Chapter 28: Creating Multidocument Projects 655 Cross-Reference Paragraph numbers refers to the new numbered lists capability described in Chapter 22. Section numbers are covered in Chapter 5. Chapter 26 covers cross-references. n Specifying chapter numbers You can see and modify any chapter’s page numbering settings by selecting the chapter in the book panel and then choosing Document Numbering Options from the flyout menu. Figure 28.3 shows the dialog box. FIGURE 28.3 The Document Numbering Options dialog box The top half of the dialog box is the same as the Pages panel’s Numbering & Section Options dia- log box, and the bottom half — the Document Chapter Numbering area — lets you control the chapter numbering style and the chapter number itself. You have three options for chapter numbering: l You can force a chapter to have a specific number by selecting the Start Chapter Numbering option and entering a number in the adjacent field. l You can have the chapter use the same chapter number as the previous document (such as when you break a chapter into two documents) by selecting the Same as Previous Document in the Book option. l You can have InDesign automatically number the current document by incrementing from the previous document’s chapter number by selecting the Automatic Chapter Numbering option — this is selected by default. 40_607169-ch28.indd 65540_607169-ch28.indd 655 4/22/10 8:04 PM4/22/10 8:04 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 656 Cross-Reference The chapter number defined here — whether manually overridden or automatically adjusted — is what the Chapter Number text variable uses, as explained in Chapter 26. n Printing Chapters and Books If you want to print multiple chapters in the book with the same settings, you can print through the book panel. You can print any chapters with the status of Available or Open. Here’s how: 1. To print the entire book, make sure no chapters are selected. To print a continuous range of chapters, Shift+click them. To print noncontiguous chapters, Ô+click or Ctrl+click the chapters to select them. 2. Click the Print Book iconic button or choose Print Book or Print Selected Documents in the book panel’s flyout menu (the option shown depends on whether chapters are selected in the book panel). The standard InDesign Print dialog box opens. Note that the option to choose all pages or a range of pages is grayed out — you must print all chapters in the selected chapters. 3. Make any adjustments in the Print dialog box. 4. Click Print to print the chapters. A related set of features includes the capability to output a book to PDF, using the Export Book to PDF or Export Selected Documents to PDF menu options in the flyout menu. They work the same as their equivalent Print menu options. You can also preflight a book or selected chapters and package a book or selected chapters for a service bureau. The Preflight Book/Preflight Selected Documents menu options in the book panel work the same as their equivalent menu options in the File menu. Note If the Merge Identically Named Layers on Export option in the book panel’s flyout menu is selected, InDesign unifies layers with the same name into one layer for exported PDF files generated from multiple documents in the same book, rather than create separate layers for each chapter’s layer. n Cross-Reference For more on preflighting, packaging, printing, and output settings, see Part VII. n Summary InDesign lets you control how page numbering, chapter numbering, and section numbering are handled and updated across multiple documents that comprise a book via the book panel’s flyout menu. It also lets you control what chapters are printed or exported to PDF. 40_607169-ch28.indd 65640_607169-ch28.indd 656 4/22/10 8:04 PM4/22/10 8:04 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 657 CHAPTER Preparing for Color Prepress IN THIS CHAPTER Setting color calibration defaults Setting up a monitor’s color profile Applying color profiles to imported images Altering color profiles for objects and documents Applying color profiles during printing Proofing on-screen Understanding color traps Defining and applying trapping presets S ince their invention in the mid-1980s, desktop-publishing programs have broadened their features to cover more and more color publish- ing needs. Many of the color-oriented features have caused consterna- tion among professional color separators and printers who have seen amateurs make a tough job worse or ruin an acceptable piece of work. This situation is familiar to anyone in desktop publishing in the early years when the typographic profession looked on in horror at amateurs publishing docu- ments without understanding tracking, hyphenation, and many other funda- mental areas. Some programs have added more and more high-end color prepress features. InDesign is one of those and offers the following: two types of trapping engines; the ability to control trapping of individual objects and pages; the ability to apply color models to imported pictures to help the printer adjust the output to match the original picture’s color intent; and support for com- posite workflow, which creates files that have a version for output on a proofing printer such as a color inkjet and a version for output on an image- setter as film negatives or directly to plate. The perfect scenario for InDesign color output is that you’re using all Adobe software in their latest versions: Photoshop CS5 (12.0), Illustrator CS5 (15.0), and a PostScript Level 3 output device or PDF/X export file. Most people won’t have that perfect scenario, though, especially the PostScript Level 3 part; the output devices that commercial printers use are expensive and not replaced often, so many still use earlier versions of PostScript. And although companies such as Adobe want users to upgrade all their software every 18 months when the new releases come, the reality is that people tend to upgrade the tools they use the most, letting the others slide to save some money. So, you might well use Photoshop CS5 and InDesign CS5 but Illustrator CS3 and Acrobat Professional 8. 41_607169-ch29.indd 65741_607169-ch29.indd 657 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 658 Then there’s the fact that not everyone uses Illustrator or Photoshop: Both CorelDraw and ACD Canvas have established a toehold among Windows-based artists. Photoshop has less competition, though there are dedicated users of Corel Photo-Paint and Corel PaintShop Pro (again, in Windows — the Mac is an Adobe-owned company town when it comes to graphics software). Having said that, I also assure you that you don’t need to panic if you’re not using cutting-edge equipment and software. After years of user education and efforts by software developers like Adobe to build in some of the more basic color-handling assumptions into their programs, most desktop publishers now produce decent color output by simply using the default settings, perhaps augmented by a little tweaking in Photoshop or an illustration program. To really use the color- management and trapping tools in InDesign effectively, you should understand color printing, but if you don’t, you can be assured that the default settings in InDesign will produce decent quality color output. Cross-Reference The illustrations and figures in this chapter are in black and white. You need to look at your color monitor to see the effects of what is described here, or download the image files from the companion Web site ( www. InDesignCentral.com ). Also take a look at the full-color examples in this book’s special eight-page insert. n Managing Color Management InDesign comes with several color management system (CMS) options. A CMS helps you ensure accurate printing of your colors, both those in imported images and those defined in InDesign. What a CMS does is track the colors in the source image, the colors your monitor can display, and the colors your printer can print. If the monitor or printer does not support a color in your docu- ment, the CMS alters (recalibrates) the color to its closest possible equivalent. Don’t confuse InDesign’s CMS capabilities with color matching. It is impossible to match colors produced in an illustration or paint program, or through a scanner, with what a printer or other output device can produce. The underlying differences in color models (which actually determine how a color is defined) and the physics of the media (screen phosphors that emit light versus dif- ferent types of papers with different types of inks that reflect light) make color matching impossi- ble, but a calibration tool such as a CMS can minimize differences. You can set the CMS settings in InDesign by choosing Edit ➪ Color Settings (there is no keyboard shortcut unless you assign one yourself; Chapter 3 explains how to do this) to get the dialog box shown in Figure 29.1. (I get to these options a bit later in this chapter.) If you’re creating colors in a program and importing those colors into InDesign, it’s important to calibrate them in the same way, or at least as closely as the different programs allow. Other pro- grams may have similar settings for calibrating their display against your type of monitor. The print-oriented applications in Adobe’s Creative Suite 5 (CS5) have the same dialog box that appears in Figure 29.1: 41_607169-ch29.indd 65841_607169-ch29.indd 658 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 29: Preparing for Color Prepress 659 l Bridge CS5: Choose Edit ➪ Creative Suite Color Settings or press Shift+Ô+K or Ctrl+Shift+K. l Acrobat Professional 9: Choose Acrobat ➪ Preferences or press Ô+K on the Mac; choose Edit ➪ Preferences or press Ctrl+K in Windows and then go to the Color Management pane. Note that this pane’s appearance differs from the appearance of other CS5 applica- tions’ Color Settings dialog boxes. l Illustrator CS5: Choose Edit ➪ Color Settings or press Shift+Ô+K or Ctrl+Shift+K. l Photoshop CS5: Choose Edit ➪ Color Settings or press Shift+Ô+K or Ctrl+Shift+K. Note that there are no CMS controls for the Web-oriented Adobe Device Manager, Dreamweaver, Fireworks, or Flash Professional applications. If you use Adobe Creative Suite 5, you can ensure that all CS5 programs use the same CMS, ensur- ing color consistency for elements that move among Photoshop, Illustrator, Acrobat, and InDesign. To select the CMS, open the Adobe Bridge CS5 application and choose Edit ➪ Creative Suite Color Settings and then select the desired CMS settings and click Apply. I recommend that you first select the Show Expanded List of Color Settings Files option before you click Apply. Figure 29.1 shows the dialog box. FIGURE 29.1 Left: InDesign’s Color Settings dialog box lets you set application color defaults. Right: Set a consistent color management profile for all Creative Suite 5 programs using Adobe Bridge. 41_607169-ch29.indd 65941_607169-ch29.indd 659 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 660 Note that if individual CS5 applications’ color settings differ from the CS5-wide settings, you see a note to that effect at the top of the affected applications’ Color Settings dialog box. Similarly, Bridge’s Suite Color Settings dialog box alerts you (as shown in Figure 29.1) if CS5 applications use different CMS settings — and it lets you force the same setting on all of them. Tip If you use a mix of CS5, CS4, CS3, and CS2 applications, set the same color settings in Bridge CS5, Bridge CS4, Bridge CS3, and Bridge CS2 so that all your applications have the same defaults. The CS2, CS3, and CS4 appli- cations have the same color setting options (and user interface) as CS5 applications, making this easy to do. n Setting up your system To achieve the best reproduction of printed colors on-screen, you need a closely controlled envi- ronment for your computer. Most people don’t bother, relying instead on their brain’s ability to mentally substitute the print color for what they see on-screen after they’ve had experience seeing what happens in actual printed documents. But the more you do to control the color viewing envi- ronment, the closer the match between what you see on-screen and what you see on the page. These tips on setting up your system are in order from simplest to most complex: l Dim the lights. Most people turn the brightness of their monitors too high, which distorts colors by overdoing the blues and underdelivering on the reds. Adjust the brightness level of the monitor to between 60 and 75 percent maximum. To make sure you can still see the screen, lower the amount of light in your workspace by using lower-wattage bulbs, turning off overhead lighting right above your monitor, and/or using translucent shades in nearby windows. l Change the color temperature of your monitor to 7,200 degrees on the Kelvin scale. Many monitors have on-screen controls to do so. l If your monitor has a color profile, use it. Where you manage profiles varies based on your operating system (note that some monitors or video cards come with their own color-setup software): l On the Mac, the Displays system preference has an option in its Color pane for setting color to a profile (stored in the System:Library:ColorSync:Profiles folder), or you can use the Color pane’s Calibrate button to alter a profile based on your moni- tor’s actual display. l In Windows XP, use the Display control panel; the Settings pane has an option called Advanced that opens a dialog box that has a Color Management pane. The profiles are stored in the Windows\System32\Spool\Drivers\Color folder. (Note that the Windows folder may have a different name on your computer, such as WinXP .) l In Windows Vista, use the Color Settings control panel and click the Add button in the Devices or All Profiles panes to add profiles. Change profiles in the Advanced pane. The profiles are stored in the Windows\System32\Spool\Drivers folder. 41_607169-ch29.indd 66041_607169-ch29.indd 660 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 29: Preparing for Color Prepress 661 l In Windows 7, go to the Control Panel and click Adjust Screen Resolution in the Appearance and Personalization section. In the unnamed dialog box that appears, click Advanced Settings. Go to the Color Management pane and click the Color Management button. In the Devices pane that appears, select the Use My Settings for This Device option, then choose a new profile from the list (or click Add to add pro- files). The profiles are locked and stored in the Documents and Settings folder. l Use a calibration tool. Professional tools such as X-Rite’s $259 i1Display 2 colorimeter and software bundle, as well as lower-end tools such as X-Rite’s $89 Pantone Huey color- imeter, calibrate your monitor and create a color profile specifically for it. Note that color calibration software (such as that which comes with Mac OS X and Windows) without a hardware calibrator device (a colorimeter) is worthless; without being able to measure what colors actually come from your monitor, there’s no way the software can meaning- fully adjust the colors in your display. Also note that monitors vary their color display over their lifetime (they get dimmer), so you should recalibrate every six months. For most users, the variances in monitor brightness, color balance, and contrast — cou- pled with the varying types of lighting used in their workspace — mean that true calibra- tion is impossible for images created on-screen and displayed on-screen. Still, using the calibration feature makes the on-screen color closer to what prints, even if it’s not an exact match. l Work in a color-controlled room. In such a room, the lighting is at 5,000 degrees Kelvin, so the light reflecting off your color proofs matches that of a professional prepress operation. Monitors should also be set with a white point of D65 (something done with calibration hardware and software). Also try to buy monitors with a neutral, light-gray shade — or paint them that way — so that your brain doesn’t darken what you see on- screen to compensate for the off-white monitor frame right next to the screen image. Similarly, all furnishings should be neutral, preferably a light gray. Avoid having anything with a strong color in the room — even clothes. Note There’s long been a standard (the latest version of which is called ISO 3664) that has set 5,000 degrees Kelvin as the industry standard for proofing color printing. Basically, 5,000 degrees is filtered daylight in which the red, green, and blue components are equal. The International Prepress Association ( www.ipa.org ) has a lot of standards information and resources related to color accuracy. n Adjusting the on-screen display Several factors control how InDesign’s CMS works in practice, some related to the operating sys- tem’s settings and some to the settings in InDesign’s Color Settings dialog box. 41_607169-ch29.indd 66141_607169-ch29.indd 661 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 662 Setting monitor bit depth To have color calibration in effect for a monitor, you must be displaying thousands of colors (16- bit color depth) or more (or a higher color depth, such as 24-bit). The process depends on your operating system: l On the Mac, use the Displays system preference to change your monitor’s bit depth. l In Windows XP, use the Settings pane of the Display control panel. l In Windows Vista, use the Display Settings control panel (which you typically access from the Personalization control panel). Whether you define colors in InDesign or in your illustration or paint program, the method you use to define them is critical to ensuring the best possible output. Defining all colors in the same model as the target output device is best. Use the following guidelines: l If your printer is RGB (this is rare) or if you plan on publishing HTML, Flash, or PDF docu- ments (that you don’t expect to be printed), use the RGB model to define colors. l If your printer is CMYK (such as an offset printer or most inkjets), use CMYK to define colors. However, InDesign is so good at converting RGB-based images — which is what monitors display best — to CMYK that many designers don’t bother to define images they create as CMYK. l If you’re using Pantone colors for traditional offset printing, pick one of the Pantone solid models if your printer is using Pantone inks. Pick the Pantone Process Coated model if your printer is using inks from companies other than Pantone. l If you’re using Pantone colors for traditional offset printing, pick the Pantone Process Coated model if you will color-separate those colors into CMYK. l Trumatch and Focoltone colors were designed to reproduce accurately whether they output as spot colors or are color-separated into CMYK. Other models (such as Toyo, ANPA, and DIC) may or may not separate accurately for all colors, so check with your printer or the ink manufacturer. l If you’re using any Pantone, Focoltone, Trumatch, Toyo, ANPA, or DIC color and outputting to a desktop color printer (whether RGB or CMYK), watch to ensure that the color definition doesn’t lie outside the printer’s gamut, as explained in the next section. l Never rely on the screen display to gauge any non-RGB color. Even with the InDesign CMS’s monitor calibration, RGB monitors simply cannot match most non-RGB colors. Use the on- screen colors only as a guide, and rely instead on a color swatchbook from your printer or the color ink’s manufacturer. l InDesign’s CMS does not calibrate color in EPS or PDF files. If you use EPS, I strongly recom- mend that you use the DCS (pre-separated CMYK) variant. If you use PDF files, embed the correct color profile in the application from which you create the PDF file or use Adobe Acrobat Distiller’s options to set color profiles. Defining Color Models 41_607169-ch29.indd 66241_607169-ch29.indd 662 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Chapter 29: Preparing for Color Prepress 663 l In Windows 7, go to the Control Panel and click Adjust Screen Resolution in the Appearance and Personalization section. In the unnamed dialog box that appears, click Advanced Settings. In the unnamed dialog box that appears, go to the Monitor tab and choose the desired bit depth from the Colors pop-up menu. Adjusting InDesign’s color display settings The Color Settings dialog box (choose Edit ➪ Color Settings) in InDesign is where you control how InDesign manages color display on-screen. Select the monitor or color space in the RGB pop-up menu in the Working Spaces section of the Color Settings dialog box (refer to Figure 29.1). The monitor or color space that you select tells InDesign how to display imported images and colors defined within InDesign. The first five options — Adobe RGB (1998), Apple RGB, ColorMatch RGB, ProPhoto RGB, and sRGB IEC61966-2.1 — are all neutral color spaces, meaning that they aren’t adjusted for specific monitors. Adobe programs typically save their images with the sRGB (standard RGB) profile, which works well if you define colors based on swatches and use exact RGB settings or existing swatches. The other options are monitor-specific profiles, which make sense to use if you choose your colors based on what you see on-screen. Which ones you get depend on what profiles are installed on your computer by the operating system and/or the software that came with your monitor. The rest of the Color Settings dialog box’s options affect how InDesign manages color when print- ing your document. Adjusting color output settings Setting how colors appear on-screen is just part of what you need to do to manage color in InDesign. You also have to tell InDesign how to handle colors during printing, which you do in a few locations. Most of the controls are in the Color Settings dialog box, though a few are in the Preferences dialog box. Setting color management policies The Color Management Policies section of the Color Settings dialog box (choose Edit ➪ Color Settings) is where you tell InDesign how to handle color calibration when printing. Before you set these policies, however, you need to tell InDesign what your target printer or image- setter is so that it knows what colors to aim for in its calibration. You do this in the CMYK popup menu of the dialog box’s Working Spaces section. Now you set how imported images’ colors are managed in the Color Management Policies section of the dialog box. The RGB and CMYK popup menus let you manage how imported RGB and CMYK images are handled within InDesign. 41_607169-ch29.indd 66341_607169-ch29.indd 663 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Part VII: Output Fundamentals 664 l For the RGB popup menu, the default option is Preserve Embedded Profiles, which is the best option if your graphics sources have already had color profiles applied intentionally (such as in Illustrator or Photoshop) to help calibrate the output. Your other options are Off (no color management) and Convert to Working Space (which applies the setting in the Working Spaces section’s RGB popup menu to all imported graphics, overriding their profiles). l For the CMYK popup menu, the default option is Preserve CMYK Color Numbers, which ensures the actual CMYK values are preserved instead of any color profiles that may be applied. Your other options are Off, Convert to Working Space, and Preserve Embedded Profiles, which work for CMYK files the same as they do for RGB files in the RGB popup menu. If your pictures are not usually color-managed at the source, it’s best to override the embedded profiles for these two popup menus and choose either Convert to Working Space, which uses the color profiles selected in the Working Spaces section of the dialog box, or Off, which strips out any color profiles. The Color Management Policies section also has options for when to notify you of profile mis- matches (Ask When Opening and Ask When Pasting) and one to alert you to imported graphics that have no profile applied (Ask When Opening). If you are color-managing your documents, you should select all three check boxes. There is one exception to this advice: If you choose Convert to Working Space in the RGB and CMYK popup menus, you can deselect Ask When Opening for Missing Profiles because you won’t be using any embedded profiles from the original graphic. Adjusting bitmap images’ color Use the Conversion Options section to control the display and printing of bitmapped images. (Make sure the Advanced Mode check box is selected near the top of the Color Settings dialog box to display this section.) InDesign provides these controls for bitmap images to essentially compen- sate for the fact that when photos are scanned or images saved, the color pixels may not accurately replicate the creator’s intent. For example, a PowerPoint slide that has solid color areas may end up with slight variations in color among pixels — or perhaps with unexpectedly muted colors — when copied into Photoshop. The mechanism that a color management system (CMS) uses to do its calibration is the profile that con- tains the information on color models and ranges supported by a particular creator (such as an illustra- tion program or scanner), display, and printer. InDesign includes dozens of such predefined profiles. A CMS uses a device-independent color space to match these profiles against each other. A color space is a mathematical way of describing the relationships among colors. By using a device-independent color model (the CIE XYZ standard defined by the Commission Internationale de l’Éclairage, the International Commission on Illumination), a CMS can compare gamuts from other device-dependent models (such as RGB and the others). What this means is that a CMS can examine the colors in your imported images and defined colors, compare them against the capabilities of your monitor and printer, and adjust the colors for the closest possible display and printing. Understanding Profiles 41_607169-ch29.indd 66441_607169-ch29.indd 664 4/22/10 8:05 PM4/22/10 8:05 PM Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. [...]... reason: They are very expensive and so are usually copy-protected n New Feature InDesign CS5 looks in the Document Fonts folder inside the package folder containing the InDesign layout file and uses any fonts there for displaying that document — other documents can’t use those fonts If your document uses fonts not in that folder, InDesign then looks to the fonts installed on your computer and uses those... abut when printed InDesign offers moderate controls over trapping, enough to set the basics document-wide without getting into the expertise level of a commercial printer It’s also a feature that novice users can abuse terribly, which is one reason InDesign hides these options If you don’t know much about trapping, leave the features of the program at the default settings Before you use InDesign trapping... or graphics created in InDesign Trap 1-bit Images: This traps black-and-white bitmaps to any abutting objects (including those underneath) This prevents the appearance of white ghost areas around black portions if there is any misregistration when printing Trap Thresholds: These guide InDesign in how to apply your trapping settings: l l Black Color: This defines at what point InDesign should treat a... (graphics pasted into an InDesign document rather than imported are automatically included) You can also have InDesign update the graphics links for those graphic files that were modified or moved by selecting the Update Graphics Links in Package check box; if this option is not selected, any missing or modified graphics files are not copied with the document You can tell InDesign to include fonts... Fundamentals FIGURE 29.2 InDesign provides two dialog boxes — Assign Profiles (left) and Convert to Profile (right) — to change color-management preferences throughout a document A related set of controls resides in the Profile or Policy Mismatch dialog box, which appears as you open a document if InDesign detects a mismatch between a document’s color settings and those specified in InDesign s Color Settings... Because InDesign has the packaging capability, should you give the service bureau your actual InDesign documents or should you send a PostScript or PDF output file? Cross-Reference Chapter 32 shows you how to create output files n Often, your service bureau will have its requirements and preferences as to what kinds of output files it wants and when it wants output files rather than native InDesign. .. right In InDesign, you use the Attributes panel (choose Window ➪ Output ➪ Attributes) for individual objects — text, frames, shapes, and lines — to pick from the panel’s three trapping options: Overprint Fill, Overprint Stroke, and Overprint Gap Having three options means you can separately control what parts of an object overprint or knock out When these options are deselected (the default), InDesign. .. case black-point compensation can distort shadows and subtle colors in an effect similar to a moiré pattern InDesign also has controls for how black is treated in all elements of your layout, not just bitmap images They reside in the Appearance of Black pane of the Preferences dialog box (choose InDesign ➪ Preferences ➪ Appearance of Black or press Ô+K on the Mac, or choose Edit ➪ Preferences ➪ Appearance... this tells InDesign not to move the darker color so much into the lighter color The greater the contrast between two colors, the more the lighter object is distorted as the darker color encroaches on it At 0 percent, all traps are adjusted to the centerline between the two objects; at 100 percent, the choke or spread is done at the full trap width l 674 Step: This threshold value gives InDesign the... colors from an electronic image when printing, InDesign can help make the color fidelity as high as possible through its support of color profiles and color management It can also help make what you see on-screen and print on proofing devices look close to the final output, which helps you better gauge your actual colors If you use a compatible output device, InDesign also lets you control how adjacent . perfect scenario for InDesign color output is that you’re using all Adobe software in their latest versions: Photoshop CS5 (12.0), Illustrator CS5 (15.0), and. the others slide to save some money. So, you might well use Photoshop CS5 and InDesign CS5 but Illustrator CS3 and Acrobat Professional 8. 41_607169-ch29.indd