can be deleted, if you
13% to 87%. By default it is always set to 50%. Midpoints wish. However, to modify the shape, you need the object
can also be changed by taking the triangles above the gradi- back. Select the gradient, go to Paint Style and press Get
ent sample and dragging them to the left or right. Shape. The internal shape is generated on the original posi-
• Next, fill out the colors for each separation. Make sure you tion in the file, not the current position of the multistep if it has
define the colors after the positions, because changing the been moved. To be able to edit, the best thing is to keep the
positions, may swap the color order. shape transparent and grouped with the object.
• Press apply
• Set Horizontal, Set Vertical 9.1.6. Patterns
In fact, even with horizontal or vertical gradients, ArtPro uses Patterns can be defined in
a shape. Set Vertical instructs the program to create an (in- ArtPro, or can be imported
visible) rectangle. The width of this rectangle is the same as from a PostScript file. During
the width of the bounding box of the selection (fill object). The import, all PS patterns with
height is 1 internal pixel: 1/12.000 inch. This will result in a the pattern command are
multistep vertical vignette with a zero position at the top of converted into ArtPro pat-
the bounding box of the selected objects. The position val- terns. Defining a pattern in
ues work downwards and should therefore only be positive. ArtPro is done with the Set
The same thing happens with horizontal gradients, only the Cell button.
other way around. These steps have to be fol-
lowed when defining a pat-
tern:
• Select the contour in which you want to apply the pattern.
• Click Set Cell. The cursor will change to a cross.
• Drag a rectangle over the elements to be in the pattern. Keep
in mind that only flat colors are supported, and only objects
completely inside the rectangle are used. The pattern objects
are copied internally, so you can move or remove the original
objects around afterwards.
• Set the Step distances. When using the Set Cell button, the
Step distances will automatically be set to the bounding box
of the pattern objects.
The pattern will start at the position of the selected cell and will
repeat based on the step sizes. The step size may be smaller
than the cell size, to make nested patterns. When elements of
adjacent cells overlap, the order of drawing is undefined.
• Get Cell
As mentioned above, the pattern objects are kept internally.
Even when the original objects are removed, you can recover
these objects using the Get Cell button. Just select the pat-
tern and press Get Cell.

Manual ArtPro 8.0 Chapter 9 : Paint — p. 189 —

 • Adjust Pattern in Rip EPS and DCS images are previewed and proofed (only DCS)
Normally, on output, ArtPro will convert patterns to objects. with their pict preview. The preview resolution for images is
But with this option on, the pattern will be put in the PS file defined by the value in Picture Display Resolution (see 1.2.
using the PS pattern command. The RIP then converts the Preferences... on page 1) at the moment the image is placed.
pattern and adjusts it to match the output resolution. It can only be modified for mapped images.
If this option is off, the numerical position is exact. This is You can place an ArtPro file as a picture inside another Art-
most useful when using big cells, and if the pattern should Pro file. It will be displayed with its preview or with a 50% gray
align with other objects. The second possibility will result in a surface if no preview is available (see 2.11.2. Include Preview
more equal pattern, especially when using a pattern with on page 21).
small cells. • To fill an object with a picture
9.1.7. Picture • Select the paths you want to color.
• Select picture in the Paint Style dialog.
• Click on the Set Picture button. A dialog box appears to de-
fine the image you want to place.
• Choose the picture to place
• Click Apply or press the Enter button.
The image is centered on the bounding box of the selected
paths. The size is always 100%, rotation and shear angles
are 0º. The position, rotation, scale and shear can be
changed by entering a value in the Picture Scale field and ac-
tivating Modify (see Apply and Modify further in this chapter).
The picture type, name, original resolution and a preview are
shown at the top of the dialog.
• Average Ink
This button opens a dialog to enter the average ink use for
the picture. This is the value that will be used for Ink Cover-
age calculation (see 9.16. Ink Coverage on page 200). If you
ArtPro objects can also be filled with Pictures. It supports TIFF, enter e.g. 30% cyan, the ink coverage will be calculated as if
EPSF, JPEG, DCS-1, DCS-2 (multi and single files), Scitex the picture was replaced by a 30% cyan flat color. New val-
Handshake LW, Scitex CT and Scitex Flyte, TiffIt CT, LW, FP ues are only accepted after Apply or Modify
and HC and ArtPro files.
9.1.8. Mapped Picture
• Page nr.
For a placed PDF file containing multiple pages, the page Mapped picture is a paint style that allows the handling of im-
number, defining what page of the file should be placed, can ages per channel and map them into the correct separations.
be entered in the Paint Style, immediately under the name of Mapped Picture allows you to create a new picture paint, by
the file. mapping any channel of any TIFF, JPEG, Scitex HS or TiffIt file
(CMYK, gray, black & white, Multi Channel) into any ArtPro
• Image types / color space
separation. It also makes it possible to change intensity (includ-
In general, RGB images should not be used in ArtPro. These
ing transparency) or minimum value for each mapped TIFF
images can be previewed on screen and proofed correctly,
channel.
but separated output will be wrong. In fact, they can only be
In ArtPro 8.0, placing Tiff/JPEG images will always map the im-
used if the RIP can convert them to CMYK or if the image will
ages. The reason for not working with placed TIFF/JPEGs any-
be replaced by an OPI system afterwards anyway. In both
more is that placed images cannot be flattened, only mapped
cases, the images should not be mapped.
images can be flattened.
ArtPro doesn’t support Lab or indexed images. DCS, EPS or
When opening an ArtPro file containing placed (unmapped)
TIFF images with spot colors are completely supported. The
JPEG or TIFF pictures, a dialog will be opened, allowing to map
missing separations will automatically be added to the job if
all JPEG and TIFF pictures.
they are not already present. CMYK, grayscale and bitmap
In case the ArtPro job contains JPEG or TIFF files in a color
images are also supported.
space that can’t be mapped (RGB or LAB), a warning will be

— p. 190 — Chapter 9 : Paint Manual ArtPro 8.0

 generated, indicating how many pictures couldn’t be mapped. want the first channel of the image to appear in.
• Select the TIFF or JPEG image you want to open.
• Click Apply

• Adding channels to an image

• Select the picture you want to change. You need to make
sure to click on it instead of clicking and dragging. Only by
clicking, Paint Style will update and display the correct image
information.
• Open the Paint Style dialog.
• Click on the file button (three dots) next to the separation you
want the first channel of the new image to appear in. The
new image needs to have the same size and resolution as
the one already present.
• Changing a picture to a mapped picture manually • The other channels of the added image will be put in the next
• Select the picture you want to change. You need to make empty separations.
sure to click on it instead of clicking and dragging. Only by • Press Apply or Modify
clicking, Paint Style will update and display the correct image
• Swapping channels, changing intensity or minimum
information.
values
• Open the Paint Style dialog and go to Mapped Picture.
• Select the picture you want to change. You need to make
• Hit Apply to place the picture centered at 100% scaling, or
sure to click on it instead of clicking and dragging. Only by
Modify to keep its settings
clicking, Paint Style will update and display the correct image
• Filling a path with a new mapped picture information.
• Select the path you want to fill with a mapped picture. • Open the Paint Style dialog.
• Open the Paint Style dialog and go to Mapped Picture.
• Click on the file button (three dots) next to the separation you

Manual ArtPro 8.0 Chapter 9 : Paint — p. 191 —

 • In the pop-up next to every sep- Intensity • Remarks
aration, you can put any separa- 100% • It is always recommended to work with mapped images
tion of the selected image (+ all where you can in ArtPro, because they have many advantag-
other channels in the file with es over unmapped pictures. A mapped image can be altered
matching resolution and size). To 50% (mapping, intensity, minimum,...) easier; automatic trapping
make a separation empty, select only works on mapped images; They can correctly be pre-
the blank space on top of the view per separation, the preview resolution can be altered
pop-up list. You can use the and the full resolution can be shown; they can be cropped at
same channel in different separa- output, so they print faster, the ink coverage is calculated ac-
tions. E.g. A jobs is printed in Minimum curately instead of using an average ink value; etc....
Pantone 300 CVC, M, Y and K in- • You can specify the preview resolution for mapped images.
stead of CMYK. Put the cyan The value is set to 100 ppi by default. See 1.2. Preferences...
separation on blanc and put the on page 1.
cyan channel in P300. Keep in mind that increasing the resolution also increases
• Intensity enables you to reduce 30% the internal memory needed to store pictures in ArtPro. A
the values of a separation to e.g. mapped picture which has already been defined only adapts
50%. This is a relative change. its screen resolution when a new preview has to be calculat-
See example on the right. ed (e.g. by repaint command: q - ,).
• Minimum enables you to add a minimum value for a separa- • Loading the image data from disk to the internal memory is
tion. E.g. a minimum of 30% will bring all values lower than not done when applying the paint, but occurs the first time
30% up to 30%. This is an absolute change. See example. the mapped TIFF is previewed. The first preview of a mapped
• You can invert a channel by clicking the Neg. checkbox. TIFF is slow, while later previews are much quicker, as the
• All changes are executed by clicking Apply or Modify. data stays in memory until the job is closed.
• The Clear button makes the Mapped Picture empty.
• Transparency and Opacity • When converting a Scitex PG or a TiffIt FP file (both files com-
• If there is no Opacity Channel, the image will be knocking out bine a CT and LW file) into a mapped picture, the result will
the background for the separations where a Intensity value is come at the highest resolution, i.e. at the resolution of the lin-
entered (0-100%) eart file. This means all CT information is upsampled to a LW
• Even if no channel is defined for a particular separation, it will resolution, what could slow down your computer. Mapping
also knock out the background unless TRANS is entered in a Scitex LW, Scitex PG, TiffIt LW, TiffIt FP or TiffIt HC should
the Intensity field, in which case the image is not affecting be avoided when possible
that separation. • Why use a mapped image; some examples
• If an Opacity channel is used, the Opacity channel defines, in • Giving any color to a gray TIFF image by remapping it into
combination with the value in the Opacity fields, where the one or more ArtPro Pantone separations.
image is transparent or opaque. The Opacity channel is an • Creating a lighter picture by remapping the 4 channels of a
internal channel, i.e. a channel of an image that has been CMYK TIFF into the CMYK ArtPro separations, reducing the
produced or edited with ArtColor (see 6.13.5. Opacity Chan- channel intensities to 50%.
nel on page 138 for more details). • Remapping the cyan channel of a chocolate bar picture into
• The image is knocking out the background, with the value of a Pantone® brown separation.
the opacity channel at that place, multiplied by the Opacity
value for that specific separation. 9.1.9. Pantone® Colors
If the Opacity channel is 100% at a specific place, and the PANTONE® Color computer hard copy simulations used in
Opacity field is set to 100%, the image will be knocking out this product are four-color process simulations and may not
the background. If the Opacity channel is 60% at a specific match PANTONE®-identified solid color standards. Use PAN-
place, and the Opacity field is set to 50%, the image will be TONE Color Reference Manuals for accurate color.
knocking out the background for 30%. It means 30% of the PANTONE Color simulations are only obtainable on licensed
image channels and 70% of the background will be mixed. hardware when driven by qualified Pantone-licensed software
In places where the Opacity channel is 0%, the background packages. Contact Pantone, Inc. for current list of qualified lic-
is not blocked out at all. The image is completely transparent. ensees.

— p. 192 — Chapter 9 : Paint Manual ArtPro 8.0

9.1.10. Paint Style options click on a color in the dialog. The color is immediately applied
to the selected object. The Color Palette always starts with 3
• Color book...
predefined color squares: all zero, all 100 % (= registration
color), all transparent.
Once you have applied a color to a
path, that color is automatically
added to the Color Palette. After
working on a document for a while,
the color palette will probably con-
tain colors which you do not use
anymore. If you close your job and open it again, the palette
is updated and only the colors which are actually in use will
appear.
• All Zero
The All Zero button sets all separations 0 %.
The Color book... button opens the color book dialog. In the • All 100%
Color Book dialog, all pantone colors are shown. When All 100% sets all separations to 100 % (e.g. to color registra-
choosing one, ArtPro puts the CMYK equivalent of this color tion marks).
in the CMYK separations of the percentage column. The re- • All Transparent
maining percentages are set to zero. All Transparent sets all separations to transparent. Transpar-
Clicking a color will apply it immediately to the selected ency can also be defined by typing t or trans. See also how
paths. If no path is selected the color composition shows to make a path transparent, further in this chapter.
only in the Paint Style menu.
For gradations there is a color book button for each column. • Apply / Modify
If no Color Book is loaded, the dialog is gray. One can be se- Apply fills the selected paths with the current paint, active in
lected by pressing the Load Color Book button. Color books the Paint Style dialog at that moment. Apply uses default pa-
are spread sheet files that can be edited in any spread sheet rameters for position, angle, rotation and shear. For gradi-
application. These files contain information on how many col- ents this means they are built from the top to the bottom
ors and how many rows are used in the file, definitions of the (vertical), left to right (horizontal) or corner to middle (circular)
used separations, and for each color the color name and the of the bounding box of the selection. Pictures are centered
separated values. on the bounding box of the selection with scaling 100%, ro-
A number of basic Color Books (.col) can be found in the tation and shear 0º.
“Color Guides” folder next to the ArtPro Application. Modify applies the current paint to the selected paths without
The Find field and button allows you to search a color by using default position, etc.... To position the paint, Modify
name, part of the name or number, i.o. searching manually. uses the information from the last selected path, i.e. the one
E.g. type in 300 and press enter, Pantone 300 is automati- active in the Paint Style dialog, and not the bounding box of
cally selected and applied in the selected objects. the selected paths. For pictures, Modify will use the position
If a color is selected that uses a separation not defined in the and scaling information from the last time you selected the
job, the separation will be added to the separation list. If Add image by clicking. All transform functions will not change
All Separations is clicked, all separations needed for and de- these values until you reselect the image.
fined in the color book will be added. In most cases (e.g. Modify is very useful to:
when using the default colorbook) CMYK separations will be • copy a paint from one path to another: Select the path you
added if not present yet. want to copy the color into, Shift-select the colored path,
click Modify.
• Color Palette • replace a picture by another one: Select the clipping path,
The Color Palette shows all the colors that have been used change the picture by clicking Set Picture, click Modify.
in the file so far and allows you to fill other objects with the • change colors of a gradation after transforming it: Select the
same colors. It can be used for flat colors and vignettes. vignette path, change the colors in the Paint Style, click
Press the Color Palette button under the correct column and Modify.

Manual ArtPro 8.0 Chapter 9 : Paint — p. 193 —

9.1.11. Transparency in % • 100 %
Each path in ArtPro can be
Vertical Vignette
100%->20% Magenta
Entering 100% in an input field in the paint style, can also be
defined as one of the three done by entering “x”. ArtPro will change the “x” into “100”
100% Cyan
color definitions: flat color, 0% Magenta
vignette or picture. When
assigning a flat color, a gra- 9.2. Modify Color
dation or a mapped picture
Modify Color allows you to change the screen percentages of
to a path, you are also able Vertical Vignette
100%->20% Magenta objects with different paint styles for one or more separations
to define if the underlying
without modifying the others.
levels should be knocked 100% Cyan
Trans Magenta All values that are erased and left empty, will remain un-
out or should show through
changed. A value between 0% and 100% or trans will be ap-
(=transparency). Filling in
plied in all selected objects for that separation. After defining
transparency in an object for
Paint Style, do not press apply or modify, but go to the Paint
e.g. cyan, means that the object will not affect any of the cyan
menu and click on Modify Color.
objects underneath.
Modify Color can be useful for instance to add varnish or a
Transparency can only be defined towards other underlying
white background ink to a finished ArtPro job.
separations. Defining 0% - 100% will mask out the underlying
Modify Color does not work on live text, patterns or images.
objects and replace them with that value; defining T or trans will
use transparency for that object on that separation. Artpro is • Example
able to show transparencies on the screen, where they are Adding Varnish to a colored ArtPro job:
used for flat colors and gradations. E.g. a path with a flat color • Create a new separation Varnish (see Separations, p.257).
consisting of C=80%, M=50%. Transparency can be defined • Select all paths where the Varnish should be applied.
towards the other underlying separations. So for the yellow and • Clear all fields in the Paint Style dialog.
the black we can choose if they should be transparent or • Put 100 (%) for the Varnish Paint Style.
masking. If you define Y=0%, the yellow underneath will be • Press Modify Color from the Paint menu.
knocked out. If you define Y=trans, the yellow underneath will
shine through the path. 9.3. Make Opacity Mask
9.1.12. Shortcuts in the paint style dialog Make Opacity Mask allows to define an Opacity Mask. For a full
When entering values in the paint style dialog, some shortcuts explanation on Opacity Masks, see 7.18.4. Opacity Mask on
can be used : page 174.
• All Transparent
A path can be made completely transparent with q - option 9.4. Select by Paint
- T. This changes the paint style of selected paths to flat col- Select by Paint selects all the paths that are colored with the
or, completely transparent. active Paint Style. Each time a path is selected by clicking on
It will also reset the blend mode to “Normal”, clear any opac- it, its filling is shown in the Paint Style dialog. Select by Paint
ity mask, and set Opacity to 100%. works on flat colors and vignettes, not images and patterns.
Note that this is not the same as the “All Transparent” button Text will only be selected by Select by Paint, if the complete
in the Paint Style. This button only changes the values in the text box is in the specified color. If a text box contains different
Paint Style (without applying the change), while the shortcut colors, it cannot be selected by Select by Paint
q - option - T is applied immediately, and also resets the
blend mode, opacity and opacity mask.
9.5. Select by screen
• Transparent This function is comparable to Select by Paint. When choosing
Trans can be entered to make an object transparent to a this option, every object in the document that has the same
specific separation (see above). This can also be done by en- screening as set in Paint Style at that moment, will be selected.
tering “t”. ArtPro will change the “t” into “trans” In combination with Modify Screen, this option is useful to find
and change screening on several different objects.

— p. 194 — Chapter 9 : Paint Manual ArtPro 8.0

9.6. Select Traps 9.9. Draw Gradation
When using Automatic Trapping (PowerTrapper), all trapping With Draw Gradation you
elements are tagged internally. When choosing Select Traps, can define your own linear
all these elements are selected automatically. This could be gradation with any length
useful to remove old trapping from a document and redo it with and under any angle. Nor-
different settings. To remove only some of the traps, hide the mally, linear gradations
rest first. This function is mainly useful for customers that re- are only vertical, horizontal
ceive trapped ArtPro files from others or who use NexusEdit or circular, working on the
with Nexus Processor. bounding box of the se-
lected objects. Horizontal
and vertical vignettes can
9.7. Deselect Even Areas be redrawn with this tool.
Deselect Even Areas assigns numbers to all the selected paths With this tool it is also pos-
according to the level they are on (from back to front) and de- sible to redraw circular
selects the paths with an even number. multistep vignettes.
This leaves the paths selected that have to be colored after a
• Procedure
scan (in a black and white job for instance). The deselected
• Select one or more paths which contain a normal vignette
paths are the ones that may remain white after a scan.
definition (vertical, horizontal or circular).
• Procedure Even Layers : White • Choose Draw Gradation.
• Vectorise a • Click and drag a straight line in the window to define the new
TIFF file and vignette. The length and the direction of the line determine
clean the the length and the angle for the vignette.
paths.
• Select All
paths 9.10. Place Picture...
• Activate De- With Place Picture... you can integrate a picture in an Artpro
select Even job. A rectangular path is created automatically on the 100%
Areas. size of the bounding box of the placed picture. The position of
Odd Layers : Black
• Enter a color the picture is dependent on the position of the ruler as well as
in the Paint Style dialog (usually 100% black). the settings defined in the Preferences under Place Picture Us-
• Click Apply. ing and Align Placed Picture on. Tiffs and Jpegs are always
• If you want to give another color to the white paths, drag a placed as mapped image.
rectangle around all the paths with the SHIFT key pressed. • Procedure
This will invert the selection, leaving the paths you have just • Clicking on Place Picture will open a dialog box to choose
colored deselected and the uncolored ones selected the picture you want to place.
• A rectangle filled with the picture as Mapped Picture will be
9.8. Move Paint created with the original image size.
• The picture will be placed in the second quadrant of the ruler.
Vignette and picture paints can be moved within a path. This
can also be done by using the normal transform tools, with the • Clipping Paths
Path checkbox (3.11. Transform tools / align on page 92) off. Depending on the option Use External Clipping Path for TIFF/
EPS in 1.2. Preferences... on page 1, the image will be
• Procedure
placed in a rectangle or inside the clipping path. For TIFF im-
• Select one or more paths containing a gradation or a picture.
ages with path, the complete original picture is put inside the
• Choose Move Paint from the Paint menu.
object and the image can still be spread into the background
• Click and drag in the window to move the paint.
if necessary. An EPS image however, once saved with a clip-
ping path, is always transparent in the background and visi-
ble inside the clipping path, even when the clipping path is
used. This means it cannot be spread, only choked.

Manual ArtPro 8.0 Chapter 9 : Paint — p. 195 —

9.11. Apply Picture 9.13.2. Replace
Using Apply Picture, you can apply or modify one picture to If you click the Replace button, ArtPro will check the names of
several paths individually. Choosing Apply Picture opens a di- the placed pictures, searching for the “Search” string. When
alog where you can select an image. If no other image was found, ArtPro will replace the Search string by the “Replace”
used in that object before, this picture will be placed in all se- string, look for that picture at the same location of the original
lected paths with default parameters (centered, 100% and not picture, and when found, place it at the same position in its
rotated or sheared). If the paths already contained a picture, path.
the picture you select with Apply picture will be modified, i.e. 9.13.3. Swap
the selected picture will be placed in the paths, using position-
The Swap function replaces the Search value by the Replace
ing and scaling of the previously placed picture. In both cases,
value, and vice versa.
if the Applied picture is a Tiff or Jpeg, it will be applied as a
Mapped Picture.
This function can be very useful e.g. to replace a picture by a 9.14. Used Pictures
newer (edited) version of the image. You select all the paths Used Pictures shows the pictures used in the file, and allows
containing the image, select Apply Picture, and choose the you to show those pictures in the file or to replace them.
new version of the image. The image will be placed in every
path, keeping its original scaling and positioning, providing it 9.14.1. Refresh List
still has the same size and resolution. This function is actually The Refresh List button allows to Refresh the contents of the
very comparable to the Apply Graphics button in Step & Re- Used Pictures dialog to the actual ArtPro job. This can be used
peat CFF2. (See 2.26. Step & Repeat Nested... on page 48) if changes were made to the ArtPro file after opening the Used
Pictures dialog.
9.12. Map Pictures 9.14.2. Type / Count / Position
Map Pictures is a function that changes all placed TIFF and
• Type
JPEG pictures into Mapped Pictures.
The Type function is default selected, and is the most com-
In case the ArtPro job contains JPEG or TIFF files in a color
mon use of the Used Pictures dialog. It shows all used pic-
space that can’t be mapped (RGB or LAB), a warning will be
tures based on their file type.
generated, indicating how many pictures couldn’t be mapped.
• Count

The count function is used specifically for S&R jobs. ArtPro

simply multiplies the number of times a picture is placed in
the job with the number of sheets. This way you can check
9.13. Replace Pictures how many sheets need to be printed to get to the correct to-
Replace Pictures is a func- tal number of labels or packages.
tion that originally was de-
• Position
veloped to create the Verso
side of a S&R

9.13.1. Verso
The Verso button will mirror the ruler and the selected paths
horizontally. It can be used for the creation of die-side up rep-
etitions as opposed to normal print-side up repetitions.
If the objects does contain graphic files already, their paint will This option is very useful for Step and Repeats. It shows all
first be mirrored horizontally over its own center and then it will placed pictures or ArtPro files in the chosen order (snake,
be mirrored horizontally together with the die. start, direction). One of the advantages of this way is that ev-

— p. 196 — Chapter 9 : Paint Manual ArtPro 8.0

 ery picture is shown as many times as it is placed in the doc- 9.14.6. Job Info : Pageboxes
ument, allowing you to replace one specific position, without The Pageboxes tab contains the dimensions of every job bor-
replacing all occurrences of the specified file. der found in the file
9.14.3. Picture List 9.14.7. Job Info : Color Management

When selecting a picture in the Used Picture dialog, the bottom

part will show the location and name of the original file, the em-
bedded profile, the image profile and the working space profile.
In the Picture list, all pictures used in the file are shown, with a When opening an ArtPro file, ArtPro will check if any of the orig-
preview (if one is available), their file type and the number of inal images was changed. If so, the Used Picture dialog will
times they are used. For mapped pictures, the number of open with the changed picture selected.
channels of the picture is shown. A mapped picture of 4 chan- The Update button also checks the original images. If the orig-
nels for example will have 4 as number. inal image was changed, a red dot will be shown in front of the
If more info is available (e.g. for placed EPS or ArtPro files), a image, and the Color Management Tab will show “The original
triangle will be placed in front of the picture preview. Clicking file was changed”.
this triangle will reveal the extra info, concerning separations If the original image was changed, two options are available :
and fonts used in the placed file. Either synchronize the picture, i.e. updating the color managed
Keep in mind that a picture can also be used as an opacity image to the changed original file, or validating it, i.e. forcing to
mask. These pictures are also listed in the Picture List. accept the image as it is, breaking the link with the original,
modified image.
9.14.4. Exclude Partial Labels The profile of the selected image can be changed by clicking
If the Exclude Partial Pictures option is on, pictures that are not the Change Profile button. The user can define to use the em-
completely placed inside their path, will not be taken in account bedded or a selected color profile, and the rendering intent.
for the count field in the used pictures dialog. This can be very
useful if the Used Pictures dialog is used to determine how
many labels will be printed. When using the S&R interactive on
e.g. round labels, parts of the label can be placed at the out-
side of the sheet. In order not to count these half labels in when
using the count functionality, the option to exclude partial pic-
tures should be switched on.

9.14.5. Job Info : General For more info on Color Management, see 1.3. Color manage-
ment on page 8

9.14.8. Replace Picture

A used picture can be replaced by another picture by selecting
it and clicking the Replace button. All appearances of the pic-
ture will be replaced, in the same way as Apply Picture, mean-
ing that the new picture will be modified, keeping the same
When a picture is selected in the list, its job info is shown under position and scaling parameters as the original picture, provid-
the list. The General info shows its path, its type, dimensions, ing it has the same size and resolution.
its resolution and file size, and a preview of the file.

Manual ArtPro 8.0 Chapter 9 : Paint — p. 197 —

9.14.9. Update Internal CT rations can be added by putting the black arrow next to an
If the selected picture is an Internal CT (see ArtColor chapter), empty separation and selecting an ink from the ink book. Ac-
you have the possibility to update the internal channels by the tually, you can also define a new separation by typing any
original image. name in an empty field, but you will need to define the color on
display and color on proofer manually. CMYK are an exception
to this rule. To create them, just type c, m, y or k in the text field
9.15. Separations... for that separation. Automatically, the full name is completed,
In the Separations dialog the printing inks are defined. Every the colors are set and cmyk flags appear (see further).
color defined here will result in the output of an extra plate or ArtPro will not allow defining 2 separations with the same
film. ArtPro can use up to 64 different separations per job. Use name, this results in the error message “Separation name al-
the scroll bar at the right to move through the list. The separa- ready in use. [845]”.
tions dialog can be activated through the menu, its toolbar icon
9.15.4. CMYK flags
or with the shortcut.
Shortcut: q - SHIFT - I, Separations CMYK Flags indicate which separations should be handled as
CMYK, even if they were replaced by spot colors. The flags are
very important when working with placed, unmapped pictures,
when importing PS files or when outputting PS files to other ap-
plications, e.g. XPress.
When placing an unmapped picture the CMYK channels will
output on the separations that carry the respective CMYK
flags. On PS import, all elements defined in CMYK will be im-
ported in the separations that have the CMYK flag. When print-
ing to an eps, then placing this file in an other application, e.g.
Quark, it will treat the separation with the cyan flag as cyan,
even if it was turned into for example Pantone 632 in ArtPro.
For separated output the separations indicated as C-M-Y-K
are known in the PostScript file as cyan-magenta-yellow-black
for plate color and document color. It is therefore not advisable
to have the following situation e.g.
1 C Pantone 512 CVC
2 M Magenta
3 Y Yellow
4 K Black
5 Cyan
9.15.1. To select a separation as some RIPs will output both separations 1 and 5 on one film.
All the buttons at the bottom of the menu can be applied to any Thus, do not use the names cyan-magenta-yellow-black un-
specific separation. In order to do so, you have to activate the less they are marked with C-M-Y-K, or rename them e.g. 5
required ink by clicking in the (empty) column to the right of the Cyan2. For some RIP’s it is best to switch CMYK Flags off.
color swatch. The current ink is indicated by a black arrow in CMYK Flags can be switched off one by one, by selecting a
that column. Only one ink can be active. separation and pressing the delete CMYK Flag button.

9.15.2. Name 9.15.5. Opaque

In the Separation Name field you can change the name of the With the Opaque toggle you can specify whether an ink is
separation. It does not have to be selected to do this, but do transparent or opaque (like gold, white, silver,...). By default, all
note that the text cursor in this dialog is not an indicator for the new inks are transparent. Real opaque inks, will therefore not
active separation. display correctly where transparency is used. Transparency
shows where in reality the ink would cover the underlying col-
9.15.3. Creating separations ors. To see an ink opaque on screen and on proof, activate the
When documents are imported, vectorized or placed in ArtPro, Opaque check next to the ink in the Separations dialog.
all the necessary colors are automatically defined. New sepa-

— p. 198 — Chapter 9 : Paint Manual ArtPro 8.0

9.15.6. Order are the CMYK (Color on Proofer) and RGB (Color on display)
The printing order for the inks is defined by their order in the representations of this ink.
Separations list. The print order can be changed by selecting You could for example add a few text lines in your ink book for
the separation and dragging the black arrow up or down to the gold: Gold 45 1 38 59 73 7 145 97 61
position you want. The print order is important for previews on 9.15.8. Find
screen and for proofs, but also for automatic trapping. A gold
To search for an ink in the ink book, you can click and drag in
square on top of a dark blue background will choke if the
the window, or you can simply type in the pantone number in
opaque flag is on, but it will spread if it is off.
the top left field and press the find button. The selected color
9.15.7. Ink Book... is always immediately applied to the active separation.

9.15.9. Update Separations

Clicking on the button Update Separations will overwrite the
ink data in the separations dialog with the ink data defined in
the current Ink Book, on the condition that the separation
names match exactly.
• Remark
PANTONE® Computer Video simulations displayed may not
match PANTONE-identified solid color standards. Use cur-
rent PANTONE Color Reference Manuals for accurate color.

9.15.10. Color on Proofer

The Ink Book... button opens the Ink Book dialog, which allows
you to create new separations by picking them from a pre- The Color on Proofer dialog
defined color list. Clicking on a color will immediately apply it to contains the CMYK represen-
the active separation in the Separations dialog. tation of all inks. When making
The Ink Book is an ASCII file, which you will find in the ArtPro composite PS for proofing de-
application folder. A personalized ink book can also easily be vices, ArtPro converts all pan-
created with a spreadsheet. The standard ink books, provided tone inks to CMYK, based on
by Artwork Systems, are Pantone licensed and can be found these values.
in the ArtPro application folder. • The four process colors
(CMYK) are automatically
defined as 100% of the pro-
cess ink. (e.g. Cyan is represented by 100% C)
• The inks from an ink book take the information included in
that book.
• House inks are by default represented with 100% black, so
you should change the Color on Proofer values.
With the Display button, you force Color on Display (see below)
to adjust to the new Color on Proofer Values.

9.15.11. Color on Display

The ink book is built up in a similar way to a color book. It starts The Color on Display button contains the Macintosh Color
with a standard header. In the header, the number of pantone Wheel dialog to define the representation of each ink on the
colors defined in the ink book is defined under # Colors. The screen. The C, M, Y, K colors are defined automatically. The
height indicates the number of rows this list will be displayed in inks from an ink book take the values determined in that book.
when selecting this ink book in ArtPro. In the color list, the first The house inks should be defined by yourself as they are
column contains the ink name, next the default screen angle, shown by a representation of the values in the Color on Proofer
the next column contains either a 0 or a 1, defining if the ink dialog, which by default is Black. The Color on Display dialog
should be transparent or opaque by default. The last columns may come in handy to represent for instance a varnish as light

Manual ArtPro 8.0 Chapter 9 : Paint — p. 199 —

 yellow on the screen, or an opaque white as light blue. 9.16. Ink Coverage
Note that Color on Display is disabled if Color Management is
on, since Color Management will make the transition between The Ink Coverage menu contains all the functions to calculate
the CMYK on proofer, and the RGB values for screen repre- the surface ink coverage of the document. By clicking Calcu-
sentation. late, the ink coverage is calculated for the active job. The total
surface of the job and the surface covered by each separation
9.15.12. Delete Current is calculated. The results are displayed in the unit defined in
The Delete Current button removes the active ink from the Preferences (see 1.2. Preferences... on page 1), as well as in
Separations list. If the selected separation is used anywhere in percent.
the job or if ArtPro cannot be sure if it is used or not, a warning Ink coverage is only calculated inside the border set using the
will appear on screen asking if you are sure you want to delete dropdown, so if the border is set for example to trimbox, it
it. ArtPro cannot tell which separations are used in a document does not include any bleed or other elements outside that size.
if there are placed, unmapped images. If you are sure about Ink Coverage calculates the actual values for all elements, in-
which colors are used, you can force ArtPro to delete the un- cluding Mapped Pictures, not including other Pictures. In that
used with this function. This function ignores registration color case the replacement value set in Average ink in the Paint Style
(all 100%), meaning that, if an ink is only used in the registration menu is used.
and crop marks, it is not considered in use in the file. The ink coverage is calculated at a resolution as defined in the
at samples per inch field. The higher this value, the more accu-
9.15.13. Delete All Unused rate the ink coverage will be, but also the more time it takes to
The Delete All Unused button removes all the inks that are not calculate. The default value is 75 samples per inch, which gives
used in the job from the Separations list. It cannot delete any you a nice balance between speed and accuracy.
inks in a repetition or in a job containing normal pictures (unless
you hide all the pictures).
The Delete All Unused does not take into account any object
with All 100% ink (i.e. registration color).

9.15.14. To Trans
The To Trans button changes the paint style of all selected ob-
jects, for the selected separation, to “Trans”. The paint for the
other separations is not changed.
To Trans has no effect on placed pictures or placed ArtPro
files.

9.15.15. To 0%
The To 0% button changes the paint style of all selected ob-
jects, for the selected separation, to 0%. The paint for the other 9.16.1. Save
separations is not changed.
With the Save button, you
To 0% has no effect on placed pictures or placed ArtPro files.
can save the ink coverage
9.15.16. Screening & Calibration information in a separate text
The Screening & Calibration button opens the Screening & Cal- file. The ink coverage infor-
ibration dialog, allowing to define the screen sets. mation can be useful to cal-
For more info on Screening & Calibration, see 7.17. screening culate the cost price of a job
on page 165). more accurately. Inks like
gold and silver are very expensive. Usually, without ink cover-
age calculation, a rough estimation is made for every job. If it is
estimated wrong, the customer may not be paying enough.
Also ink coverage calculation is useful for the printer to know
how much (pantone) ink needs to be made and put on the
press for a certain job.

— p. 200 — Chapter 9 : Paint Manual ArtPro 8.0

9.16.2. Step and repeat jobs
To be able to calculate the ink coverage accurately on a S&R
file, you need to make sure to save all single files with a preview Before
(see 2.11.2. Include Preview on page 21), otherwise, the aver- Spread
age ink values from the paint style are used.

9.17. Interactive Trapping...

The Interactive Trapping...
menu contains all the func-
tions to perform manual
trapping in ArtPro. Spread
and Choke are the two basic
functions to create trapping.
After
Spread is used if the select-
Spread
ed path is lighter than its
background. Choke is used
if the selected path is darker
than the object in the background. It is possible to spread or
choke entire objects or only parts of them. Spread and choke
can be activated by their keyboard shortcuts or by the function
in the Interactive Trapping dialog.

If the object that has to be spread or choked contains trans-

parencies, the result of the spread or choke will be grouped,
and the transparency will be applied to the group. In most cas-
es, this will generate a correct result. Before
Choke
Shortcut: q - 0, Interactive trapping dialog
Shortcut: q - 1, Spread
Shortcut: q - 2, Choke

9.17.1. Spread or Choke an entire object

• Select the path you want to trap.
• Fill out a distance for the overlap in the Trapping dialog.
• Set the corner type in the Corners pop-up menu.
• Choose Spread or Choke, depending on the colors of the
paths that need to be trapped. Spread will create a bigger
path as compared to the original, Choke a smaller one. After
Choke

Manual ArtPro 8.0 Chapter 9 : Paint — p. 201 —

9.17.2. Spread or Choke an object partially 9.17.5. Color changes after Spread
Spread and Choke Part The color of the original path is changed after spreading. The
enable you to make a par- spread path, which is larger than the original, now contains the
tial spread or choke. original color data, whereby all the zero percentages of the
• Select the path you want original path are made transparent. This way, you get the mix
to trap. of the original color, transparent on the background. The orig-
• Fill out a distance for the inal path is set to all zero, to make it knock out the background.
overlap in the Trapping The new spread path is created on top of the original selected
dialog. To make partial traps, you path (see drawing on previous page).
• Set the corner type for must click on two intersec-
tions of the selected path 9.17.6. Color changes after Choke
the trapping in the Cor- and its background
ners pop-up menu. The color of the original path is changed after choking. The
• Press Spread Part or Choke Part. The cursor changes into a original color data stays in the original path, but all the zero
pair of scissors. separations are put transparent. The new choked path, which
• Click on two points on the selected path, to indicate from is smaller than the original, is set to all zero, to knock out the
where to where the path needs to trap. You must click on in- background. The new path is created underneath the original
tersections with other paths. Spread Part creates a bisecting selected path (see drawing on previous page).
line on the intersection angle. Choke Part follows the direc-
tion of the intersecting paths. Note that if you want to spread/
9.17.7. Trapping pictures
choke another part on the same path, you may have to hide When trapping images, you need to see first if there really are
the original path. Since there are now three paths lying on more pixels outside the clipping path or picture box or not. If
top of each other at the intersection points, the program can- not, the only possibilities are either choking (default) or cloning
not know which path to intersect. pixels to spread (time consuming and so not done often).
Therefore most people choke an image to generate transpar-
9.17.3. Partial spread and choke on 1 object ency towards the background, even if the background is dark-
If you want to make another partial spread or choke on the er.
same object, make sure you select the correct path (the top • If the line art is on top of the image
colored one or the white one): select the spread path, i.e. with • Spread or choke the line art.
the color information, to do another partial spread. Select the • Transparency will be created to all the different underlying
choked path, i.e. with all 0%, to do another partial choke. separations.
9.17.4. Other Part • If the image is on top of the line art
For the Spread Part and Trapping can be created in a number of ways, depending on
Choke Part function, you the picture type.
have to click on two inter- Spread • Mapped pictures can be trapped with the normal Spread/
Part Choke function. Transparency needs to be applied manually
sections of a selected
path with another path. though: fill out t or trans for all separations of the back-
The program will always ground.
calculate the shortest part • EPS images can be spread or choked, but Put EPS in First
Other Four Separations Only (see 1.2. Preferences... on page 1)
(with the fewest anchor Part
points) of the path in be- needs to be switched on. To see the trapping, a separated
tween those two intersec- preview must be calculated and even then, the preview of
tion points. Sometimes the EPS is only a simulation. When making separated output,
this is not the way you want to spread or choke part. When the the trapping will be fine. EPS pictures in PostScript by default
program gives the wrong part of the selected path, you can ask mask out underlying layers. However, ArtPro provides a
for the Other Part. This has to be done directly after performing workaround to generate transparency from EPS pictures to
a Spread/Choke Part. It can be activated by the menu function a spot color background. When Put EPS in First Four Sepa-
or by its shortcut. rations Only is active in the Preferences dialog, the CMYK
Shortcut: q - /, Other way EPS will generate transparency towards all the background
colors except for CMYK itself. Transparency within one ink

— p. 202 — Chapter 9 : Paint Manual ArtPro 8.0

 cannot be generated. When Put EPS in First Four Separa- • Rounded: a rounded corner joins the corners with a circular
tions Only is not active in the Preferences dialog, the EPS will arc with the diameter equal to the trapping distance.
mask out all the underlying inks. • Bevel: a bevel corner is comparable to a rounded corner,
• DCS pictures (and DCS-2) do not mask out underlying lay- while it joins the corner segments with a straight line instead
ers. All separations are transparent towards underlying inks of an arc.
which are not used in the DCS file. This means that the Art- • Square: a square corner is comparable to a mitered corner.
Pro operator should modify the choked path which is origi- The limitation of the square corner, however, is not controlled
nally set to all zero, towards zero for masking out the by the Miter Limit. The Square corner has a maximum dis-
underlying inks, and towards Transparent for transparent tance on a corner of a 90˚ angle = √2 x distance, resulting in
inks. So it is up to the operator to define what separations a square corner. The minimum appears on a 0˚ and 180˚ an-
need to overprint. gle = 1 x distance. All angles between those values vary be-
• Note tween 1x and 1.4.x the distance. Angles < 90˚ are cut off,
• When spreading or choking a picture, ArtPro sets the inner angles > 90˚ are not cut off.
path automatically to all 0%. 9.17.9. Miter Limit
• The checkbox for Put EPS in the First Fours Separations
Only works on all the EPS files in the job at once, even un- A mitered corner closes in one point. In order to avoid that the
trapped images. resulting corner becomes too sharp, it can be cut off. The dis-
• If you have a monochrome EPS in a spot color (e.g. in a PAN- tance where the corner is cut off, is controlled by a factor called
TONE Color ink), you cannot activate Put EPS in First Four the Miter Limit. If e.g. the Miter Limit is 2, the distance where
Separations Only, or the monochrome EPS will not be ex- the corner is cut will be twice the trapping distance. The Miter
posed. Limit value should be greater than or equal to 0.
• The Put EPS in First Four Separations Only preference is only
read on the moment you calculate a separated postscript file 9.18. Automatic Trapping
(= print).
This module is optional. Please contact your dealer
• The Put EPS in First Four Separations Only preference is not
for more information.
applicable on DCS or DCS-2 pictures. (see remark above)
• For other kinds of images you can only create trapping be- Automatic Trapping is an additional module to the basic ArtPro
tween line art and image if the line art lies on top of the image. package that is called PowerTrapper.
Thus, you could Stroke a path containing a picture and color The Automatic Trapping... dialog contains all the functions to
the stroke (which lies on top) transparent for the background automatically trap a job or part of it. Automatic trapping per-
color. forms spreading and choking, fully or partially and to center-
• Trapping created with interactive trapping is not always pre- lines, completely automatic. The resulting trap direction, color
viewed correctly. In some cases separated preview needs to and distance can freely be chosen. Autotrap paths are still ed-
be switched on. itable afterwards. The dialog can be activated in the Paint
menu or by its shortcut.
9.17.8. Corners Shortcut: q - 9, Automatic Trapping
• Mitered: a mitered cor-
9.18.1. General
ner closes in one point.
When the angle of the
original corner is very
sharp, this might result
in a very sharp peak.
Therefore a Miter Limit
(see below) can be • Trap
used to cut off the cor- The Trap button activates the actual trapping process. All
ner at the distance of settings underneath will be applied. If the color matrix (see
the miter limit factor below) wasn’t calculated already, this will be done on the fly.
multiplied by the trapping distance. The trapping process can be cancelled at any time with
COMMAND-period (q - .) The cursor will stop rotating, but it

Manual ArtPro 8.0 Chapter 9 : Paint — p. 203 —

 is possible that you’ll have to wait to let the trapper finish its 9.18.2. Geometric Parameters
work. When the trapping is cancelled, you will possibly have
to wait some time (depending on how much trapping has al-
ready been done) before it is accepted.
• Remove Traps First
If the Remove Traps First checkbox is on, all existing traps
will be removed before trapping is calculated. If the Remove
Traps option is on, the selection of the original objects will be
kept, allowing to immediately trap the same selection again,
with different parameters.
• Version 1 / Version 2
The Version defines what trapping routine has to be used.
Version 1 starts to trap in the background and works its way
to the front, while version 2 starts in the front and works to-
wards the back. This second routine should be faster in gen-
eral, though version 1 might give more consistent results, as • Distance into Color
it has a longer development history. Therefore we recom- Defines the spread distance for trapping colors under colors.
mend to use version 1 for packaging and labels and version When you enter a value for into Color, it is automatically cop-
2 for commercial work. ied for into Black as well.
A few other differences are: • Distance into Black
• that Version 2 will not work with live text. All fonts need to be Defines the spread distance for trapping colors under black.
converted to paths first. If into Black needs a different value than into Color, enter into
• that Version 2 takes certain Color first and then into Black, because by default the value
transparencies into ac- from the first field is copied into the second. Sometimes you
count. In the example on may want a bigger spread under the black color, e.g. for a
the right, a transparent yel- centerspread. To create a centerspread (center trapping in
low circle is put on top of a black e.g. for comic strip drawings), the spread value should
cyan and magenta rectan- be set to slightly more than half the width of the thickest
Version 1 (left) ignores trans-
gle. Only with version 2 this parency. Version 2 traps the black line. When the spread value is higher than half of the
is trapped correctly. C and M correctly behind the black line width, in the middle, where the spreads meet from
An example of this differ- transparent yellow
both sides, the spreads will be limited to the center and will
ence is shown on the right. not overlap.
• 4Stage Trapper • Distance into CT
4stage Trapper uses a totally different kind of procedure. Un- Defines the spread distance for trapping colors to pictures.
like Version 1 and 2, it does not work object based, and only For Version 1 and Version 2, the color type can be flat color
calculates traps for where different colors actually meet. or linear gradation. Multistep gradations and other pictures
The 4stage Trapper is the only good way to trap objects con- are not trapped automatically.
taining transparencies. The traps made by the 4stage trap- The 4stage trapper can trap anything
per are defined using transparencies as well.

— p. 204 — Chapter 9 : Paint Manual ArtPro 8.0

 • Center Error activate the option before trapping in such cases. Perhaps it
These fields specify the accu- will even be necessary to trap twice: first with a Distance into
racy for the centerspread (see Color only and Clip Chokes, next with a Distance into Black
example on the right). Center only (for the centertraps) and without the Clip Chokes option.
Error Off means no center- When color areas exactly touch (and do not overlap) the
spread is calculated. The per- black keyline of a design, center spread will work correctly,
centages, together with the Before Trapping even when Clip Chokes is active.
distance, define the precision • Small Objects : Add White Frame (Only Version 2)
for center trapping. The lower The Add White Frame option allows to create a white frame
the percentage, the more around objects smaller than the defined Maximum Size for
precise, e.g. with a trapping small objects. The white frame will have the size of the Into
distance of 0.5 mm and 8% Color distance.
accuracy, the trap centerline ... with black hidden This can be used to make very small text more readable.
will be at a maximum distance Therefor, the Max size is defined in points.
of 0.04 mm off the real cen-
• Small Objects : Handle As One (Only 4stage Trapper)
terline. Keep in mind that in-
It is possible to set the 4stage trapper to handle small objects
creasing the accuracy will
with the same paint, as one single object. Therefore, the
increase the trapping time!
small objects (mostly text) should be smaller than the Maxi-
Also note that a smaller trap
mum Size, have exactly the same paint (i.e. same paint style,
distance results in more ac- Center Trapping same screening and same transparency), and be within the
curate centerspreads, so do
Max Size distance from each other.
not set the distance higher
If the Handle As One option is on, these small objects will be
than necessary. The accuracy
cannot be different for normal spread or choked, based on the most occurring trap direc-
tion.
colors and for black for the
4Stage trapper, or if the trap-
ping distances are equal. This ... with black hidden
means that if the black trap
distance is changed to equal the normal trap distance, the
accuracy will automatically be set to the one for the normal
colors.
General settings are 8% for normal colors and black. If you
have a job where centerspread under black is important, put
the accuracy to 2%, 1% or even 0.5%.
• Corners / Miter
This field defines the trap corners, which can be mitered,
rounded, bevel or square (see 9.17. Interactive Trapping...
on page 201). The miter limit can be set to max. 4.
• Clip Chokes (only Version 1 & Version 2)
By default this option is
active so that the choked
paths follow the shape of
their original path, as they
should. However, the re-
sult may not be optimal Clip Chokes on off
on certain jobs for exam-
ple when a centerspread under black is required. The trap
will be clipped with the original paths lying under the black
and therefore no centerspread will be performed. Thus, de-

Manual ArtPro 8.0 Chapter 9 : Paint — p. 205 —

9.18.3. Color Parameters what colors should be choked i.o. spread. The Black Margin
also applies when using Keep Away Rich Black (see below)
So, this function can be very useful in 3 cases. First of all if
you use a dark pantone spot color i.o. black, but still need to
set a specific distance and center error for the dark keylines.
Second, when trapping images using Version 1 or 2, you can
use the Black Margin to define that colors darker than the set
Black Margin should be choked towards pictures i.o. spread.
Third, when using the Keep Away Rich Black option.
• Trap Intensity
The Intensity, by default 100%, defines the “ intensity” of the
trap and can be adjusted according to the needs. When a
job is trapped, the traps should be as inconspicuous as pos-
sible. With a lower intensity, the traps become lighter and so
less visible. But keep in mind that if the intensity is too low,
the trapping will not be correct.
When using Version 1 or 2, the trap color constitutes a new
color which is a mixture of the two given colors. To calculate
the trap color, ArtPro uses the highest value of the separation
of the two trapping colors. When the Intensity is lower than
100%, the values of the lightest color are first multiplied with
this Intensity and only then the highest value is taken per sep-
aration (for examples see below).
When using 4Stage Trapper, the traps (which have the color
of the spread object, and a “Darken” blend mode) will have
an opacity defined by the Intensity field, giving the same re-
sult as described above.
• Keep Away Rich Black
• Threshold A rich black is a black element, to which another color was
The Threshold indicates the minimum difference that must added, to make it look darker. Usually, a tint of cyan is added
exist between touching colors before they will be trapped. to the black, but this could be done with any separation, cmy
There must be a difference more than the Separation Tresh- or spot. The idea is to make 100% black look darker on print,
old in at least one separation in each direction. as black, like other inks, is a transparent ink, which some-
The usage for the different Versions is described below. times looks more like a dark gray than black.
• Black Margin If the Keep Away Rich Black option is on, a rich black area is
The Black Margin defines what colors will be treated as trapped so that the supporting color is kept away from the
black. From what percentage on should an object be edge of the black, on white as well as on color. This means
trapped with the distance into black and from what percent- that on a white element, a trap line is created with only black
age on into color? The default value is 85%, meaning a box and no supporting color.
of 100% yellow will spread into a box of 90% black with the In fact, rich black trapping is not specifically applied on black,
distance of into black. If the black in this example was only but on the color that carries the K flag in the separations list.
80%, it would trap at the distance for into color. It actually This means rich black trapping could be performed with a
doesn’t just apply for black but in general for all dark colors. spot color that replaces black in the file.
If the black value in color on proofer multiplied with the per- For Version 1 and 2, an object should have at least 95% K to
cent value in paint style is higher than the black margin, Art- be treated as a Rich Black.
Pro will use the distance into black. For 4Stage Trapper, it should have at least the “Black Mar-
Black Margin also makes a difference in trapping images for gin” value in the K separation, and the “Separation Treshold”
Version 1 and 2 : all colors, except for black, are spread into value in another separation. All 100% (Registration color) will
the image by default. Using the Black Margin, you can define not be considered to be Rich Black.

— p. 206 — Chapter 9 : Paint Manual ArtPro 8.0

 • Split gradations (Only Version 1 & 2 ) • Image to Image (Only 4stage Trapper)
Vignettes are normally by default spread or choked as one Using the 4stage Trapper, images are always trapped to-
object, that is either completely spread or completely wards lineart. If the Image to Image option is on, images will
choked. In theory, though, this trapping is not always cor- also be trapped towards images.
rect. A gradient could be darker than the background at one • Image Mode (Only 4stage Trapper)
end (choke) and lighter at the other (spread). When set to “Step Into Image”, the program will decide on
This option makes it possible to partially spread and choke the trap direction according to the light-dark principle. When
one vignette. When it is active, the calculation of the auto- set to “Always towards images”, ArtPro will always force the
matic traps will divide the vignette path into several parts de- background to spread into the image, even if this image is
pending on the colors. On the basis of the light-dark principle lighter.
the different parts will then be spread or choked. Hence,
some parts of the same vignette can spread to the outside 9.18.4. Matrix
whereas other parts can choke to the inside. So, somewhere • Color Matrix
in the middle, the trap switches from one to the other. Note The Color Matrix is the visual representation of the trap col-
that using the split gradations option will make the trapping ors. It allows you to check and change the automatic trap-
matrix much more complex, because one vignette is seen as ping suggested by ArtPro.
multiple colors. The Split gradations option does not apply When selecting objects and clicking “Trap”, the Matrix will be
on multistep gradations. calculated, and the trapping will be done immediately. It is
• Gradation Mode (Only Version 1 & 2) however possible (and advisable) to do this in two steps :
When set to “Step Into Gradation”, the program will decide - Select the objects, and click Calculate Matrix. The Matrix
on the trap direction according to the light-dark principle. will be calculated, allowing to check and edit trap colors and
When set to “Always towards flat”, ArtPro will always force directions.
gradient to spread into flat colored backgrounds, even if this - Click the Trap button. Traps will be calculated based on the
background is lighter. This option is not applied for multistep Matrix
gradations. Forcing a multistep gradient into a flat color will On the left, all
have to be done manually. the colors are
The 4state Trapper always uses Step Into Gradation. ordered from
• Trap Images / All Separations (Only Version 1 & 2) light to dark,
In order to trap mapped pictures automatically, enter a dis- then images
tance for Into CT and activate the Trap Images option. By de- and gradients.
fault it is switched off so that selected pictures are ignored On top, you see
during autotrapping. the opposite:
Using Version 1 & 2, mapped pictures trap with flat colors or gradients, imag-
linear gradations, not with multistep gradations or other pic- es and then all
tures. The autotrap result will be a mapped picture with a colors from dark
minimum value added for the underlying colors or a gradient to light.
transparent on top of the picture.
When all separations is active (default), it will trap all the sep-
arations of the color, whether they are in the picture or not.
When the option is not active, the image is only trapped into For Version 1 and 2, the Matrix suggests standard trapping
separations that are not in it. for all the paint styles in the selection, even colors that are
For example, a cmyk image is put on top of a cyan back- physically not touching in the file. When using 4stage Trap-
ground and a pantone 032. With the option off, it only traps per, only colors that actually touch will have suggested trap-
into the pantone 032, with the option on it traps in both. By ping. Colors that do not touch are shown as a light gray
default, all colors are spread in the image, and black is cross (without square)
choked. This can be adjusted using the Black Margin (see Read the matrix as following: the colors on the left (vertical)
earlier). are trapped into the colors on top (horizontal) if the corre-
The 4stage Trapper always traps “All Separations”. sponding square in the matrix is on (filled with a trap color).
This could be both a spread or a choke. In the example on

Manual ArtPro 8.0 Chapter 9 : Paint — p. 207 —

 the right, the gray spreads into the image if it is on top, but Clicking Force while holding the Shift key, will Exclude the
the same matrix would show if the gray was behind the im- opposite direction.
age (then the image is choked). • Exclude
By using the scroll bars you can move through the matrix. By pressing the Exclude button, trapping on all selected cells
Selecting a trap color in the color matrix is done by clicking in the matrix is switched off. So this makes it possible to pre-
on it. The selection shows a red rectangle around the select- vent the autotrapping of certain color pairs.
ed cell. You can select a whole row or column by clicking on Clicking Exclude while holding the Shift key, will Force the
the color samples on the left or at the top. On the selections opposite direction.
you can use the Reset, Exclude, Force, Specify Trap or Apply
• Specify Trap
functions.
The Specify Trap... button
Double clicking on a color sample on the top or left, opens
opens a dialog. On top you will
the Paint Style dialog and shows you the exact color values
see a color sample of the two
for that flat tint, vignette or image. Double clicking on one
colors, with a sample of the trap
cell, opens the Specify Trap dialog (see below).
color in between. In this dialog it
If the standard trapping by ArtPro was changed in any way,
is possible to change the trap-
a white square appears in the cell, to indicate it is user-de-
ping distance and the trapping
fined. A trap defined by Trapping Pairs is represented with a
color for each cell separately.
gray square in the top right corner.
Note that when the distance of
All traps defined in the matrix are saved in the ArtPro docu-
two colors is set to custom for
ment. This means that until a cell is reset, it will always trap
one cell, changing the general
in the same way, even after deselecting, saving,...
Distance into Color, Black and
• Calculate Matrix CT will not affect this cell any-
The Calculate Matrix button calculates the trap colors for all more, until it is reset again. It is
the selected paths in the job. When the function is performed not possible to specify trapping
again on some of the same objects, it will not reset the pre- for images and gradients.
vious user-defined traps. This allows you, for instance, to The changes made in Specify
Trap, Undo, make some more modifications in the matrix Trap are only used after pressing the Apply button.
and Calculate Matrix again, leaving the first modifications un-
• Reset
affected. Calculating the matrix is not compulsory before
By clicking on the reset button, all selected cells in the matrix
pressing the trap button, meaning you don’t have to check
are set back to the default. E.g. to cancel a user-defined col-
and make changes to the matrix.
or, or a Force or Exclude, select the matrix element and click
on Reset.
Clicking Reset while holding the Shift key, will Reset the op-
posite direction as well.
• Reset All
All the modifications made in the color matrix are reset to the
default values suggested by ArtPro.

9.18.5. Trapping Pairs

The new trapping pairs functionality in Automatic Trapping, al-
lows for users to predefine pairs of colors. Both trap direction
and trap color can be defined.

• Force
By pressing the Force button, trapping on all selected cells
in the matrix is switched on. With 4stage Trapper, it is not
possible to trap in both direction, meaning clicking “Force”
will Exclude the opposite direction.

— p. 208 — Chapter 9 : Paint Manual ArtPro 8.0

 • Trapping Pairs This color can thus be different from the actual color in the
Both in Nexus and Artpro job. The number of separations, their color and their name
there is a new button in the will be the same for each trapping pair.
Automatic Trapping dialog
called 'Trapping Pairs' • From, To, Mix
which opens the dialog that The From and To fields, defining the original colors, accept
holds the actual trapping three forms of input
pairs. A trapping pair is rep- • an absolute value, which behaves similar to the values in the
resented by a From color, a paint style dialog
To color and a Mix color. • a range from value a to value b, defined as a:b. Both values
The From and To are the have to range from 0 to 100, and have a precision of 2 dec-
original colors, whereas the imal points.
From will be spread into the To color. The Mix will be the col- • an 'ignore' value, represented by a hyphen. These values are
or of the actual trap. ignored in defining the “match” of a trap pair. If a separation
There are six buttons in this dialog: in the trapping pair contains ignore values in both from and
“New” creates a default trapping pair. If it is the first one cre- to fields, the whole separation is ignored.
ated, no separations will be provided. If not, the new pair will
receive all separations of the existing ones (color + name), The Mix field defines the color of the trap, i.e. the mix of both
the from, to and mix values are set to ‘ignore’. From and To colors. The mix color is represented in the right
“Delete” removes the selected entry column in the Trapping Pairs dialog. The input field accepts
“Reset” removes all entries three forms of input
“Save” creates an XML file storing all necessary data for each • an absolute value, which behaves similar to the values in the
entry paint style dialog
“Load” loads an XML file into the dialog (job), previously • an 'ignore' value, represented by a hyphen. If an ‘ignore’ val-
present trapping pairs are removed ue is entered in the mix column, the trap color for this sepa-
“Merge” loads an XML file into the dialog (job), without re- ration will be calculated by the trap module, i.e. no user
moving the ones who were already present, merging the new defined values are used.
trapping pairs with the ones already present • exclude, represented by ‘x’. An ‘x’ in the mix field indicates
• Trapping Separations dialog that the current trapping pair should be excluded from trap-
Double-clicking on a trapping pair opens the trapping sepa- ping. To avoid confusion, when an exclude value is entered
rations dialog, or updates it if it was already open. This dialog in one mix field, it is copied into all other mix fields.
contains the separation info for the currently selected pair. All representation colors in the trapping pair dialog are based
on the user defined color in the trapping separations dialog,
and may not match actual colors from the job.
• Apply
The Apply button updates the selected trapping pair with the
settings of the Trapping Separation dialog. If any of the col-
ors were changed, you will see the color changing in the
Trapping Pairs dialog. If the trapping pair should be exclud-
ed, so the mix fields all contain exclude values, an ‘X’ will ap-
pear in the Mix column in the Trapping Pairs dialog.
• Load Separations From Job
The Load Separations From Job button (Artpro only) adds
the separations from the current job (with their colors) to the
• Separations existing separations in all trapping pairs putting Ignore values
The separations defined in the Trapping Separation dialog, in the from, to and mix fields. The separations are only com-
can be retrieved from an open job, or can be defined by typ- mitted the moment you click the Apply button.
ing in the separation name. By clicking the color square in
front of a separation name, its color can be defined in cmyk.

Manual ArtPro 8.0 Chapter 9 : Paint — p. 209 —

 • How It Works • Switch “Remove Traps First” on.
When the trapping Matrix is calculated (ArtPro), all color • Press Calculate matrix. ArtPro now displays how the docu-
combinations from the job are matched with the defined ment will be trapped. If you like you can change the distance
Trapping Pairs. If a trapping pair is matched, the resulting and color for every separate trap.
trap will be represented in the matrix as an edited trap (with • Press Trap. Depending on the complexity of the document,
a white rectangle in the trap color). Color combinations not trapping may take a while to calculate, but in general this is
matching any Trapping Pair, will have default trapping color no more than a few minutes.
and direction. • Zoom in on the traps and check the result carefully.
After matrix calculation, individual combinations of colors can • If any errors are found in one section of the document, select
still be excluded, forced or edited manually, overwriting the that section. If the complete selection needs to be redone,
Trapping pair settings. just keep the selection as is.
• Retrap it with different parameters or retrap that section with
• If a paint has to be matched with a trapping pair: manual trapping.
First, the separation list of the actual job is matched with the 9.18.7. Trap Calculation Version 1 & 2
separation list of the trap pairs separation list. Wildcards
used in the Trap pair separations are resolved, and the sep- • Restrictions
arations are put in the order they appear in the actual job. • Mapped pictures can be trapped with flat colors and linear
This separation matching is done only once for the complete gradations, not with multistep gradations and other pictures.
job. • Linear gradations will trap to flat colors, other linear grada-
If a paint is not a flat paint, or contains transparencies, it will tions and mapped pictures, not to multistep gradations.
be considered not matching any of the trapping pairs. • Multistep gradations will only trap with flat colors.
A percentage matches with a value if it equals an absolute • Small Paths
value, if it's within the boundaries of a range (upper bound in- If paths are very small compared to the trapping distance,
cluded), or if the pair value is a don't care value. Only if all per- some unexpected or bad results may occur. This could hap-
centages match with either all values in the from column, or pen when trapping an imported gradation which has been
with all values in the to column, the whole paint matches. A converted to a series of paths. Therefore it is advisable, if
trapping pair containing a value or range for a separation that possible, to replace these converted gradations by ArtPro
is not present in the actual job, cannot match. real gradations.
• Which colors are trapped and in what direction?
• Calculation of trap color For two adjacent objects, the lighter color should be trapped
If a match is found, the trapping color is computed: to the darker color. This is not always correct when opaque
For each don’t care value in the mix column, default trap inks are used (e.g. gold, silver, silk screen printing inks).
paint calculation is applied, the other values are put directly Therefore a more complex reasoning is required: Assume 12
into the new paint. is the spread color of color 1 to 2 and 21 is the spread color
Obviously, no trapping color will be computed if the mix color of color 2 to 1. The composition of both color 12 and color
contains only exclude values. 21 depends on the Intensity settings (see below).
The trap direction chosen is the one where the trap color
9.18.6. Procedure most closely resembles the original color, which gives the
Automatic trapping can be done on an entire job or in sections. best visual results. In most cases, but not all, it will result in
For complex work it is advised to trap the job in sections, to the lighter color being trapped to the darker one. In case of
keep the matrix and the trapping results orderly. opaque separations this procedure gives better results than
• Select the elements to trap (one logo, one flap of a box, one the normal always-light-to-dark. E.g. a black color and a gold
entire page or label,...). Note that elements on top of the se- opaque color with a higher opaque order than the black.
lection, even if they are not selected, may affect the trapping With the light color trapped to the dark, the gold would trap
in an adverse way. You can select them as well or hide them. to the black, as gold would be the lighter color. Spreading
• Open the autotrapping dialog. gold into black would here result in a gold trap (even if there
• Fill out the general trapping distances for color, black and im- is some black underneath since the gold is opaque), thus a
ages. color which is completely different from the original black col-
• Define all settings. or. Spreading the black towards the gold also gives a gold

— p. 210 — Chapter 9 : Paint Manual ArtPro 8.0

 trap color, but there it is very close to the original gold color. • Colors where the trap color is equal to the darkest color.
Hence, this direction is preferred. E.g. C M Y K
• How the trap color is calculated COLOR 1 10 0 50 0
The trap color constitutes a new color which is a mixture of COLOR 2 40 0 95 36
the two given colors. Its intensity can be changed (see Inten- TRAP COLOR40 0 95 36
sity above). To calculate the trap color of color 1 into color 2, Actually, internally, some of these traps will be created, but
ArtPro uses the maximum value per separation of the two removed at the end of the trapping process. This is needed
colors. For color 1 (lighter) ArtPro uses a certain percentage to get better trapping at the intersections of the paths.
(= Intensity) of its original values and for color 2 (darker) it 9.18.8. Trap Calculation 4Stage Trapper
uses the original values of the color.
With this formula the new color contains at least all the sep- • The 4 Stages of the Trapper
aration intensities of color 2, which is usually the darker color, As the name of the 4stage trapper indicates, the 4stage trap-
which gives very good visual results. In exceptional cases, per consists of 4 steps : See, Think, Build and Paint. See :
color 2 can be a lighter color when it has been defined what surfaces touch each other. Think : how do these sur-
opaque, with an opaque order higher than color 1. faces need to be trapped. Build : create the outlines for the
traps. Paint : define the paint for the traps.
Normal Trapping: When clicking the “Calculate” button, the first 2 stages will be
C M Y K done, and the Color Matrix will represent the result. This will
COLOR 10 20 100 0 (lighter) allow to modify the Color Matrix, using the Force, Exclude,
COLOR 50 0 20 50 (darker) etc.
TRAP COLOR 50 20 100 50 By clicking the “Trap” button, the trapper will continue with
step 3 and 4.
Example: (Intensity = 40%) If the “Trap” button is clicked, the first 2 steps will also be
C M Y K done if the Calculate function hasn’t been applied before.
COLOR 1 0 20 100 0 (lighter) • See
At 40% Intensity: 0 8 40 0 The See stage looks at all selected objects, and determines
COLOR 2 50 0 20 50 (darker) which surfaces touch each other. This may take longer than
TRAP COLOR 50 8 40 50 version 1 and 2, as it applies (internally) a number of set op-
• Which color pairs are not trapped? erations (intersecting, clipping, etc.). The result is that the
• Colors with a difference in only one separation. Matrix will only contain colors that actually touch, and that
e.g. C M Y K the trapper no longer works object based, but surface
COLOR 1 50 100 0 70 based. Different parts of an object are considered indepen-
COLOR 2 50 100 0 20 dently and thus may be trapped differently. In the example
underneath, you can see clearly that the polygon has 2 dif-
• Colors with all separation differences smaller than a given ferent intersections with the rectangle.
value (by default 5% - see Threshold above).
e.g. C M Y K
COLOR 1 50 100 0 20
COLOR 2 54 98 2 20
DIFFERENCE 4 2 2 0
All the above differences are less than 5%

As soon as there is a difference in at least two separations,

• Think
higher then the threshold, normal trapping is performed:
The “Think” stage of the trapper is the point where the trap-
e.g. C M Y K
per decides for every surface, if trapping will be done, and in
COLOR 1 50 100 0 20
what direction.
COLOR 2 56 98 7 20
The Think stage takes a number of settings from the Colors
DIFFERENCE 6 2 7 0
tab in consideration.
TRAP 56 100 7 20

Manual ArtPro 8.0 Chapter 9 : Paint — p. 211 —

 To determine the “normal” trap direction, the color of two ad- 9.18.9. Remarks
jacent surfaces must differ more than the separation thresh- • Trapping time will increase according to the number of trap
old in at least one separation in each direction. This means distances defined and the complexity of the selected paths.
that the first color must have at least one separation that is • Once a color has been modified, thus user-defined, it is un-
darker than the other color, and vice versa. affected by changes of the general settings, such as Dis-
Examples : tance (when set to “custom”), Threshold and Intensity.
Color 1 = 40%C, 60%M • Changing the trap color of a color pair of which one color is
Color 2 = 60%C, 90%M a gradation, will result in a flat trap color.
No trap (differences in only 1 direction) • All traps are editable after the trapping process. This means
that you can still remove traps or change any trap color.
Color 1 = 40%C, 60%M • Traps are vectors, even if the original objects contained
Color 2 = 40%C, 80%Y splines or consisted of text.
trapping from C2 to C1 • To trap two surfaces, their paths should overlap each other
or at least touch in the trapping area. Paths which do not
Color 1 = 40%C, 60%M touch cannot be trapped.
Color 2 = 38%C, 100%M • Traps created with Automatic Trapping carry a trap flag. This
no trap : only difference in 1 direction above Treshold. means that ArtPro can distinguish them from other paths.
When a job is saved, the trap flag is retained.
Images and gradations are always trapped too. To deter- • Because of the trap flag, automatic traps are also highlighted
mine the trapping direction for these paints, the 4Stage trap- by Highlight Overprints in the Show Separations menu.
per will calculate the minimum and maximum values for each • Traps are automatically ignored when the automatic trapping
separation in the region of the trap, and then apply the same is performed again and when the ArtPro job is exported to Il-
algorithm as for flat paints. lustrator. The latter can be changed by activating Include
Traps in the Export Illustrator dialog.
• Build • By modifying traps they loose their trap flag, so ArtPro
The Build stage calculates the geometry of all traps. It uses doesn’t recognize them as traps anymore. This goes for
the parameters on the geometry tap, such as trap distances, transformations (move, rotate, scale,...), changing paint
center errors and trap join type. The 4Stage trapper will al- style, changing layers, copy and paste,... Obviously, you can
ways clip all traps, so the corresponding option is disabled. always select and delete these elements without trapping
“Keep Away”s are also calculated in this stage. The distance flags manually.
used here is the “Distance Into Black”
• Paint
Traps generated by the 4Stage trapper are almost always
blend groups with blend mode “Darken” and opacity equal
to the Trap Intensity. This means the Paint Style dialog is not
very usefull to inspect the trap color, the densitometer should
be used instead.
Traps for which the color was overridden, either by changes
in the matrix, or traps from trapping pairs, are painted in
overprint, in order to improve their appearance where traps
overlap.
All traps are added to a separate layer to make it easier to
hide or delete them. This feature, in combination with the
View Separations dialog, provides great tools for inspecting
traps.

— p. 212 — Chapter 9 : Paint Manual ArtPro 8.0

 Index

archive 21
Numerics see also Gradation
selector 100 Color
3D Borders color book 193
display color 5 color on proofer 199
3D bitmap Pixel size 6
fit to borders 95 cruise controls 19
S&R 3D view 58
job size 22 more print settings 70
5th channel
S&R tabular 46 paint style 187
import PS 34
show borders 161 see also Separations
Bounding Box Color Management 8
A measure 108 archive 22
Box Color Picker
Anchor Points create 108 for iCT 153
average anchor points 113 text box 125 Color Profile
edit path 111 archive 22
Archive 21 Color Proofer 77
Artcruise
C Compound 179
cruise controls 19 select compound 3
CAD selection 101
Artlink 3D View 59
parameters 105 Compress Files
import 40 Save as 21
import HPGL 41
Contone 135
S&R Nested 48
B Caps on Stroke 122
convert to internal contone 137
see also Image
Certified show/hide/dim others 5
Backup Copy 1
Export 15 Coordinates
Barcodes 116 Import 13
selector 100 create by coordinates 108
Save As 21
Bézier Corners
Sessions 12
draw path 113 box with special corners 109
Certified ArtPro 12 on interactive trapping 203
Bleed Channels
Job info 23 stroke corners 122
channel mapping for iCT 138 Create
job size 22
channel tools on iCT 139 box 108
S&R automatic 57
for New Contone 136 box, ellipse, polygon, ... 108
S&R Grid 54
mapped picture 190 channel on iCT’s 138
S&R interactive 43
mixing iCT channels 150 contone 136
S&R Nested 49
Clip 182 draw path 112
S&R tabular 47
job size 23 new layer 162
warning when exceeding bleedbox 5
Print 64 separation 198
Blend Mode
Close shadow 137
Non Separable Blend Modes 173
dialog 20 Crop 183
Selector 101
file 20 job size 22
Blend Modes 171 join path 116
Blends Cruise Controls 19
Collect Color 19
import PS 32

Manual ArtPro 8.0 Index — p. 213 —

 Info Controls 19 path warping 104
CT
F steps for gradations 6
archive 22 trapping 207
File
see Contone or Image Grid
close 20
Curve S&R Grid 52
insert 18
Dotgain compensation 168 set grid 44, 92
job info 23
draw path 113 Job size 22 Group
gradation curve on iCT 147 new 17 Group Parameters 175
Custom Colors open 17 select group 3
cruise controls 19 open read only 18 selection 101
see also Separations preferences 1
recent 17, 18
Save as 21
I
D template 18
version number 23 Illustrator
Dashed stroke 123 File info export 85
Dbase import 39
cruise controls 19
for Artlink 105 File sizes Image
Dialogs archive 22
new file 17
close 20 automatic trapping 207
Fit
Distance cruise controls 19
fit in window 159
fade distance 154 external clipping path 4
Job Size 22
for circular gradation 188 import PS 36
job size 23
key step for ruler 164 interactive trapping 202
to borders 95
measure 107 mapped picture 190
Flatten 7, 183 paint style 190
Dongle Programming 7 Export PDF 87 picture display resolution 6
Dotgain flatten to contone 137 place picture 195
Print 66 Overprints 184 selector 100
Fonts used pictures 196
convert text to paths 132 vectorization 25
E cruise controls 20 Images
export PDF 88 color management 9
EPS import PS 28
cruise controls 19 Imagesetter 77
on placed EPS & AP files 197
first four sep. only 4 reload fonts 131
Import
import PS 33 archive 22
selector 100
Export Certified 13, 38
used fonts 131
Certified PDF 15 cruise controls 19
Freehand 113
gravure Tiff 81 Handshake LW 25
draw path 113
Illustrator 85 Illustrator 39
internal contone to tiff 138 Import PS/PDF 27
import text 131
picture list 84 G reflow text after import 132
Export PDF
vectorization 25, 26
Flavours 89 Gradation
Extra Cutback Curves 8 Import PS
draw gradation 195
color management 9
paint style 187
From Mnemo 18
Gradations
Info
import PS 32

— p. 214 — Index Manual ArtPro 8.0

 cruise controls 19 cut marks 46, 47
internal Contone 152 generate marks 45, 66
O
placed pictures 197 import marks 41
Object Parameters 164
Ink import ps marks 42
Opacity
see Separations Mask
5th channel to opacity 34
Ink Coverage 200 convert mask to path 146
create contone 136
cruise controls 19 import PS 34
import PS 34
on placed pictures 190 mask to opacity 146
mapped picture 192
Insert mask tools 144
mask to opacity 146
file 18 masks on iCT 139
Opacity channel on iCT’s 138
internal contone 136 Opacity Mask 174
opaque inks 198
Interpolate preview color 154
opaque inks on iCT 156
draw path 113 use mask on contone editing 143
remove paint 140
Measure
Open
densitometer on iCT 152
file 17
J Media box
file read only 18
job size 22
load preferences 2
Job Info 23 Miter Limit 123 notes 90
Job Preferences 1 Mnemo Open From Mnemo 17
Job Size 22 Open From Mnemo 17 recent file 17, 18
see also borders Modify Text Checking on Open File 133
modify a path 112 OPI
cruise controls 19
L import PS 33, 35
N Order
Layers 162 restore natural order 181
export pdf 86 New to back/to front 180
import PS 38 Contone 136 Outline Check 132
merge layers with same name 2 file 17
Output
Line new layer 162
color management 10
dashed line 123 new window 159
of transparent iCT’s 156
Link separation 198
Postscript 62
Artlink 106 template 18
Overprint
Links New Job
cruise controls 19
cruise controls 19 import PS 28
force black overprint 30
import PS 33 preference 2
selector 100
internal contones 154 S&R Interactive 45
vectorization 25
Overprints
used pictures 196 Flattener 184
Nexus
Nexus Parameters 61
Oversampling
export tiff 83
M Nexus Screening 166
nexus screening 169
print 79
Magnetism
display color 5 Notes
P
on path edit 112 show notes 161
Page
ruler 92
Import PS 27
transform 93
import PS 27
Marks Multiple Page Offset 28

Manual ArtPro 8.0 Index — p. 215 —

Paint 164 navigation window 177 import PS 28
Object Paint 165 picture display resolution 6 lock ruler 163
Pantone preview options 161 on rotate 93
import PS 30 preview resolution 2 on scale 94
Paper Size preview settings for mask 146 on transform 3
job size 22 repaint 160 transform 93
Print 63 screen reduction 154
Parameters separation color on display 199
artlink 105 show separations 161 S
show/hide 180
Path
steps for gradations 6 S&R
arrange functions 181
synchronize zoom for CT 6 Automatic 54
compound 179
Print 62 Bleed 23
convert mask to path 146
color management 10 get from single file 23, 49
convert text to paths 132
PS Interactive 42
edit path 111
Import PS 27 job info 23
modifying 112
output PS 62 Seamless 51
optimize 183
station number 23
retrace path 114
tabular 46
selection 101
smoothen paths 26 Q trim&bleed 23
split path 114 Save
text in path 132 Quit 1 artcolor file 135
text on path 131 Save AS 1 file 21
use path for contone editing 143 Quit -Continue 1 ink coverage 200
use path for mask editing 146 notes 90
preferences 8
PDF
Import PDF 27 R save dotgain 169
save gradation 147
PDF 1.4
Rectangle Save as 21
cruise controls 19
create box 108 Scitex
Picture
Report Handshake LW 25
see Image
cruise controls 20 Handshake LW strictly standard 2
Picture List
Resolution Screen
export 84
create contone 136 import PS 30
import 39
cruise controls 19 Screening 165
Points
export differences 89 Extra Cutback Curves 8
editing points on a path 112
for shadings 32 Select 101
Preferences 1
of internal contone 152 by paint/by screen 194
open without preferences 17
picture display resolution 6 dirt 26
save preferences 8
preview resolution 2 display color 5
Preview 160 scan resolution 26 internal Contone 137
channels on iCT 138
Revert on transform 3
color management 11
revert to saved 21 select before path edit 112
CT editing 143, 148, 149, 150, 151,
RIP select points on path edit 113
152 select text 129
more print settings 74
during contone editing 5, 154
Ruler 92 selections on layers 162
highlight overprints 162
activate/show 163 show selections 161
mask preview color 154
extended align 98 Separated PS
more print settings 76
import PS 27

— p. 216 — Index Manual ArtPro 8.0

 Print 62 TiffIT deselect even areas 195
Separations 198 fast tiffit to ps conversion 2 import PS 36
ignore blank separations 2 Transform 92 Parameters 26
import ps 30 constrain angle 3 restore natural order 181
more print settings 68 interactive 99
on file insert 18 reset transforms on text 132
on placed EPS & AP files 197 transform dialog 95 W
print 65 Transparencies
S&R interactive - single separation 44 Flatten 183 Window 159
separate S&R 44 Transparency 171, 183 close 20
show separations 161 Blend Modes 171 fit in window 159
Shadings Flatten 7 new window 159
import PS 32 Group Parameters 175 open only one window 2
Soft Mask 174 Opacity Mask 174 tile windows 159
Transform 97 Selector 101
Square Transform Soft Masks 97
create box 108 Trapping
X
Step automatic trapping 203
cursor key step 3 interactive trapping 201
XML
PDF Export Flavours 89
Straight lines interactive trapping on compounds 179
XML Template 61
draw path 113 Nexus Parameters 61
Stroke select traps 195
corners 122 Selector 100
create 122 Trim
dashed stroke 123 job info 23
Strokes job size 22
cruise controls 19
import PS 38
selector 100 U
transform 97
Undo
job size 23
T on internal contone 141
undo levels 3
Template undo view 159
for Artlink 105 Units
Text text units 128
clip text on import PS 38 Usage
convert to paths 132 used fonts 131
cruise controls 19 used pictures 196
export PDF 88 User Information Data 12
more print settings 71 User Preferences 1
selector 100
Text Checker 132
Text Checking 2 V
text in path 132
text on path 131 Vectorization 25
text preview 6 convert mask to path 146

Manual ArtPro 8.0 Index — p. 217 —

Artwork Systems Group N.V. Artwork Systems S.A. Artwork Systems Ltd.
Stapelplein 70/300 Paris Nord II The Business Centre
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