0 RIPMate for Mac OS X

Harlequin PLUS Server RIP v9.0

June 2011

AG50451 Rev. 9
Copyright and Trademarks

Harlequin PLUS Server RIP

June 2011
Part number: HK‚9.0‚ÄìOEM‚ÄìX
Document issue: 106
Copyright © 2011 Global Graphics Software Ltd. All rights reserved.
Certificate of Computer Registration of Computer Software. Registration No. 2006SR05517
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, elec-
tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Global Graphics Software
Ltd.
The information in this publication is provided for information only and is subject to change without notice. Global Graphics
Software Ltd and its affiliates assume no responsibility or liability for any loss or damage that may arise from the use of any
information in this publication. The software described in this book is furnished under license and may only be used or cop-
ied in accordance with the terms of that license.
Harlequin is a registered trademark of Global Graphics Software Ltd.
The Global Graphics Software logo, the Harlequin at Heart Logo, Cortex, Harlequin RIP, Harlequin ColorPro, EasyTrap,
FireWorks, FlatOut, Harlequin Color Management System (HCMS), Harlequin Color Production Solutions (HCPS),
Harlequin Color Proofing (HCP), Harlequin Error Diffusion Screening Plugin 1-bit (HEDS1), Harlequin Error Diffusion
Screening Plugin 2-bit (HEDS2), Harlequin Full Color System (HFCS), Harlequin ICC Profile Processor (HIPP), Harlequin
Standard Color System (HSCS), Harlequin Chain Screening (HCS), Harlequin Display List Technology (HDLT), Harlequin
Dispersed Screening (HDS), Harlequin Micro Screening (HMS), Harlequin Precision Screening (HPS), HQcrypt, Harlequin
Screening Library (HSL), ProofReady, Scalable Open Architecture (SOAR), SetGold, SetGoldPro, TrapMaster, TrapWorks,
TrapPro, TrapProLite, Harlequin RIP Eclipse Release and Harlequin RIP Genesis Release are all trademarks of Global
Graphics Software Ltd.
Protected by U.S. Patents 5,579,457; 5,808,622; 5,784,049; 5,862,253; 6,343,145; 6,330,072; 6,483,524; 6,380,951;
6,755,498; 6,624,908; 6,809,839.
Other U.S. Patents Pending
Protected by European Patents 0 803 160; 0 772 934; 0 896 771; 672 29 760.8-08.
Portions licensed under U.S. Patent No. 5,212,546; 4,941,038.
TrueType is a registered trademark of Apple Computer, Inc.
The ECI and FOGRA ICC color profiles supplied with this Harlequin RIP are distributed with the kind permission of the ECI
(European Color Initiative) and FOGRA respectively, and of Heidelberger Druckmaschinen AG (HEIDELBERG).
The IFRA ICC profiles supplied with this Global Graphics Software are distributed with the kind permission of IFRA and of
GretagMacbeth.
International Cooperation for Integration of Processes in Prepress, Press and Postpress, CIP4, Job Definition Format, JDF
and the CIP4 logo are trademarks of CIP4.
Adobe, Adobe Photoshop, Adobe Type Manager, Acrobat, Display PostScript, Adobe Illustrator, PostScript, Distiller and
PostScript 3 are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other
countries which may be registered in certain jurisdictions.
Global Graphics Software Ltd is a licensee of Pantone, Inc. PANTONE Colors generated by ScriptWorks are four-color pro-
®

cess simulations and may not match PANTONE-identified solid color standards. Consult current PANTONE Color Publica-
tions for accurate color. PANTONE , Hexachrome , and PANTONE CALIBRATED are trademarks of Pantone, Inc. ©
® ®

Pantone, Inc., 1991.

Other brand or product names are the registered trademarks or trademarks of their respective holders.

Harlequin PLUS Server RIP v9.0: June 2011 AG50451 Rev. 9 iii
US Government Use
Harlequin RIP software is a computer software program developed at private expense and is subject to the following Restricted Rights Legend: “Use, duplica-
tion, or disclosure by the United States Government is subject to restrictions as set forth in (i) FAR 52.227-14 Alt III or (ii) FAR 52.227-19, as applicable. Use by
agencies of the Department of Defense (DOD) is subject to Global Graphics Software’s customary commercial license as contained in the accompanying
license agreement, in accordance with DFAR 227.7202-1(a). For purposes of the FAR, the Software shall be deemed to be ‘unpublished’ and licensed with
disclosure prohibitions, rights reserved under the copyright laws of the United States.” Global Graphics Software Incorporated, 31 Nagog Park, Suite 315,
Acton MA 01720.

iv AG50451 Rev. 9 Harlequin PLUS Server RIP v9.0: June 2011

Contents

Preface 1

1 Introduction to the Harlequin RIP 9

What is the Harlequin RIP? 9
Why use the Harlequin RIP? 10
The Harlequin RIP in depth 11

2 Running the Harlequin RIP 27

Machine requirements 27
Installing printer interface cards 31
Harlequin RIP folder structure 32
Starting up the Harlequin RIP 36
Menus affected by optional features 41
Stopping the Harlequin RIP 43

3 Getting Started with the Harlequin RIP 45

A simple Harlequin RIP session 45
A more complex use of the Harlequin RIP 54
Using the Harlequin RIP with a spool folder 56
Monitoring the Harlequin RIP 57

4 Harlequin RIP Output Methods 61

Historical overview 61
Page buffering modes 61
The throughput system 63
Advanced details of page buffering modes 74
Page buffering modes: a summary 78

5 Configuring Output Formats 79

Creating and managing Page Setups 79
Page Setup Manager dialog box 80
Edit Page Setup dialog box 82

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 Selecting different devices 84
Sending output to the screen 87
Output to Preview 92
Output to None 92
Output to TIFF 93
Output to PDF Raster 107
Sending output to a printer 112
ProofReady plugins 113
Multiple device output plugins 114
Output plugin dialog boxes 117
Separations, Screening and Color 117
Advanced Media Saving 119
Media and time saving using optimization 126
Default page size 128
Margins 128
Printing effects 129
Control strip 130
Scaling the image 139
Features 140
Cassette management 142
Page Setup Options 142
Page Setup Option Extras 147
PDF Options 150
Calibration 150
XPS Options 152

6 Screening 155
Managing separations styles 155
Separations Manager dialog box 156
Edit Style dialog box 157
Halftoning 157
Screen angles 163
Dot shapes 164
Halftone frequency 168
Screening options and number of gray levels 168
Job settings and Harlequin RIP settings 172
Harlequin Precision Screening 173
Harlequin Screening Library 180
Automatic detection of color separations 186

7 Configuring the RIP 187

Configure RIP dialog box 187
How the Harlequin RIP controls files 188
Control of page buffering modes 189
Job timeout 191
Threads and parallel processing 191

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 Printer buffer size 193
Extras 194
Specifying prep files 196
Harlequin RIP memory allocation 196
Minimum free disk space 197
Disable sounds 198
Resetting the Harlequin RIP to default values 198
Choosing the user interface language 198

8 Configuring Input 201

Input management 202
Managing input plugins 203
Using the AppleTalk input plugin 206
Using the Spool Folder input folder 207
Using the Socket input plugin 212
Using more than one method 218
Using the Print File command 218
Printing PostScript language files 220
Printing PDF files 221
Printing XPS Documents 235
Printing HD Photo images 235
Printing JPEG and JFIF files 235
Printing GIF files 236
Printing TIFF/IT files 236
Printing TIFF 6.0 files 240
Printing page buffer files 242
Entering PostScript language code by hand 244

9 Media Management 245

Why manage your media? 245
Advancing and cutting media interactively 248
Advancing and cutting media automatically 249
Monitoring media 254

10 Simple Imposition 263

What is Simple imposition? 263
Input file formats 263
How to activate Simple imposition 264
The Imposition Manager 264
Configuring Simple imposition 265
Example impositions 282

11 Fonts 293
Supplied fonts 293
Types of font 294
The DLD1 format 295

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 Installing fonts in the Harlequin RIP 295
Pre-loading fonts 298
Producing a list of installed fonts 298
Proofing fonts 299
Removing fonts 300
Composite fonts (Type 0) 301
Font substitution 302
The HqnFontSetStubs start up files 303
Font backup 303
Font Emulation 303

12 Calibration 307
Why calibration is needed 307
Calibration and linearization 309
Calibration in the Harlequin RIP 310
Example procedure 311
Editing calibration sets 320
Consistency of calibration 323
Tone curves 324
Press calibration 325
Using a combination of calibration sets 328
Print Calibration dialog box 329
Calibration Manager dialog box 331
Edit Calibration dialog box 335

13 Color Separation 343

Introduction 343
What color separations are 346
Producing color images from separations 349
How color separations are produced 351
Creating and managing separations 353
Separations Manager dialog box 353
Edit Style dialog box 356
Color Setup 363
Color separation angles in job 374
Trapping features 374
Pages in the Output Controller 375

Appendix A Troubleshooting 379

Appendix B Jobs Containing Color Management Data 397
Appendix C Using Genlin 401
Glossary 409
Index 423

viii AG50451 Rev. 9 Harlequin PLUS Server RIP v9.0: June 2011
Preface

The RIPMate-Harlequin RIP, subsequently called the Harlequin RIP, is an interpreter and renderer for
multiple page description languages. This manual is a complete guide to using the Harlequin RIP, and
É

provides technical details when necessary. For details of how to install the RIP, see the separate Work-
Mates Getting Started Guide.
This manual is intended for anyone using or evaluating the graphical user interface version of the
Harlequin RIP for Mac OS X platforms. The guide covers the features of the Harlequin RIP in a struc-
tured way, giving examples that show you how to perform a wide variety of useful tasks in the RIP.
For more details about the other versions of RIPs available, see Chapter 1, Introduction to the Harle-
quin RIP.

Contents of this manual

This manual discusses basic concepts at an early stage, leaving more complex issues for the later
chapters. In addition, each chapter starts with a basic description of the relevant features before
describing in detail the more technical issues involved.
Changes to the Harlequin PLUS Server RIP v9.0 Release include:
TM

• Leasing and installment plan.

• Try Before You Buy upgrades.
• Demonstration dongle expiry.
• Negative ROAM option.
• Push Interface for calibration.
• Remove Enfocus Status check support.
Changes to the Harlequin PLUS Server RIP v8.3 Release include:
TM

• Support for Windows 7 32-bit and 64-bit.

• Support for Windows 2000 dropped.
• Support for Macintosh OS X 10.6 (Snow Leopard).
• Support for Macintosh OS X 10.3 (Panther) dropped.

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 • Support for Linux dropped.
• NT Print plugin not supplied or supported.
• AppleTalk plugin not supplied for Windows Vista, Windows 7 or Macintosh OS X 10.6 (Snow
Leopard) because the AppleTalk protocol is not supported on those operating systems.
• Addition of the Detect input separations by screen angle check box. See Input Separation
Detection angles in Job options in Color Setup dialog box on page 367.
Changes to the Harlequin PLUS Server RIP v8.2 Release include:
TM

• PDF/X versions have been updated. See Printing PDF files on page 221.
• PDF v1.7 ExtensionLevel: 3 support. See Printing PDF version 1.7 on page 225.

Changes to the Harlequin PLUS Server RIP v8.1 Release include:

TM

• The Configure RIP Options dialog has changed. See Section 7.1 Configure RIP dialog box and
Section 7.3 Control of page buffering modes.
• Information on multi-threading see Section 7.5.1 Multi-threading and Section 7.5.1.1 Memory
per renderer thread.
• Updates to PDF Raster output. See Section 5.9 Output to PDF Raster.
• The NT Print plugin is installed by the separate Plugins installer.
Changes to the Harlequin RIP v8.0 Release include:
TM

• Information on Multi-threading. See Section 7.5 Threads and parallel processing.

• Support for the XPS Document format. See Section 5.28 XPS Options.
• Support for PDF 1.7. See Section 8.9 Printing PDF files.
• Addition of the PDF raster output plugin. See Output to PDF Raster on page 107.
• The JDF Enabler chapter has been removed. All material relating to the JDF Enabler can be
found in the JDF Enabler User Guide.
• Updates, corrections and edits.
Changes to the Harlequin RIP Genesis Release v7.2 include:
TM

• More information on Annotations selections. See Section 10.5.7.3 Annotations.

Changes to the Harlequin RIP Genesis Release v7.1 include:
TM

• Minor updates, corrections and edits.

• Annotations selections marks added. For more information see Section 10.5.7.3 Annotations.
• Simple Imposition is updated to v2.0. For more information see Simple Imposition on page
263.

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Changes to the Harlequin RIP Genesis Release v7.0 include:
TM

• PDF 1.5 support for: JPEG 2000, optional content, X-ref streams, compressed object streams
and 16-bit images.
• Font emulation implementation. For more information see Enable font emulation on page 145.
• PDF/X 2003 revisions for both 1.1a and 3 specifications.
• Implementation of Simple Imposition. For more information see Simple Imposition on page
263.
• JDF Enabler version 2.0. For more information see JDF-Enabled RIP on page 319.
• TrapProLite is discontinued.
• Media Saving renamed to Advanced Media Saving. This helps to differentiate it from the Media
Saving Optimization option. For more information see Advanced Media Saving on page 119.
• Support discontinued for Mac OS 9, Solaris, Irix, Windows 98 and Windows NT 4.0.
• Addition of the Use late color management feature, see Notes on Use late color management
on page 369.
Changes to the Eclipse Release SP4 of the RIP include:
• The installation of the Harlequin License Server with all Eclipse Release SP4 (and later) RIPs.
For more information see the Installation guide for your platform and the License Server man-
ual.
• The Harlequin Eclipse Release SP4 RIP is JDF ready. For more information see the JDF
Enabler User’s Manual.
• The Output to TIFF section has been updated, see Output to TIFF on page 93.
• Changes have been made to the media saving module, see Media and time saving using optimi-
zation on page 126.
• The way that the Minimum shaded fill levels work has been changed, see Minimum shaded fill
levels on page 146.
Changes to the Eclipse Release SP3 of the RIP include:
• The addition of a control strip, see Control strip on page 130.
• The addition of Enfocus preflight checking of PDF files.
• RIP executables are supplied with associated shared library files, see Starting up the Harlequin
RIP on page 36.
• The following options are added to the Media Saving section: Switch Roam Color to Black,
Name Flat after and Tracking of media width to aid automatic cassette selection. See Advanced
Media Saving on page 119.
• The addition of a control for the handling of features found in jobs from Adobe InDesign.
• New options provided under Delete on error and a new Suppress on Startup option in the Spool
Folder Configuration dialog box. See Configuring a Spool Folder input source on page 209.

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 • Extra information on PDF/X standards is provided in the Printing PDF files section, see PDF/X
standards on page 222.
Changes to the Eclipse Release SP1 of the RIP include:
• Implementation of AppleTalk input for Mac OS X.
• Relocation of the MediaSaving directory.
• Additional font support.
• A change to the way image interpolation works.
• The addition of the Minimum shaded fill levels option.
Changes to the Eclipse Release of the RIP include:
• Harlequin ColorPro with enhanced user interface.
TM

• Support for N-color and Gray Profile ICC profiles.

• Press/Proof simulation added to color products (RGB proofing workflow).
• Black threshold parameter added to custom rendering intent GUI.
• ProofReady Plugin support on Mac OS X.
• Harlequin 1 bit and 2 bit EDS plugins.
• SetGold v1.2 and SetGoldPro on Win NT only.
TM TM

• TrapPro trapping.
TM

• Trap Zone support for PDF files.

• PDF/X-1a and PDF/X-3:2002 support.
• PDF 1.4 including: transparency, JBIG2, 128 bit encryption, output intents, and referenced
PDF. Because of this, the InFlight checker has been removed.
• Support for Palette color (Index color) TIFF files.
The first three chapters contain information about what the Harlequin RIP does, and how to get it up
and running on your machine.
Chapter 1, Introduction to the Harlequin RIP, gives a description of what the RIP does and the
kind of tasks for which you can use it. This chapter also gives a broad overview of the different
versions of RIP that are available.
Chapter 2, Running the Harlequin RIP, describes your machine requirements, and how to start
up the Harlequin RIP once it is installed.
Chapter 3, Getting Started with the Harlequin RIP, describes the most fundamental elements of
the system. It shows you how to do useful work without learning a large number of new skills.
The next four chapters form a more comprehensive account of the software.

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 Chapter 4, Harlequin RIP Output Methods, introduces the different ways in which the RIP can
operate, and how you can get the best performance out of the software for the jobs you are run-
ning. The chapter moves from general principles to more specific examples of the best way to
use the RIP.
Chapter 5, Configuring Output Formats, describes the flexibility the Harlequin RIP provides for
configuring the appearance of any printed page. The tools described in this chapter will be used
on a regular basis, and are important for anyone who will make extensive use of the product.
Chapter 6, Screening, explains the control the Harlequin RIP gives you over screening tech-
niques. This chapter includes a complete description of using Harlequin Precision Screening.
Chapter 7, Configuring the RIP, shows you how you can configure the Harlequin RIP to give
the best performance in your environment. You will probably want to experiment with the
options described in this chapter, but once you are satisfied that the RIP is running as you want
it, you will not need to alter them on a regular basis.
The later chapters of the manual deal with specific facilities that the Harlequin RIP offers, and may be
used as reference.
Chapter 8, Configuring Input, describes the different ways in which you can send postscript lan-
guage code and other forms of job as input to the Harlequin RIP, either working on a stand-
alone machine, or as part of a network.
Chapter 9, Media Management, gives you complete details of the media management facilities
available in the Harlequin RIP.
Chapter 10, Simple Imposition, provides details on how to use the imposition features of the
Harlequin RIP.
Chapter 11, Fonts, describes the use that the Harlequin RIP makes of fonts, the different font
formats that are available, and the special built-in facilities that the RIP has to make handling
fonts easy and more efficient.
Chapter 12, Calibration, discusses the ways in which the Harlequin RIP can help you ensure
accurate calibration of your output.
Chapter 13, Color Separation, describes the facilities the Harlequin RIP provides for controlling
the printing of individual colorants in both composite and separated output.
Appendix A, Troubleshooting, provides solutions to common problems that occur when run-
ning the Harlequin RIP.
Appendix B, Jobs Containing Color Management Data describes how jobs and images with
attached color management data interact with related settings in the Harlequin RIP.
Appendix C, Using Genlin describes a utility program providing semi-automatic measurement
of calibration targets generated by the Harlequin RIP.
Lastly, the Glossary explains terminology used throughout the manual.

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Assumptions
The Harlequin RIP runs in the Mac OS X environment. It is important that you are familiar with your
version of Mac OS, at least to the level of using the Finder and a simple text editor or word processor
such as SimpleText. If you are not, please refer to the appropriate Apple manuals, online Guides, or
Help systems.
In complex installations, you may wish to send jobs between PCs, Macintosh computers, and comput-
ers running the UNIX operating system. This manual describes the details special to the Harlequin
RIP, but not the fundamentals of networking connections and services. You are likely to require assis-
tance from technical support staff for initial configuration and occasional maintenance of such instal-
lations.

Conventions
This manual uses some conventions to make it clear where you give keyboard commands or choose
from the menus and dialog boxes, as described in the following sections.

The keyboard
You can execute many of the commands available in the Harlequin RIP either by using the mouse or
by using a keyboard shortcut. This is a combination or sequence of key presses that executes a com-
mand without you having to choose a menu option with the mouse. Keyboard shortcuts for individual
commands are discussed, in context, throughout the manual.

Shift
The Shift key is often used when selecting a group of objects from a list. For example, when selecting
a group of files to print. It is also used in keyboard shortcuts and in some mouse actions.

The Command key is used in keyboard shortcuts and in some mouse actions. For example, you can
often hold down Command while pressing another key or a mouse button. Whenever this manual
describes one of these actions, the text shows which key or mouse button to use: for example, when
you can use the Command key and the letter key K in combination, the text shows Command-K.
The Command key is also used when selecting several objects from a list that do not form a contigu-
ous block. For example, you can use this key when selecting a number of files to print.
Some keyboard shortcuts are specific to a particular window and only operate when that window is
active. When using a windowing system, ensure that the relevant window is active before using one of
these keyboard shortcuts.

Fonts and formats

The following fonts and styles are used throughout this documentation.
1. Paragraphs that are numbered and use this font contain instructions which you should follow in
the shown order.

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Text written in this sans-serif bold face represents a menu title, a menu item, or a control item in a RIP
dialog box. Text including an angle bracket ( > ) indicates both a menu and the option in that menu.
For example: choose the File > Start Inputs option‚ is a shorthand method of referring to the Start Inputs
menu option in the File menu.
Text written in this typewriter face represents a piece of PostScript language code, a file name, or
text displayed by the Harlequin RIP.
If a term is written in italic, it is the first mention of an important concept. This concept is explained in
the text immediately following, in the glossary, or both.
Note: Text indicated by starting with a bold word in the left margin is important and should be read
carefully. A Note, like this one, is often a suggestion that may save you work, improve performance,
or improve the quality of output.
Warning: Like a Note, a Warning is important and often indicates the need for care to avoid loss of
files or settings.

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8 AG50451 Rev. 9 Harlequin PLUS Server RIP v9.0: June 2011
 1

Introduction to the Har-

lequin RIP
This chapter provides an introduction to the capabilities of the Harlequin RIP.
• What is the Harlequin RIP? on page 9 defines the Harlequin RIP.
• Why use the Harlequin RIP? on page 10 describes the advantages of using the Harlequin RIP.
• The Harlequin RIP in depth on page 11 describes various features of the Harlequin RIP.

1.1 What is the Harlequin RIP?

The Harlequin RIP is an application that takes a document or job describing images or pages and pro-
duces output from that job on an output device‚ which can be a printer, imagesetter, computer screen,
or a file on disk. The term output device is used throughout this manual, except where the nature of the
device is important.
In general, a software application or hardware device that performs this task is known as a Raster
Image Processor (RIP) or, where the PostScript language is involved, a PostScript language compati-
®

ble interpreter.
The Harlequin RIP is a software RIP management system. It contains both a software RIP and a col-
lection of supporting functions that help the RIP perform its task efficiently. For example, the RIP
accepts jobs from various sources, handles previewing and output of processed pages, and performs
the associated file handling.

1.1.1 Input and output formats

The Harlequin RIP accepts jobs and produces output in several formats, with the exact options
depending on your configuration of the RIP.
The range of input formats includes: PostScript language and Encapsulated PostScript (EPS) files,
Portable Document Format (PDF) files, XML Paper Specification (XPS) files, TIFF/IT-P1 files, (16-
bit) TIFF 6.0 baseline files, and JPEG and JFIF files. The Harlequin RIP supports modern versions of
these files including PostScript LanguageLevel 3, PDF versions up to and including 1.7, and derived
standards such as PDF/X. The RIP also has controls for special handling of older versions of these
files if necessary.
The Harlequin RIP can produce output in a variety of formats, to suit various physical output devices
and file formats. The ability to produce TIFF 6.0 files is a standard feature but it is easy to add output

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 Introduction to the Harlequin RIP

options for other formats such as TIFF/IT-P1 files and CIP3 PPF files. Similarly, there are options for
output to many proofing printers and final output devices.

1.1.2 Versions of the Harlequin RIP

The Harlequin RIP is available in different configurations and is able to operate on different computer
platforms. The configuration that is best for you depends very much on your individual needs. This
manual should help you assess the functionality that meets those needs.
In particular, a version of the Harlequin RIP with a full graphical user interface (GUI) is available for:
PowerPC Macintosh computers running Mac OS X; Macintosh computers using Intel processors run-
ning Mac OS X, computers (PCs) using Intel or compatible processors and running, Windows Server
2003, Windows Server 2008, Windows Server 2008 (R2), Windows XP (home and pro), Windows
Vista and Windows 7; and computers running the Linux operating system. The Harlequin RIP may be
used on both single and multiple processor machines running the Windows Server 2003,
Windows Server 2008, Windows Server 2008 (R2), Windows XP, Windows Vista or Windows 7 oper-
ating systems.
This manual describes the version of the Harlequin RIP for the Power Macintosh running Mac OS X.
The Harlequin RIP is appropriate for a wide range of output devices including high-resolution image-
setters, lower-resolution plain-paper setters, and medium to high-resolution printers and plotters. It
supports the special features of these devices, and maximizes their overall productivity.

1.2 Why use the Harlequin RIP?

The Harlequin RIP has proven itself to be a fast, versatile, and powerful interpreter and renderer for
multiple page description languages. There are many reasons for choosing it above other similar inter-
preters, the most important of which are discussed here.
The Harlequin RIP is effective, compatible, and robust; and shows real benefits in everyday use.
• The Harlequin RIP is effective because it processes jobs quickly, is able to process jobs of vir-
tually any size, and can re-output selected pages or a complete job without re-interpretation.
• The Harlequin RIP is compatible because it is kept up to date with the PostScript language,
PDF, XPS, and font specifications; image file formats; and relevant standards from indepen-
dent bodies.
Note: The Harlequin RIP is able to use proprietary extensions internally for quality of output,
speed, and efficiency without losing compatibility.
• The Harlequin RIP is also compatible because it supports several networking protocols for use
in many kinds of networks, whether or not all the computers are of the same type.
• Robustness comes from experience with many real jobs. You can configure the Harlequin RIP
to override poor settings in incoming jobs (and avoid office printer quality screening on expen-
sive media); use its ability to detect poorly labeled color separations, and so on.
• The Harlequin RIP is flexible enough to support many workflows, including: composite or pre-
separated color; the PostScript language, PDF, XPS or TIFF/IT-P1. Some of these input for-
mats require the Harlequin RIP options.

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 1.3 The Harlequin RIP in depth

A system using the Harlequin RIP is easy to extend and to upgrade when necessary because the Harle-
quin RIP is a software-based RIP.
• You can add options, such as advanced screening, color management, and trapping. In many
cases you can do this by entering passwords and in other cases with software-only procedures.
• You can add more output options with software plugins to support imagesetters, platesetters,
proofing and display printers, and workflow integration.
• A PostScript language programmer can add simple fragments of PostScript language code to
provide features such as marking pages with draft or similar overprint and color bars.
• It is possible to upgrade hardware and software independently. The Harlequin RIP is very simi-
lar on all platforms so there is little or no need for retraining if you need to add another type of
computer.
• When you upgrade the Harlequin RIP you can transfer your existing settings to the new version
of the RIP and most optional output plugins.
• The Harlequin RIP supports simple imposition of books, page padding, and creep.
The Harlequin RIP in depth on page 11 discusses many of these features in more depth.

1.3 The Harlequin RIP in depth

Why use the Harlequin RIP? on page 10 described some of the advantages of using the Harlequin RIP.
This section describes the features that contribute to those advantages.
• Characteristics of a software RIP. See 12.
• File format and version support. See 12.
• Extended color capabilities. See 14.
• Screening options. See 18.
• Harlequin ColorPro. See 19.
• Graphics formats. See 20.
• Input and output methods. See 21.
• Complex jobs. See 22.
• Throughput control. See 22.
• Previewing. See 23.
• Page buffer compression. See 24.
• Fonts and font handling, including composite fonts and font emulation. See 24.
• Convenience features. See 25.
• TrapPro. See 42.
• Simple Imposition. See 263.

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1.3.1 Software RIPs compared to embedded RIPs

Many interpreters and renderers for page description languages are based on hardware rather than
software. That is, most printers come supplied with a RIP that runs on its own special hardware.
Sometimes a RIP may run on only one type of printer.
The Harlequin RIP contains a software RIP, carefully written to support a number of computing plat-
forms and output systems.
There are a number of advantages to using a software RIP:
• If you have a hardware RIP and wish to take advantage of new hardware, you must either pay
for an upgrade of the old hardware or stop using it. With a software RIP such as the Harlequin
RIP, you can use your old hardware for other purposes; you still have a usable computer. Thus,
taking advantage of new technology in the hardware industry is much more cost effective if
you have a software RIP.
• You can easily take advantage of new features if you have a software RIP. If new features are
added to a hardware RIP, the only way to take advantage of those features is to buy the new
version of the hardware, or to have a firmware upgrade. Both of these options incur consider-
able time and expense. Doing the same thing for a software RIP is much simpler and cheaper;
improved versions of the Harlequin RIP can be run on the same hardware as older versions,
and can be sent to you on disk.
• When you buy a hardware RIP, you buy a dedicated machine which is specialized for perform-
ing one task: interpreting the page description language. With a software RIP, the non-dedi-
cated hardware you buy is a computer, which can be used for many purposes other than
running the Harlequin RIP.
• It is much more expensive to customize a hardware RIP to individual requirements than it is to
customize a software RIP.
Even if, despite these points, you feel that a hardware RIP is still the best solution for your particular
case, it need not be traditional, dedicated hardware. It is possible to use hardware accelerators to assist
a software RIP such as the Harlequin RIP.

1.3.2 File format and version support

The Harlequin RIP supports several file formats and maintains this support across the widely-used
versions of these formats, as well as the latest versions.
The input file formats that the Harlequin RIP supports are:
• PostScript LanguageLevel 3, Level 2, and Level 1.
• PDF versions up to and including PDF 1.7 files.
• XPS version 1.0 files.
• PDF/X-1a:2001, PDF/X-1a:2003, PDF/X-3:2002, PDF/X-3:2003, PDF/X-4, PDF/X-4p,
PDF/X-5g, PDF/X-5gp.
• JPEG and JFIF.

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• TIFF 6.0 and optionally TIFF/IT-P1.

• GIF.
See Page Setup Options on page 142 and Chapter 8, Configuring Input for more details.
The reason for supporting older versions of files and applications is that almost all page descriptions
are created automatically by applications. Those applications can only use the features of the page
description language as they existed at the time of writing the application, and those features are sub-
ject to change.
For example, the Harlequin RIP is a PostScript LanguageLevel 3-compatible RIP management sys-
®

tem but still supports features of PostScript Level 2 and earlier. The RIP also recognizes uses of Post-
Script language code specific to common image creation and page layout applications.
The PostScript language was first created and used in the mid-1980s and since that time it has under-
gone many improvements and changes. Throughout this period, people have been trying to create
PostScript language page descriptions that, above all, work‚ despite any bugs in the interpreters which
may have existed at the time.
To cope with this situation, the Harlequin RIP is compatible not only with the PostScript language
jobs of today, but with the jobs of yesterday. There are two aspects to dealing with older jobs: dealing
efficiently with features that are now better supported by more modern versions of the page descrip-
tion language; dealing with work-around methods for bugs in older versions of the page description
language. The Harlequin RIP does both.
It might not be immediately obvious why it is necessary to deal with bugs and work-around methods,
but consider this example.
What happens if a bug is fixed in a widely-used PDL interpreter and renderer? Newer RIPs and appli-
cations no longer have to cope with that bug, but problems arise if you wish to interpret old page
descriptions (generated with an application written before the bug was fixed) with your new RIP. The
old page descriptions take the bug into account, but the new RIP does not, so the hard copy produced
with your new RIP is wrong. If your RIP cannot accommodate this, as the Harlequin RIP can, your old
files (and indeed your application if you still use it) are useless.

1.3.2.1 Additional information

The Harlequin RIP can also enable substitution of high resolution images for PDF and PostScript lan-
guage jobs, using an in-RIP implementation of the Open Prepress Interface (OPI), versions 1.3 and
2.0, and Desktop Color Separation (DCS), versions 1.0 and 2.0. See Features on page 140 for details.
The Harlequin RIP can be configured to support special features (color management, font substitution,
duotones, and vignettes) of jobs produced by several image creation and page layout applications.
These applications include:
• Adobe Photoshop
• Adobe Illustrator
• QuarkXPress
See Page Setup Option Extras on page 147 for more details.

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1.3.3 Extended color capabilities

The Harlequin RIP supports the use of color capabilities introduced with PostScript LanguageLevel 3.
This support includes use of N-color or HiFi color systems using varying number of colorants,
whether those colorants mimic CMYK systems (photo-ink systems) or use obviously different colo-
rants.
The RIP provides separations management, preview, screening, calibration, and plugin support for the
popular N-color systems.
The RIP also has the ability to calibrate and screen spot colors separately from process colors. This
feature greatly simplifies the management of spot colors in the RIP.

1.3.3.1 /DeviceN and N-color

The /DeviceN color space allows better control of PostScript language code in environments where
the number of separations is no longer dominated by the CMYK, RGB, and monochrome color mod-
els. N represents the number of process color separations. Using the /DeviceN color space, CMYK
corresponds to N=4, RGB to N=3, and monochrome to N=1. This color space allows the Harlequin
RIP to access separations where N=2 (duotones) or greater than 4 (N-color).
The /DeviceN color space provides the functionality to support HiFi color or N-color systems where
colorants in addition to CMYK enhance the attainable gamut of an output process. It also provides
solutions for minimizing the number of spot colors required by an output device.
The Harlequin RIP uses this color space to extend separations management, Roam, and plugin capa-
bilities. Depending on your specific device and workflow, additional plugin development may be
required to make use of the expanded number of color channels.

1.3.3.2 Duotones, tritones, and quadtones

Some applications (for example, Photoshop versions 2.5 and later) convert duotones involving spot
colors to CMYK colors when producing composite PostScript language jobs. While the composite
output is correct, when such jobs are submitted to a RIP that uses in-RIP separation, the duotones are
drawn on the process color separations and not on spot color separations as expected.
Photoshop has the ability to produce spot color separations when in-RIP separation is selected for a
LanguageLevel 3 RIP. This eliminates the problem just described for output generated by
Photoshop 5.0 when sent to any LanguageLevel 3 RIP.
In addition to producing correct output from Photoshop 5.0 jobs, the Harlequin RIP correctly handles
jobs from Photoshop versions 2.5 through 4 as well. The Harlequin RIP detects this construct in Pho-
toshop jobs and correctly diverts the duotone to spot color separations. Note that you must configure
the Harlequin RIP to generate these spot color separations for this to work.
For more information see Adobe Photoshop features on page 148.

1.3.3.3 Patterns and Smooth Shades

LanguageLevel 3 implements features that improve the quality of PostScript language fills. In addi-
tion, it allows shades to be output smoothly at the resolution of the output device target. The RIP

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extends this capability by allowing for vignette replacement, in which existing vignettes in PostScript
language and PDF jobs are replaced.
This functionality greatly improves the quality of gradients and shades on output.

1.3.3.4 Images
The Harlequin RIP supports type 3 and 4 image dictionaries (for uses such as masks). This allows an
application to produce masks using multiple images in a more efficient fashion. This mask technique
also improves performance by eliminating the need for a detailed PostScript language clipping path.
This feature is best suited to lower-resolution output devices and workflows.

1.3.3.5 settrapparams
LanguageLevel 3 includes a software interface that allows the description of trap settings within a
PostScript language file.
The Harlequin RIP incorporates the settrapprams interface and uses this for setting trapping
parameters. Harlequin has extended settrapparams to include those trapping parameters that are
not covered by the 3010 specification.

1.3.3.6 Type16 halftones

The Harlequin RIP supports type 16 halftones, which can contain more than 256 shades of gray. Har-
lequin has always supported an arbitrary number of gray levels, even in the PostScript language
Level 1 compatible RIPs. In the Harlequin RIP, this support for more shades of gray is also accessible
using the LanguageLevel 3 constructs.

1.3.3.7 Idiom recognition

The Harlequin RIP uses idiom recognition to detect PostScript language procedures and replace pro-
cedures that are bound when defined. This extends to procedures some of the benefits that Harlequin’s
shadowop operator provides for operator redefinition. Once the PostScript language code is inter-
cepted, the Harlequin RIP replaces it with optimized code.
This operator has many potential uses that include detecting level 2 code in a PostScript language file
and replacing it with LanguageLevel 3 code.

1.3.3.8 Type 32 fonts

The RIP recognizes and supports Type 32 fonts.

1.3.3.9 Other operators

The RIP supports the LanguageLevel 3 operators that are defined in the 3010 LanguageLevel 3 speci-
fication. The Harlequin RIP accepts PostScript language output from applications using these
LanguageLevel 3 operators.

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1.3.3.10 File filters

The Harlequin RIP supports the required file filter additions documented in the 3010
LanguageLevel 3 specification.

1.3.4 Color, screening, and Roam functionality

The RIP contains several capabilities relating to color, screening, and roam. Where appropriate, Harle-
quin has taken care to enable the end-user to control the underlying functionality from the user inter-
face.
Not all of the functionality is applicable to all output devices or workflows. You will find some fea-
tures more relevant than others for particular output devices and workflow instances.

1.3.4.1 Color API

The Harlequin RIP contains a programming interface (API) that allows you to set the options for the
Harlequin color management modules from PostScript language code. This provides control over all
color options, including the installation of ICC profiles, without a user interface.

1.3.4.2 Spot color screening and calibration

The Harlequin RIP has the capability to calibrate and screen spot colors as well as process colors. This
feature greatly simplifies the management of spot colors in the Harlequin RIP.

1.3.4.3 UseCIEColor
This operator improves color control in the PostScript language code by allowing device-dependent
input data to be translated to a device-independent CIE color space. The input colors are mapped to
the device-independent color space using an input profile. The colors may then be transformed ready
for printing on another output device.
Harlequin has provided this functionality for some time through the color management modules the
latest being ColorPro. You can choose to use the color management specified in the job by UseCIE-
Color, or to override this and instead use the more detailed controls provided with ColorPro.

1.3.4.4 Embedded ICC profiles

When ColorPro is enabled, the Harlequin RIP can detect and use ICC profiles embedded in Photoshop
EPS, TIFF, JPEG or HD Photo images. See the ColorPro Users Guide for details.

1.3.4.5 Colorimetric roam

Provided a system is using an sRGB display (monitor and display card) and the monitor is properly
calibrated, Roam approximates colorimetric output on the display.

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1.3.5 Memory management

Harlequin has a continuous program for improving the performance of the Harlequin RIP memory
management. This not only provides the groundwork for future memory features and enhancements,
but also allows for a level of dynamic memory management within the Harlequin RIP.
There are GUI controls for setting memory. As in the past, it is possible to specify the memory used by
the Harlequin RIP, but there is a significant difference.
• With this implementation, the specified memory is not held exclusively for the Harlequin RIP.
Instead, the Harlequin RIP takes only the amount of memory it requires at the time. This
amount rises while processing a job but once the job is processed the memory is returned to the
system. This allows the Harlequin RIP to co-exist better on a system with the operating system
and other applications.
The implementation also makes it possible to specify a reserve amount of memory, available for short-
term use by the Harlequin RIP. For example, the Harlequin RIP may use this reserve in time-critical
operations, where the alternative would be to use disk storage, as long as the reserve is large enough to
keep the operation in memory.

1.3.5.1 Garbage collection

Garbage collection is performed when memory is low and reclaims the memory occupied by compos-
ite objects that are no longer accessible to the PostScript language program.
This helps some jobs that allocate a lot of memory, but not all. Some jobs that could not partial paint
will now need significantly less memory than before.
When garbage collection starts, a message is displayed on the console window.
Garbage collection is controlled using the PostScript Language operator vmreclaim.
For more information on garbage collection, see section 3.7.4 of the The PostScript® Language Ref-
erence (3rd Edition).

1.3.6 FlatOut
The Harlequin RIP releases are capable of stitching single-page PGB (Page Buffer) files into a pre-
defined flat. This feature enables the development of page-based workflows around the Harlequin
RIP.
Three components are required to produce a stitched flat:
1. A background PGB (Page Buffer) file. You can create a background in a page layout application
and then convert the PostScript language code to a PGB using the Harlequin RIP. This flat back-
ground contains a slot for each page. This background may contain sluglines, crop marks, and
so on.
2. Single-page PGB file(s). For example, to produce an eight-page flat, eight single-page PGB
files must be generated.
3. A flat description file. This file describes the location of the background and single-page PGB
files on disk. The flat description file also indicates the positioning of pages on the flat.

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The flat description file is presented as an input to the Harlequin RIP and the PGB files are stitched
into a single flat for output to the specified output device.
For additional information on how to generate a flat description and more on PGB stitching, please
refer to the FlatOut User Guide.

1.3.7 Screening options

The Harlequin RIP has several screening features and options, designed to produce high quality output
on devices ranging from imagesetters to inkjet proofing printers. There is generalized screening sup-
port for color systems that go beyond straightforward CMYK process colors, but you need an output
plugin and device able to support these color systems.
The Harlequin RIP is able to create extra gray levels (with HPS) and to control the number of extra
levels, even with PostScript language Level 1 jobs. This feature helps to eliminate stepping in
vignettes and to avoid posterization, while enabling you to set a limit on the number of levels that is
appropriate to the required image quality. The RIP also supports more than 256 shades of gray when
they are specified using PostScript LanguageLevel 3 constructs.

1.3.7.1 Harlequin Precision Screening

For very high quality output, Harlequin Precision Screening (HPS) has been produced. This is a pro-
prietary feature that eliminates objectionable moirЩ patterning when producing color separations.
Once correctly set up, and with sufficient memory available, the Harlequin RIP can produce output
with HPS at speeds comparable to those obtained when using traditional lower-quality rational tangent
screening.
HPS has been designed for automatic operation, without the need to refer to complex tables of magic
numbers, and you can choose to override any bad settings in the job. This is especially useful for print
bureaus, who often receive PostScript language code that is not set up for high quality screening.
Some RIPs have restricted dongles that do not allow HPS. In such cases, HPS can be activated with a
password in the Configure RIP Extras dialog box.

1.3.7.2 Harlequin Screening Library

Global Graphics has developed a number of special screening strategies for very high quality press
work, particularly when printing in color. They are included in the Harlequin Screening Library
(HSL), and require separate passwords to become enabled.
HSL includes Harlequin Dispersed Screening (HDS), Global Graphics’s patented Frequency Modula-
tion (FM) screening technology. Moire patterning is impossible with HDS, and it gives finer detail for
a given device resolution. Also included are Harlequin Chain Screening (HCS), which is particularly
good at creating smooth flat tints and at holding detail in continuous tone regions, and Harlequin
Micro Screening (HMS) which allows a greater range of tones to be used even at high screen rulings.

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1.3.7.3 Screening for extended color systems

Several color systems require more than the four screens used for CMYK work. The Harlequin RIP
contains screens suitable for use with HiFi color systems such as the PANTONE Hexachrome Color
Æ

Selector system or the various photo-ink technologies using different densities (light and dark ver-
sions) of one or more colorants.

1.3.8 Harlequin ColorPro

It is possible to add and use the advanced color management facilities provided by Harlequin Color-
Pro which as an optional extra provided with the Harlequin RIP and requires a password for it to be
enabled
ColorPro together with SetGoldPro profile making software is Global Graphics’ color science solu-
TM

tion for ensuring color quality and accuracy for proofing and emulation. ColorPro provides the largest
realizable color gamuts for the final print market and allows greater accuracy than would be possible
using standard profiles.
Harlequin ColorPro embraces open systems, industry standards and device-independent color science,
and is able to make full use of them. If you have ICC profiles with which you already achieve good
results you can use these profiles with ColorPro. You should however be aware that ColorPro contains
color science that is optimized for the Harlequin RIP and is easily utilized with the introduction of Set-
GoldPro.
ColorPro allows you to specify different gamut-mapping algorithms in the reproduction of a page. For
example, you can simultaneously specify Absolute colorimetric to reproduce some elements of the
page and yet specify Perceptual to reproduce the photographs. The end result is that, on a single page,
the color for photographs are each calculated without affecting other elements on the page.
Harlequin ColorPro allows processing of colors in page data using ICC profiles produced by OEMs,
third parties, or end-users using third party characterization and profiling tools. ICC profiles specify a
translation between two color spaces. Each profile is prepared for a specific set of imaging conditions.
One device may have more than one profile. The profiles may correspond to running the device with
different combinations of resolutions, inks, and paper.
New profiles can be easily added to ColorPro, and previously installed profiles can be selected
without the need to reinstall each time a profile is used.
An option to uninstall ICC profiles is also provided.
In addition, ColorPro allows the use of profiles prepared in the Harlequin RIP format. Global Graph-
ics supplies a number of profiles for commonly used systems.
When ColorPro is enabled, the Harlequin RIP can detect and use any ICC profiles that Photoshop has
embedded in EPS, TIFF, JPEG or HD Photo images.
This manual describes the Harlequin RIP without ColorPro, but mentions areas where ColorPro would
modify your use of the Harlequin RIP. The extra facilities are described in the separate manual Harle-
quin ColorPro User’s Guide.
For information on color facilities provided in the Harlequin RIP as standard see Color Setup on page
363.

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1.3.9 Graphics formats

The Harlequin RIP can produce halftone output, 8-bit grayscale output, 8- and 10-bit run-length
encoded (RLE) output, and color contone (continuous tone) output in N-color, CMYK and RGB for-
mats. This allows the RIP to be used for driving contone color printers as well as imagesetters.
This output is passed to an output plugin (described in Input and output methods on page 21), and
from there to the output device controlled by that plugin. Output devices are often physical printers
producing images on paper or film; but devices can also be files on disk, storing the images in a spe-
cific graphics format.
An output plugin that creates disk files provides a simple method of translating from the input format
to another graphics format. Using such an output plugin extends your ability to transfer graphics
defined in the PostScript language or PDF to other software applications or systems. For example, you
can produce a graphics image without dependencies on external fonts or color management. Also, you
may wish to send a page description to someone who does not have access to PostScript language
tools but who can use files in the Tagged Image File Format (TIFF). TIFF is a commonly-used graph-
ics format and a TIFF output device is supplied with the RIP.

1.3.10 Input and output methods

The Harlequin RIP performs most of its input and output using plugins, small auxiliary programs that
the RIP loads when it starts up.
You can install new plugins into an existing installation of the Harlequin RIP to add new input and
output capabilities. Several optional plugins are supplied with an installer program, and it is always
better to use an installer if it exists, but the basic operation is file copying.

1.3.10.1 Output plugins

The RIP sends all output to printers and other output devices through output plugins, thereby allowing
the quick and straightforward addition of support for new output devices.
Typical output plugins support single output devices or families of similar devices and may be sup-
plied with special screens, calibration and color management, and other features appropriate to the
device, such as control of exposure or cutting media.
Optional output plugins support file formats useful in workflow systems, advertising distribution, and
setting up printing presses. These formats include TIFF/IT-P1 and the CIP3 Print Production Format
(PPF).

1.3.10.2 Input plugins

Input plugins provide communication between the Harlequin RIP and other systems, primarily as
sources of input.

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The standard input plugins provided with the Harlequin RIP include:
• AppleTalk
An AppleTalk network connects together a mixture of Apple and other computers and printers
in order to share disk resources and printing services. AppleTalk runs on LocalTalk and Ethernet
and is a widely supported network protocol.
AppleTalk networks often include multiple printers, and are available to Mac OS X users
through the Print Center. Because the Harlequin RIP behaves as any other printer on AppleTalk,
you can send print jobs to the RIP running on a machine connected to the AppleTalk network, in
the same way as any other printer. (The Harlequin RIP can emulate several, differently config-
ured, printers if you wish.)
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
• Spool Folder
This plugin allows you to set up the Harlequin RIP so that it continually scans or polls a folder
(directory); for example, on a central server for input files. When these files appear and are
complete, the RIP processes them. The spool folder uses the network file access provided by
your machine; for example, Network File System (NFS) on machines running the UNIX operat-
ing system. You can use multiple configurations (as described in Multiple inputs on page 22),
allowing you to have several scanned folders, each with a different associated Page Setup.See
the Spool Folder Input Plugin manual for further information.
• Sockets
With this plugin, the Harlequin RIP can accept input from a network socket client program,
which may be part of a larger workflow system. This plugin supports TCP/IP and UNIX socket
protocols.

1.3.10.3 Multiple inputs

For some input types, it is possible to have available several configurations or Page Setups (where
parameters such as resolution, output device, rotation, and negation are given specific values). Using
AppleTalk, several different virtual printers can be made available on the network using a single run-
ning copy of the Harlequin RIP, each printer with a different Page Setup. When using the Spool folder
plugin, several spool folders can be made available, each with an associated Page Setup.
You can enable multiple types of input allowing, for example, AppleTalk and Spool folder inputs to
operate at the same time.

1.3.11 Complex jobs

Given enough memory and disk space, the Harlequin RIP can interpret arbitrarily complex jobs. The
same is not true for many other high resolution RIPs.
This is achieved with a feature called partial page buffering (or painting partial pages in some mes-
sages). Essentially, if a particular job is so large that it cannot all be fitted into memory at once, the
RIP interprets only as much of the page description as does fit into memory, and places the interpreted
image in a partial page buffer. Having dealt with part of the image, the RIP gains enough free memory
to deal with the next part, the effect being that the page description is divided into manageable sec-

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tions, which are interpreted one at a time. Disk space is used to hold what has been interpreted so far
until the whole image has been processed, and printing can commence.

1.3.12 Throughput control

In almost all circumstances, it is desirable to produce page images as quickly as possible while main-
taining high quality. All Harlequin RIPs are written with this aim in mind and can benefit from operat-
ing with fast hardware. Beyond this, and especially when using high resolution imagesetters, special
techniques can help maximize the rate of producing useful output. The Harlequin RIP can use these
techniques, collectively called throughput control, when either of the multiple page buffering modes is
selected. See Page buffering modes on page 61 for more details of multiple and single page buffering
modes.
The Harlequin RIP increases job throughput in two ways.
Firstly, the RIP differs from other RIPs in the way bitmaps are produced and sent to an output device.
A traditional RIP must interpret a page and send the bitmap directly to the output device before con-
tinuing with the next page. Because of this, if you have to change cassettes or some fault occurs with
the output device, the current page cannot be output until the fault is cleared; productive work stops
until the situation is resolved.
The Harlequin RIP can be operated in this way if desired, but it offers a powerful alternative that over-
comes these limitations by saving bitmaps on disk in the form of page buffers, before bitmaps go from
the disk to the output device. Many page buffers can be stored on disk (as many as will fit into the
available disk space), and the RIP can continue to produce and save page buffers, even if the device is
not ready to output. If a printer jam occurs in an overnight job, the RIP is still able to process the job
and the page buffers are ready for output the next day. In a high volume environment, this ability can
be invaluable.
Even when there are no problems with the output device, you can still save time; if you need to pro-
duce more than one copy, you do not need to reinterpret the page description, because the bitmaps are
still retained on disk. This means, for example, that if a page gets damaged in the developer or there is
a problem with ink delivery then it is easy to print another copy.
Secondly, the Harlequin RIP increases job throughput by allowing job interpretation and output to
occur simultaneously. While some pages of a job are being interpreted, other pages, which have
already been interpreted, can be sent to the output device. This can greatly increase throughput when
outputting several pages in succession. With a fast computer, it is possible to drive the imagesetter
continuously for several pages. Even with fast output devices, time can be used effectively, because
the RIP can be interpreting data while the output device starts up.

1.3.13 Previewing
The Harlequin RIP allows you to preview pages, at their output resolution on screen to check them for
mistakes before they are output, at their full output resolution. You can preview halftone, contone and
grayscale images using the full color capabilities of the display system.
You can request a reduced view of the entire page in a separate window. This provides a better idea of
what the whole page looks like, and also acts as a navigation aid to help you to display any part of the
page at full resolution, to check fine detail.

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The remaining functionality depends on the page buffering mode. (See Page buffering modes on page
61 for more information.)
Using either of the multiple page buffer modes, you can view several separations or pages, overlaid or
separately. This allows a good check of the page, including checking image positioning, trapping, and
so on. You can view separations in their natural colors, thus obtaining a realistic impression of final
output, or in false colors, to highlight differences between similar separations or composite pages.
In either of the single page buffer modes, you can view only individual separations or a composite
image, and only in the natural colors.

1.3.14 Page buffer compression

When producing jobs at high resolutions or on large format devices, large amounts of disk space are
often required if page buffers are used. The RIP makes the most of the available disk space by com-
pressing page buffers as they are created and placed on disk, and then uncompressing them as they are
read from disk and printed or displayed.
Compression saves a great deal of disk space and often means that large jobs can be printed without
stopping the imagesetter, because compressed data can be read from disk more quickly. Stopping an
imagesetter part way through a job can lead to a loss in output quality, so this facility can be of great
benefit. (See the description of data underrun on 76, which explains one problem that page buffer
compression can help avoid.)
Page buffer compression always produces buffers of the same size as or smaller than the original. For
color pages, it typically achieves a compression ratio of 3:1, and for newspaper pages a typical ratio of
10:1. That is, the compressed page buffer could be less than a third of the size of an uncompressed one
for color pages, and a tenth of the size for newspaper pages. For color images, this can mean reducing
disk requirements from 150 MB to only 50 MB.
Page buffer compression in the RIP is a completely lossless procedure. The quality of your output is
fully preserved when compressing and then uncompressing the page buffers. For details of the amount
of disk space you need to reserve for page buffers, see Ability to RIP a job on page 29.
Files greater than 2 GB can be read and written. The most likely use of this is the ability to generate
page buffers greater than 2 GB.

1.3.15 Fonts and font handling

To print text, the relevant fonts must be installed in a RIP before interpreting a job, or the fonts must
be supplied with that job.
If the interpreter sees that a Times-Roman font is needed for a particular job, it must know what a
Times-Roman font is. The Harlequin RIP comes ready-supplied with the 35 standard fonts found on
most PostScript language printers and several additional fonts. (For more information see Supplied
fonts on page 293.) Thousands of other fonts are commercially available, as is software to help you
design your own fonts from scratch. The RIP can load any PostScript language font into the RIP for
use in interpretation (unless the font is encrypted using some proprietary encryption mechanism).

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 Introduction to the Harlequin RIP

The Harlequin RIP enables you to download, list, and proof fonts easily and quickly. You have com-
plete control over which fonts are loaded when the RIP is run, and can remove any unwanted fonts at
any time.
The Harlequin RIP can convert any Type 1 PostScript language font into its own format, DLD1.
DLD1 fonts consume much less memory and disk space than normal Type 1 descriptions, and so
reduce processing time‚ but with no change in output quality.
The 35 standard hinted fonts are provided with the Harlequin RIP in DLD1 format. Font hinting is
essential when previewing images or printing at low resolution, where it greatly improves the quality
of the output.

1.3.15.1 Composite fonts

The Harlequin RIP supports composite fonts, in both Original Composite Format (OCF) and Charac-
ter Identifier (CID) formats, which allow you to use large or complex fonts such as those for Chinese,
Japanese, or Korean characters. Composite fonts support large character sets and are especially impor-
tant in the Far East.
There are several features to allow easy composite font installation without requiring complex struc-
turing of the fonts. Also, because of the high value of such complex fonts, the Harlequin RIP provides
a way of encrypting fonts, so that they can only be used with a particular copy of the RIP.

1.3.16 Convenience features

The Harlequin RIP provides some useful facilities for monitoring media on cassette-loaded devices
such as imagesetters and for using or testing fragments of PostScript language code. These fragments,
page features, can do such things as labelling output.
Most of these facilities require little or no knowledge of the PostScript language.

1.3.16.1 Media management

Output devices vary greatly in the type of output media they can use and the amount of manual inter-
vention required. Some devices use a single source of roll-fed or sheet-fed material and the output is
ready to use, while other devices can accept media from a variety of sources or require processing of
the output. Equally, different users make very different demands on their imagesetters with respect to
film and paper handling.
The Harlequin RIP includes a sophisticated media manager.
For example, you can keep track of the media left on the rolls of up to sixteen input cassettes; a variety
of materials and media widths can be set, and the system allows you specify automatic media cutting
at predetermined places, such as after a particular number of pages or before the take-up cassette gets
too full.
In addition, the Harlequin RIP warns you when a cassette is nearly empty, and allows you to define
how much space should be left between pages, between jobs, and between film cuts. It will even save
media by automatically rotating pages to use the minimum amount of film.

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 1.3 The Harlequin RIP in depth

1.3.16.2 Page features

Sometimes you may want to apply a special effect to your jobs. For example, you may want to have
the word Draft overprinted on every page. Because these can be one-off needs‚ you may want to pro-
duce a special copy of a document while it is at draft stage‚ it is preferable not to alter the job if at all
possible.
The Harlequin RIP provides this facility by allowing you to specify a fragment of PostScript language
code, independent of your main job, to be processed in conjunction with it. A fragment such as this is
known as a page feature.
A page feature carries out some process on your job, leaving the original untouched. Often, the effect
of the process is to produce a desired printed effects but some page features produce no printed output
because their purpose is to report some properties of the job.
A number of page features are provided with the Harlequin RIP for immediate use or as examples.
You can choose any of those for immediate use from a menu in a dialog box. See Features on page
140 for details.
As with plugins, you can add new page features by placing them in a particular folder.

1.3.16.3 Interactive sessions

The Harlequin RIP has a feature known as the executive, which allows you to run an interactive Post-
Script language session. This means that you can type fragments of PostScript language code and have
them interpreted immediately. This can be very useful when debugging and testing small parts of jobs.
The executive feature is available in the Harlequin RIP on all supported platforms.

1.3.16.4 Page imposition

Page imposition is the process of laying out several pages of a document on one large sheet of paper or
film. Using a combination of PostScript language operators and an extension to the language, it is pos-
sible to take several pages and produce output on a large sheet of paper, each page being printed in an
orientation and position determined by you.
Page imposition can be useful both for saving media‚ pages can be orientated so as to use the optimum
amount of paper‚ and for printing pre-imposed sheets of paper, for instance when printing a book
where certain pages are made out of the same piece of paper. Some understanding of the PostScript
language is useful here, but the Harlequin RIP is supplied with several imposition templates which can
be used immediately.

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 2

Running the Harlequin RIP

This chapter is a short guide to getting the Harlequin RIP running on your machine. It does not contain
complete installation details because these differ between different combinations of computer, operat-
ing system, and output device. For full details, see the separate Harlequin RIP Installation Guide for
your platform (combination of computer and operating system).
This chapter provides details for the following:
• Machine requirements, described in Machine requirements on page 27.
• Connecting your machine to an output device, described in Installing printer interface cards on
page 31.
• The files and folders used by the RIP, described in Harlequin RIP folder structure on page 32.
• Starting up the Harlequin RIP and an introduction to the standard menus and dialog boxes,
described in Starting up the Harlequin RIP on page 36.
• Some menus that appear only when options are enabled, described in Menus affected by
optional features on page 41.
• Stopping the Harlequin RIP, described in Stopping the Harlequin RIP on page 43.

2.1 Machine requirements

This section covers the hardware requirements that you need to run the Harlequin RIP. Do not worry if
you are not familiar with the RIP technical terms used in this section. As you work through the man-
ual, all of these terms will be explained. The Glossary on page 409 explains many of these terms.
Hint: Follow the basics of this section on first reading to get a working installation of the RIP. When
you are more familiar with the RIP, use this section for reference, so that you can improve the RIP’s
performance in your environment.

2.1.1 Performance
For a given processor type and speed, the most important things affecting the performance of the Har-
lequin RIP are the built-in or physical memory (RAM) and the speed and size of disks.
It is recommended that you use a PowerMac G3, G4, G5, iMac, PowerBook or Intel Mac with 256
MB or more of built-in RAM for the RIP and a minimum of 4 GB of free disk space.

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Windows Server 2008 (R2), Note: Please check the Install guide for the latest specification
information.
In addition the following points should be considered:
• There must be sufficient space to hold page buffers on disk.
• There must be sufficient virtual memory available for the job. This is especially important
when using composite fonts.
• For some output devices, a disk with a certain minimum performance may be required.
Important: The general rule is that the more memory, the better the performance. Note especially that
if you use the following features, we recommend that you add extra RAM:
• Add an additional 8 MB RAM for each composite PostScript language font used in a single
job.
• Add an additional 12 MB RAM for when using Harlequin Precision Screening (HPS).
• Add an additional 256 MB RAM when using TrapPro.
• Add an additional 32 MB RAM for EDS Screening in the output plugin.
• When using Harlequin ColorPro, add extra RAM. The required amount can vary according to
the functions you use.
• There are some instances when the Harlequin RIP cannot paint partial page buffers to disk: for
example, when recombining preseparated jobs or using TrapPro. In such cases, the RIP will
need extra memory and must have enough memory to complete the job. See Harlequin RIP
memory allocation on page 196, the TrapPro User Manual and Harlequin RIP Installation
Guide for further details.
• For large format devices, more memory may be required.
In general, if a job uses more than one of these features, add together the extra memory required by
each feature. For example, if a job uses composite fonts and you are using HPS add together the extra
amounts of RAM. You will also need enough extra RAM to accommodate any printer and network
buffers you want to set up.
For more details, see Chapter 6, Screening, Chapter 7, Configuring the RIP, and Chapter 11, Fonts.
Note: This manual uses conventions of font and style to describe special key combinations and to
highlight the titles of programs, options in menus and dialog boxes, and text that we suggest you type.
For details, see the Conventions on page 6 in the Preface.
Windows Server 2008 (R2), Windows Server 2008 (R2), In summary, as well as the memory and disk
allocations discussed here, the performance of the RIP also depends on the following:
• The speed of the processor.
• The amount of additional RAM on your machine. (Additional RAM is RAM above the basic
requirement.)
• The disk speed of your machine.

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 2.1 Machine requirements

• The interface used to send data to the output device, especially if it is a high-performance
device.
Performance issues are described throughout this manual, but see especially Chapter 7, Configuring
the RIP, and Appendix A, Troubleshooting, for details about optimizing the performance of your
hardware.
For further details on machine specifications you should consult the relevant installation guide.

2.1.2 Ability to RIP a job

Depending on what page buffer mode you choose, the Harlequin RIP will usually create one or more
page buffers on disk when you process any job (see Chapter 4, Harlequin RIP Output Methods, for
full details). This allows the RIP to print any job on a machine of any performance, no matter how
complex the job is. The only requirement for your machine (apart from a minimum requirement of
RAM) is that it must have sufficient free disk space to hold these page buffers.
By default, the Harlequin RIP compresses page buffers as it creates them: the compression is always
lossless and does not affect the output quality in any way. This compression can reduce the disk space
required to anything from half to a tenth of the uncompressed file, or even less. However, you do not
have to compress page buffers if you do not wish to. See Chapter 7, Configuring the RIP, for full
details.
Note: Crop marks can greatly increase the actual size of the page (by adding largely blank surrounds
to the image) and hence create a need for more disk space. If you ask the Harlequin RIP to compress
page buffers as they are created, the extra space required by crop marks compresses well, as does the
other blank space between text and images.
Typical free disk requirements, for both compressed (C) and uncompressed (U) page buffers, are
shown in the following table, giving details for output at different resolutions and for different page
sizes. These figures are for halftone page buffers holding a monochrome page or one separation of a
separated page. All figures are given in MB.

US Letter A4 Tabloid A3 Broadsheet

Resolution U C U C U C U C U C
300 dpi 1.00 0.20 1.00 0.20 2.00 0.40 2.10 0.41 4.60 0.93
400 dpi 1.70 0.36 1.80 0.37 3.60 0.71 3.70 0.74 8.20 1.60
600 dpi 4.00 0.80 4.10 0.83 8.00 1.60 8.30 1.70 19.00 3.70
800 dpi 7.10 1.40 7.40 1.50 14.00 2.90 15.00 3.00 33.00 6.60
900 dpi 9.00 1.80 9.30 1.90 18.00 3.60 19.00 3.70 42.00 8.30
1200 dpi 16.00 3.20 17.00 3.40 32.00 6.40 34.00 7.20 74.00 14.80
1524 dpi 26.00 5.20 27.00 5.40 52.00 10.40 54.00 10.80 120.00 24.00
2400 dpi 64.00 12.80 68.00 13.60 128.00 25.60 136.00 27.20 296.00 59.20
3048 dpi 104.00 20.80 108.00 21.60 208.00 41.60 216.00 43.20 480.00 96.00

Table 2.1 Typical free disk requirements for page buffers

Contone page buffers or composite color page buffers are bigger than monochrome page buffers when
uncompressed, by a combined factor taking account of the number of bits used per color and the num-

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 Running the Harlequin RIP

ber of colors in the page buffer. For example, when uncompressed, a four-color page using 8 bits per
color (256 tonal values) would use 32 times more memory than the figures given here. It is harder to
predict the relative sizes of compressed page buffers because the contents of the page have a large
effect. For example, the compression ratio achievable for a page filled with an unchanging back-
ground tint is likely to be better for a contone page buffer than for a halftone page buffer.
In addition, you must ensure you have enough disk space to hold workspace for processing the
scanned images on any one page of your job. For example, when printing the Seybold Musicians test
job (a full-color scanned image), 8 MB of extra disk workspace will sometimes be required in addition
to the figures shown above. (Whenever possible, the Harlequin RIP uses RAM in preference to disk
space.)
If you have spare memory after allocating memory for the considerations described in Performance
on page 27 and in the separate Harlequin RIP Installation Guide, you may be able to use this surplus
to create a RAM disk in which to place page buffers. To be useful, the RAM disk must be at least large
enough to hold a single page buffer, and if you want to use throughput (using either of the multiple
page buffer modes), it should ideally be large enough to hold at least two page buffers.
For 2540 dpi color work, a RAM disk of around 100 MB is desirable. For 1016 dpi monochrome out-
put, a RAM disk of around 30 MB may be enough.

2.1.3 Driving a printer effectively

The machine requirements discussed so far have concerned the production of a page buffer. Meeting
these requirements is sufficient for you to view the page buffer on screen or for the Harlequin RIP to
convert it into a file in a useful graphics format.
When you want to convert the page buffer to an image on physical media, you must transfer the data
to an output device. This transfer is another factor determining overall performance and often imposes
other requirements on the computer system running the RIP.
Many output devices need data to reach them at a sustained high speed; in general, this speed becomes
higher and harder to achieve as the resolution of the device increases. Table 2.2, on page 31, shows
examples of required data transfer rates (in kilobytes per second) for typical output devices supported
by the various versions of the Harlequin RIP.

Rate Resolution
Output device
(KB/s) (dpi)
200 300 Large format inkjet printer
2000 300 Dye-sublimation printer
750 2400 Slow imagesetter
1500 1270 Fast imagesetter
8000 4000 Large format drum recorder

Table 2.2 Required data rates for typical output devices

With simple jobs, these data rates can be achieved without using a page buffer on disk. However, with
complex jobs, a page buffer may be required, which means that the disk on your computer must be

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 2.2 Installing printer interface cards

fast enough to supply data at these rates. If the disk is too slow and your printer is not capable of stop
/ starting without abandoning the page, it is not possible to output the whole page. If your printer can
stop / start in the middle of a page, then achieving the required data rate is less important, but the qual-
ity of the output may still be affected, depending on the device.
When you look at the data rates in this table, note the following:
• The disk speed of your machine must be slightly faster than the data rate of the output device in
order to drive it successfully‚ the extra speed allows for the overhead of transferring the output
to the printer. For example, a machine with a disk speed of 1.3 MB/s may be required to drive a
slow imagesetter at 750 KB/s.
• To smooth out peaks and troughs of disk performance and other system and RIP functions, the
Harlequin RIP uses a printer buffer in memory. Typically, you should make this buffer large
enough to hold between 5 and 10 seconds of output to the device: for example, 7.5 MB for a
device that outputs at 750 KB/second. You can set the size of the printer buffer in the Config-
ure RIP dialog box: see Chapter 7, Configuring the RIP.
We strongly recommend that you use compressed page buffers. If this is done, the Harlequin RIP can
achieve higher data rates because less data has to be read from disk. Compressing page buffers also
lets you run the RIP on a slower disk than would be required were page buffers not compressed. There
are very few situations where it is not desirable to compress page buffers.

2.2 Installing printer interface cards

If you want to produce output on a printer or imagesetter, there must be a suitable way of connecting
the output device to the computer running the Harlequin RIP. Many low or medium resolution devices
can connect to standard communications ports or printer ports on your computer. Using a high resolu-
tion or high speed output device may mean that you must install a special printer interface card in the
computer.
There should be installation instructions supplied with any interface card and there are some general
guidelines in the separate Harlequin RIP Installation Guide for each platform.

2.3 Harlequin RIP folder structure

The folder in which the Harlequin RIP is installed contains the Harlequin RIP application itself, and a
folder called SW, as well as other support files. The SW folder contains the files that the RIP needs in
order to run, such as device driver files, PostScript language header files, and fonts. You can install
new device drivers, features, and so on‚ in many cases by placing the relevant folders or files directly
into the appropriate folder, but it is safer to use a supplied installation program if there is one.
Warning: Do not delete any files from the SW folder, except in the limited cases where this manual or
the Harlequin RIP support staff advise you to do so.
Note: Installing the Harlequin RIP creates some of the following items immediately: other items are
created later, as required by later reconfiguration of the RIP or the use of particular options such as
screening features or spooled input.

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The SW folder contains the following items:

• The caldata folder, which is created when you first use the Output > Print Calibration menu
option to print a calibration target, and is updated as you print more targets. This folder holds
files and folders describing the printed targets.
• The categories folder contains the categories resource.
• The charstrings folder contains the file StandardCharStrings, which contains the stan-
dard name-to-character mappings used by most fonts. Other mapping files may also be stored
here.
• The CIDFont folder contains fonts defined in the CID (character identifier) format.
• The CMap folder contains information for use with CID fonts.
• The colorrenderings folder contains color rendering resources.
• The colorspaces folder contains resources for the color spaces defined in the Harlequin RIP.
• The Complete folder is provided as a default location for the spool folder input to place files
that it has successfully processed.
• The Config folder contains all the configuration files for the Harlequin RIP. These include
files detailing such things as the current Page Setup and Configure RIP settings, as well as
folders for information including the configuration for available devices, default color profiles,
and target definitions.
In the Config folder, the Factory Settings subfolder contains the default configuration for
the Harlequin RIP when it is shipped. This is essentially a copy of the Config folder itself.
In the Config folder, the Page Setups subfolder contains all the Page Setups you have saved
within the Harlequin RIP.
• The Crdgen folder contains the color rendering dictionary (CRD) generator plugin executa-
bles. You can only manipulate CRDs in the Harlequin RIP with the ColorPro option enabled.
• The Devices folder contains all the output plugin files (possibly within subfolders) for the
various output devices.
• The encodings folder contains the font encodings for the fonts installed in the RIP.
• The Error folder is provided as a default location for the spool folder input to place files that
it cannot process.
• The Extensions folder can contain folders or files used to implement extensions to the RIP.
• The FlatPgbDir folder provides space for the page buffer files used by FlatOut. See the
FlatOut User Guide for details.
• The fonts folder contains fonts used by the Harlequin RIP (including the fonts installed with
the RIP).
• The FontSet folder is used for PostScript LanguageLevel 3 font sets, often used with CFF
fonts. It may be empty.
• The forms folder contains resources for bitmap forms.

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• The halftones folder contains halftone resources.

Note: The comments in these halftone resources files show how you can define custom dot
shapes in capable graphics and layout applications, and have these dot shapes linked to Harle-
quin screens in the generated PostScript language files.
• The icccrd folder contains the color rendering dictionaries (CRDs) produced from ICC pro-
files.
• The IdiomSet folder contains idiom set resources. Each idiom set in this folder is loaded
when the RIP starts.
• The Inputs folder contains all input plugin files (AppleTalk, Spool, and any others).
• The Messages folder has been moved to the same level as the SW folder and contains local-
ized message files. The appropriate file is selected the first time the RIP is started.
• The MediaSavingDir contains page buffers that are marked for media saving. From Eclipse
Release SP1 the MediaSavingDir is located as a subfolder to the PageBuffers folder.
• The NamedColor folder is the location of files defining a resource type /NamedColor, which
stores color values referred to by name. It is accessed by the Install ICC Profile dialog box
present when using ColorPro, as well as by the Harlequin core RIP.
• The NamedColorOrder folder contains files defining the orders in which resources of type
/NamedColor, are searched when the Harlequin RIP is looking for the definition of a named
color.
• The Page Features folder contains all the PostScript language header files that are available
in the Enable Feature pop-up menu of the Edit Page Setup dialog box. This menu is generated
dynamically from the files available in this folder. If a feature is turned on in the relevant Page
Setup, the appropriate file is run at the beginning of the job. Additional example page features
are available in the folder called Examples within this folder. The example files supplied with
the RIP show you how to do such things as produce draft copies, perform page imposition,
resubmit page buffers, and use image replacement with DCS files. You can add your own files
if you wish.
• The PageBuffers folder provides space for rendered pages that are written to disk. From
Eclipse Release SP1 the MediaSavingDir is located as a subfolder to the PageBuffers
folder.
• The Passwords folder may be empty but is available for files used to install passwords for
optional parts of the Harlequin RIP. The RIP installs all new passwords automatically, as it
starts. Files with extension .pwd are files to be used by the RIP, files with numeric extensions
(.001, .002, and so on) have been installed, and files with extension .pwx are files that the
Harlequin RIP has failed to install.
• The patterns folder contains resources for PostScript language patterns.
• The PrepFiles folder contains all the prep files used by the Harlequin RIP.
• The procsets folder contains various patches to the PostScript language, as well as other
functionality that is not built directly into the Harlequin RIP. Patches for specific applications
are held here, as well as calibration test jobs.

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• The ReproductionCriteria folder is the location of files defining a resource type /Repro-
ductionCriteria. This is used to link color rendering dictionaries (CRDs) to the criteria
which created them. This allows the Harlequin RIP to test whether a CRD needs to be regener-
ated or whether one already exists.
• The Screenin folder contains screening plugins for use by the Harlequin RIP. In many instal-
lations, there are no screening plugins.
• The Screens folder is used when halftone screens are cached (saved to disk for later use).
There is a subfolder here for each dot shape cache known to the Harlequin RIP, either as sup-
plied or as created during use.
• The Separation Features folder performs a similar task to Page Features but applies
only when separating jobs in the Harlequin RIP.
• The Spool folder is a default location used by the Spool folder input plugin for receiving jobs.
• The Sys folder includes HqnStart, the Harlequin-specific startup file, and Bootlist, a list
of files to be executed upon booting (starting) the Harlequin RIP. This folder also contains
HqnProduct, which contains PostScript language startup code specific to that product, and
HqnOEM, which may contain additional startup PostScript language startup code created by the
RIP supplier.
• The targeteps folder contains any EPS files that are incorporated in custom calibration tar-
gets (and potentially other targets). This folder is referred to from target definitions while inter-
preting a target file, especially in response to the Print Calibration dialog box.
• The tmp folder is used as a location for temporary files.
• The TrapParams folder is used for PostScript LanguageLevel 3 trapping parameters. It may
be empty.
• The Usr folder contains several files needed by the Harlequin RIP.
• The Utilities folder contains files, each of which can perform a useful function when run as
a job (using the Print File menu option):
• BackupConfiguration.ps
This file enables you to make a backup file containing all your configuration settings for an
installation of the Harlequin RIP.
• BackupFonts.ps
This file enables you to make a backup file containing all your fonts, both the standard set
and any additional fonts that you have installed.
You can store such a backup file elsewhere for security and, for example, use it as a simple way
to restore a complex configuration if you need to reinstall the same version of the Harlequin
RIP. (You can restore backed-up fonts to a newer version of the RIP but you can only restore
configuration settings to the same version of the RIP.)
Note: The BackupFonts.ps and BackupConfiguration.ps files should only be used via
the Print option on the File menu. Attempting to use these files from a socket input may cause
the RIP to crash.
The WorkSpace folder provides space for any temporary workspace files created by the RIP.

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 2.4 Starting up the Harlequin RIP

• The LOGFILE file contains a record of all transactions with the Harlequin RIP monitor. This
file can be saved and its size restricted. For more information see Monitoring the Harlequin
RIP on page 57.
• The files FILERED.PS and FILEMAP.DAT (replacing FILEMAP.PS, which is still present for
short-term compatibility) contain important information for use in file name mapping. The RIP
manages these files automatically: you must not change these files manually.
File name mapping is necessary because PostScript language file names can be very long, can
contain characters that have special meanings for file systems on the computer running the Har-
lequin RIP, and are case sensitive. For each PostScript language file name that could be a prob-
lem, the RIP creates a unique and acceptable file name in the file system and records both file
names together as a mapping in FILEMAP.DAT.
You may find it useful to inspect FILEMAP.DAT, if you need to associate a particular file name
with the other name in its mapping. For example, this is a typical mapping (between Press and
PRESS):
(Press)(PRESS)M

• The version file contains text describing the version of the Harlequin RIP, for use by some
RIP utilities. Do not edit or remove it.

2.4 Starting up the Harlequin RIP

You should refer to the installation guide for your platform for details on how to install and configure
the Harlequin RIP.Note: The RIP executables are supplied with associated shared library files. The
associated shared library files must be in the same folder as the RIP executable otherwise the RIP will
not start.
To start up the Harlequin RIP application, double-click the Harlequin RIP icon at the top level of the
installation folder.
An initial dialog box is always displayed while the program starts up. Some extra things happen in
special circumstances:
• When you are starting up the RIP for the first time after installation, you see a dialog box
asking you to choose the language to be used in dialog boxes, menus, and messages. The
dialog box shows you which languages are available. (A language is available if the entries
after its name are all Present or Yes.) If you are in doubt, choose English (United
States) initially; you can switch to another language later, using the File > Language menu
option, as described in Choosing the user interface language on page 198. Select your chosen
language and click OK.
• When you have installed a plugin or other option, that option may require enabling with a pass-
word. The RIP can read the password from a file if the installation process for the plugin sup-
plied one. If the RIP reads a password file, it displays a dialog box with a message similar to
this but with differences to the italic text.
Imported password file Passwords/1234-56-variable-string.pwd

Click OK to dismiss this dialog box.

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• If you have chosen to reset the Harlequin RIP to its factory settings, you see a series of dialog
boxes asking you which settings you wish to reset. See Resetting the Harlequin RIP to default
values on page 198 for details of how to do this.
When the RIP has finished loading the desktop (Finder) menus are replaced by those shown in
Figure 2.1:

Figure 2.1 The Harlequin RIP menus

Some windows appear, as described in Chapter 3, Getting Started with the Harlequin RIP. That chap-
ter describes some basic procedures that you can use to familiarize yourself with the Harlequin RIP.
The remainder of this chapter introduces the menus, tool bar, and status bar; and describes how to stop
the RIP.
For information on how to quit the RIP see Quitting the Harlequin RIP on page 43.

2.4.1 The headless RIP

The Harlequin RIP can be run in headless mode. This means that the RIP is run as normal but without
any graphical user interface. In this mode all interaction with the RIP is done using PostScript lan-
guage files.
Before using headless mode you should at least have configured an AppleTalk input (if supported) or
a Spool folder. You can shut down the headless RIP by submitting a suitable PostScript language file.
See Quitting the headless RIP on page 44 for more information.
/HARLQN.app/Contents/MacOS/

Issue the command:

gui -headless

Alternatively, if you wish to start the RIP in headless mode every time you start the RIP, open the file:
<installation folder>/SW/Config/UIPreferences

Change the line:

/Headless false

to:
/Headless true

Save the UIPreferences file and then start the RIP in the normal way.
If you have configured the UIPreferences file to start the RIP in headless mode you can start
the RIP in GUI mode by navigating to:/HARLQN.app/Contents/MacOS/
and issuing the command:
gui -gui

To stop a RIP running in headless mode see Quitting the headless RIP on page 44.

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When run as a headless RIP the page buffering mode is automatically changed to Single (if
required). See Page buffering modes on page 61 for more information.

From the Harlequin RIP Genesis Release v7.1 the page buffering mode can be changed from Single
(if required) to one of the other available throughput modes. This can only be done using a Post-
Script Language file or via SOAR.

2.4.2 The menus

There are several menus:
• Harlequin RIP menu contains standard Mac OS X commands for hiding the program and for
quitting the RIP. For more information see Stopping the Harlequin RIP on page 43.
• The File menu contains commands for configuring and operating the RIP, as well as for produc-
ing output.
• The Edit menu contains the common window-based edit facilities of Cut, Copy, Paste, and
Clear.

• The next menu changes name to indicate which device it is controlling. This menu contains
commands for controlling output and cutting the media being used on any printers connected to
the computer. Because the displayed name can change, this documentation refers to it as the
Device menu. (Figure 2.1, on page 36, shows Preview in this position.)
The device does not necessarily have to be a physical output device connected to your machine.
The RIP is equally capable of saving an image to a file in a particular format, such as TIFF. You
can find out more about these options in Selecting different devices on page 84.
• The Color menu contains commands for starting the Separations Manager and for color man-
agement. The color management commands depend on optional parts of the Harlequin RIP. See
ColorPro menus on page 42.
• The Output menu contains commands for controlling calibration, media management, and out-
put.
• The Fonts menu contains commands for installing, deleting, and proofing fonts within the RIP.
• When required, the RIP can display other menus to the right of the permanent menus men-
tioned so far. For example, the Print File menu appears when you have used the Print File com-
mand to print a file, and contains commands allowing you to control printing of that file.
All standard commands in these menus are described in later chapters of this book together with the
situations and operations that require you to use them. See Menus affected by optional features on
page 41 for details of menus affected by optional features in the Harlequin RIP.

2.4.3 The tool bar

All versions of the Harlequin RIP have a tool bar containing icon buttons and a status area. The but-
tons provide rapid access to frequently used menu options and dialog boxes, as described in Tool bar
buttons on page 39. The status area shows what the RIP is doing, as described in Status area on page
41.

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The tool bar is a free-floating window, which you can display or hide using the File > Tool Bar menu
option.

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2.4.3.1 Tool bar buttons

These tool bar buttons have the following uses:

Print File Displays the Print File dialog box, where you can choose a
file to print. This is equivalent to the File > Print File com-
mand.

Print Calibration Displays the Print Calibration dialog box, where you can
print various patterns of calibration target for use in cali-
brating output devices, including printing presses. This is
equivalent to the Output > Print Calibration command.

Start Inputs Starts any enabled inputs. This is equivalent to the

File > Start Inputs command when the inputs are stopped.

Stop Inputs Stops any enabled inputs. This is equivalent to the

File > Start Inputs command when the inputs are enabled.

Page Setup Manager Displays the Page Setup Manager dialog box, where you
can create and edit Page Setups. This is equivalent to the
File > Page Setup Manager command.

Device Manager Displays the Device Manager dialog box, where you can
instantiate (create) and configure devices driven from a
multiple device driver. This is equivalent to the File >
Device Manager command.

Separations Manager Displays the Separations Manager dialog box, where you
can create and edit separation styles for the selected
device. This is equivalent to the Color > Separations
Manager command.

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Color Setup Manager Displays the Color Setup Manager dialog box, which
allows you to create and edit color setups with or without
color management depending on whether the password-
enabled ColorPro option is activated. See the Color Setup
on page 363 and Harlequin ColorPro User Guide for
details. This is equivalent to the Color > Color Setup Man-
ager command.

TrapPro Manager Displays the TrapPro Manager dialog box, which allows
you to create and edit trapping setups. TrapPro is a layered
option and requires a password for it to be activated. See
the Harlequin TrapPro User Guide for full details. This is
equivalent to the Output > TrapPro Manager command.

Calibration Manager Displays the Calibration (Dot Gain) Manager dialog box,
where you can create and edit calibration sets. This is
equivalent to the Output > Calibration Manager command.

Cassette Manager Displays the Cassette Manager dialog box, where you can
create cassettes and edit their information. This is equiva-
lent to the Output > Cassette Manager command.

Imposition Manager From the Harlequin RIP Genesis Release this option dis-
TM

plays the Imposition Manager dialog box, which allows

you to create and edit Simple imposition setups. Pre-con-
figured imposition schemes are provided as standard.
Editing existing and creating new setups is a layered
option and requires a password for it to be activated. See
Chapter 10, Simple Imposition for full details. This is
equivalent to the Output > Imposition Manager command.

Input Controller Displays the Input Controller dialog box. Also, this button
hides the controller if it is already displayed. This is
equivalent to the File > Input Controller command.

Media Manager Displays the Media Manager dialog box, where you can
set up automatic media management. This is equivalent to
the Output > Media Manager command.

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Note: The Device Manager, Separations Manager, Color Setup Manager, Calibration Manager, and Cas-
sette Manager buttons are also available from the Edit Page Setup dialog box.

2.4.3.2 Status area

The status area has three sub-areas: one shows what the input system and interpreter are doing, one
shows what the output system is doing, and a final one shows the most recently used output device.
Figure 2.2 shows some typical contents of the status area.

Figure 2.2 The status area of the tool bar

The meanings of these example status bars are:

1 Idle The RIP is not looking for jobs on its inputs.

2 Scanning The RIP is looking for input but none is arriving.

3 Interpreting The RIP is interpreting a job.

4 Printing The RIP is sending a job to an output device.

In all these examples, the output device is the Preview device. The text can change to show other types
of output, including output to graphics files and real printers and imagesetters.
This completes a brief description of the controls and status indicators in the Harlequin RIP. If you
want to try using the RIP, see Chapter 3, Getting Started with the Harlequin RIP on page 45. If you
want to stop the RIP, see Stopping the Harlequin RIP on page 43.

2.5 Menus affected by optional features

A number of commands and options in dialog boxes appear only if your copy of the Harlequin RIP
has been supplied with certain optional features and these are enabled.

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The major features that have this effect are:

• Harlequin ColorPro. See ColorPro menus on page 42.
• Harlequin Screening Library (HSL). The visible changes are limited to new dot shapes in the
screening part of the Edit Style dialog box, as described in Chapter 6, Screening.
• TrapPro. See TrapPro on page 42.
• Media Saving. See Advanced Media Saving on page 119.
• Simple Imposition Manager. See The Imposition Manager on page 264.

2.5.1 ColorPro menus

ColorPro is a color management system that can work as an integrated part of the Harlequin RIP. If
relevant options within ColorPro are present and enabled, the following commands appear. See the
separate manual entitled Harlequin ColorPro User Guide for full details.
In the Color menu:

Color Rendering Intent Manager

This command allows you to create and edit custom color reproduction strat-
egies in ColorPro. It appears only when the ColorPro option is enabled.

Color Setup Manager

A standard set of options is available with the Color Setup Manager without
ColorPro including Black generation and Undercolor Removal (UCR) con-
trol and color management override options. When ColorPro is activated an
extended set of options is available. You can create and edit color setups
including the selection of input and output profiles, rendering intents and
press emulation.

Install ICC Profile

This command supports the use of industry-standard color profile files which
enable portable definitions of the characteristics of printers, printing pro-
cesses, presses, scanners, and other equipment. It appears when Harlequin
ColorPro is enabled.

Uninstall ICC Profile

This command uninstalls ICC profiles and appears when Harlequin ColorPro
is enabled.

2.5.2 TrapPro
TrapPro is an option for the Harlequin RIP that can be set up to perform trapping. If TrapPro is present
and enabled, the following command appears in the Output menu. See the separate TrapPro User
Manual for full details.

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TrapPro Manager
This command displays a dialog box where you can inspect and create different sets of rules for
trapping. These rules become available in the Trapping section of the Page Setup dialog box.
See Trapping features on page 374 for details.
Ink Set Manager
This command displays a dialog box where you can configure various types of ink including
normal, opaque and transparent.

2.5.3 Media Saving

Media Saving is a layered option for the Harlequin RIP which is enabled using a password. If Media
Saving is present and enabled, the Media Saving option appears in the Output menu.
Media Saving
This option displays a dialog box where you can view the various flats being created and view,
roam or delete the various pages used to make up the flats. See Section 5.15 Advanced Media
Saving for details.

2.6 Stopping the Harlequin RIP

You can stop the RIP whenever you wish but you should keep it running as much as possible when-
ever you expect jobs to be input. There are very few cases where you must stop the RIP: for example,
you must stop the RIP when you shut down the computer running the RIP or when you update your
copy of the RIP.
The state of the RIP when you stop it is also the state that the RIP assumes when you next start it. For
example, if you quit the RIP when inputs are active then the RIP restarts with the same inputs enabled.

2.6.1 Quitting the Harlequin RIP

If you are the only user of the RIP, all you must do is ensure that no jobs are in progress and choose the
Quit command in the File menu. Take more care if there are other users, as described here.

If the RIP is providing a network service, warn the other users that there will be an interruption of ser-
vice.
Disable output, by selecting the check box labeled Disable output in the Output Controller, if you are
operating in either of the multiple modes. This shuts down the output cleanly, by allowing the current
job to complete but not starting any other jobs. (When you restart the RIP, output is re-enabled auto-
matically, though you will have to answer a question if there are any jobs waiting to be output in the
Active Queue.)
Wait for any active jobs to complete.
Leave the RIP settings in their usual state, unless you know that you will be making significant
changes to the RIP, the computer, the network, or connected output devices.
• If you leave settings unchanged, you need only restart the RIP to have it start responding to all
its previous inputs.

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• If you are making changes, you may prefer to disable inputs from other computers until you
have restarted the RIP and proved that there are no resultant problems.
From the File menu, choose Quit (or press Command-Q) to exit the RIP.

2.6.2 Quitting the headless RIP

To quit the headless RIP a file containing the following PostScript Language code can be placed into a
spool folder:
$printerdict /superstop /superstop put
systemdict /quit get exec

Note: If a file containing this code is placed into a spool folder to quit the RIP, the file will not be auto-
matically moved from that folder when the file is run. Therefore, you should ensure that the file is
moved before attempting to re-start the RIP.
Alternatively, on Mac OS X Control-click the Harlequin RIP icon in the system dock and select Quit.

2.6.3 Stopping the computer

If you are also stopping the computer, exit any other applications and follow the usual procedure
described in the manual for your computer or operating system.

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 3

Getting Started with the Harlequin

RIP
Chapter gave a broad overview of the kinds of tasks the Harlequin RIP can perform. In this chapter
you will learn how to process simple jobs, and how to switch between different configurations.

3.1 A simple Harlequin RIP session

Once the Harlequin RIP is installed and running on your machine, you can start to use it. Starting up
the Harlequin RIP on page 36 describes how to start the RIP and gives an overview of the menus and
tool bar.
It is a good idea to start with a short test job and to view it on screen so that you avoid wasting materi-
als. (Even when you are familiar with the RIP you should consider using such an on-screen test when
processing a new kind of job for the first time.)
Note: This manual uses some conventions of font and style to describe special key combinations and
to highlight the titles of programs and dialog boxes, options in menus and dialog boxes, and text that
we suggest you type. For details, see Conventions on page 6 in the Preface.

3.1.1 Creating a Page Setup

First, you need to create a convenient Page Setup‚ a collection of settings that the RIP uses to process
the jobs submitted to it:
1. Choose the Page Setup Manager option from the File menu. If you cannot choose this option, stop
inputs to the RIP. To do this, click the tool bar button that shows a red arrow and traffic light, or
choose the File > Start Inputs menu option.
2. In the Page Setup Manager, as shown in Figure 3.1, select a Page Setup. Default Page
Setup is a safe choice: select it and click Edit to display the Edit Page Setup dialog box. If you
want to create a new Page Setup, the easiest way is to copy the Default Page Setup. Select
Default Page Setup and click Copy to display the New Page Setup dialog box.

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Figure 3.1 Page Setup Manager dialog box

3. In the Edit Page Setup dialog box, shown in Figure 3.2, set the Device to None and the Vertical
and Horizontal resolutions to something small, say 72 dpi. If you change the Device, you must
choose a separations style listed in the Style pop-up menu and, for some devices, a cassette name
from the Cassette pop-up menu.
For the purposes of this example, you can select any option from these lists. For more informa-
tion about the options in this dialog box, see Edit Page Setup dialog box on page 82.
The None device does not produce any printed output, but does perform all the necessary pro-
cessing for the job, including producing page buffers‚ as defined on page 416 in the Glossary.
This device can be used for testing and timing jobs, and is especially useful for previewing the
job on screen.

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Figure 3.2 New Page Setup dialog box

4. Click OK. (Click Save As if you are working in the New Page Setup dialog box, and save the
Page Setup as Default Page Setup; this changes the original Page Setup but it is convenient
for use this name during this session.)
5. Click OK again to close the Page Setup Manager dialog box.
The Output Controller/Monitor window must be displayed for you to see the processed output for the
None device. If you cannot see this window: first choose the Configure RIP option from the File menu
and check that the option shown against Page buffering is Multiple (Parallel); then display the
Output menu and look at (but do not choose) the option Output Controller.

If there is a check mark next to the menu option, the RIP is displaying the window but it may be hid-
den behind another window. The Output > Output Controller menu option can be used to toggle
between opening and closing the Output Controller/Monitor. Each time that you open the Output Con-
troller/Monitor it opens in front of all other RIP windows.
Note: The Output Controller is only available in either of the multiple page buffer modes. You can
also view a page in one of the single modes by setting the output device to Preview instead of None.
In the following description we assume that you are working in Multiple (Parallel) mode. If
you are using one of the single modes, see Sending output to the screen on page 87 for more details
about previewing pages.

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For the example job described next, make sure that you have deselected the Disable output check box
in the Output Controller/Monitor. This box is selected by default, so that you can hold pages for on-
screen viewing before sending the pages to real output devices.

3.1.2 Creating a simple job

You also need to set up a sample job. Usually, jobs are files created by another application, but you
can create a simple job within the RIP, as follows:
1. From the Fonts menu, choose Proof Fonts. A window appears with a list of the available fonts,
which the Harlequin RIP can use with any of its possible output devices. (See Figure 3.3.)

Figure 3.3 Proof Highlighted Fonts dialog box

2. Select between one and six fonts. To select a range of fonts, click on the first font of that range
and then hold down the Shift key when you click to select the last font.
3. From the Page Setup pop-up menu, select Default Page Setup.
4. Click the Proof button. Several things happen on screen, with some items appearing and quickly
disappearing again:
• A Print File menu appears alongside the other RIP menu titles. This menu disappears when
the job is complete.
• The status area on the right of the tool bar in the Harlequin RIP window shows an animated
picture of a hand writing a page. None appears in the status area on the right. (When you
use other output devices, you see other animations and names.) Note: If you cannot see the
tool bar, use the File > Tool Bar menu option to display it. If you cannot see the RIP Moni-
tor, use the File > RIP Monitor menu option.
• Text reporting the progress of the job appears in the scrolling text area of the RIP Monitor
window as the RIP starts the job and reads the necessary fonts.
• At least one progress dial window also appears and shows what is happening. For example,
the Read Dial shows how much of the job the RIP has read and disappears when the RIP
has processed the complete job. With a small job like this proof and a fast computer, the
Read Dial may not appear; Figure 3.4 shows the dial. Other dials can appear, depending on
the size of the job and the settings in your copy of the RIP.

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Figure 3.4 Read Dial

Notice what happens in the Output Controller/Monitor window. A job called 1. fontlist appears
in the list on the left, the Active Queue. After a few moments its name moves into the box at upper cen-
ter of the window, to show that the RIP is processing it, and then to the Held Queue on the right. (The
job is called 1. fontlist, to show that it is the first page of the fontlist job. This job is probably
only one page long, unless you chose several fonts.)

3.1.3 Previewing the image on screen

This job has now been processed by the Harlequin RIP and sent to an output device. The output device
you chose was None, a dummy device provided for test runs like this one and for previewing, so no
physical printing has happened. However, you can look at an on-screen view of the page you have
created:
1. Select the job in the Held Queue (by clicking), and then click the Roam button. A Roam window
appears. Note that you can preview any page in the Output Controller.
The Roam window displays samples of the fonts you selected. (See Figure 3.5.) This window also dis-
plays the title of the page, 1.fontlist, the color of the page, and the resolution. The Roam menu
appears to the right of the Fonts menu.
For most sizes of page, there are also horizontal and vertical scroll bars at the edges of the Roam win-
dow. (The scroll bars appear only when the window is too small to display the whole page at one
time.) When there are scroll bars, you can use them to move your view to different parts of the page
image. Alternatively, you can drag the page image around by holding down the left mouse button
when the cursor is over the image and moving the mouse. While you are dragging the image, the

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shape of the mouse cursor changes to a gripping hand. For more information about navigating in the
Roam window, see Roam and Preview windows on page 89.

Figure 3.5 Roam window

Note: When viewing a higher resolution image, the Roam > Reduced Roam menu option is probably
available. It allows you to see more of the image in one view.
When you have finished inspecting the page preview, close the window. To do this, click the close box
or choose the Close option from the Roam menu. Alternatively, you can use the standard methods for
your operating system.
Note: You must close the Roam window (and the Reduced Roam window if you opened it) before you
can roam another page.

3.1.3.1 Other pages in the job

If there are other pages in the job, the RIP has probably processed them in the time you spent inspect-
ing the first page: if so, there are appropriate messages in the RIP Monitor window and new entries in
the Held Queue on the right of the Output Controller/Monitor. Any following pages are called
2. fontlist, 3. fontlist, and so on. You can:

• View one of the processed pages by selecting it and clicking the Roam button.
• Stop processing any remaining pages by using the Kill Current Job option in the Print File
menu. Any pages already processed stay in the Held Queue until deleted.

3.1.3.2 Killing jobs and error messages

After killing a job and depending on what stage the job had reached, you may see a PostScript lan-
guage error message in the RIP Monitorwindow. Error messages look similar to the following:

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%%[Error: interrupt; OffendingCommand: interrupt; File: %disk0%tmp/fontlist]%%

Job Not Completed: fontlist

Such error messages are harmless if you stopped the job: they simply report that the job stopped
before it was complete.
In other circumstances, an error message alerts you to a possible problem with a job. The details of the
message may help a PostScript language programmer or your support organization to diagnose the
cause of that problem.

3.1.4 Outputting to a real device

Your installation of the Harlequin RIP has probably been set up to be able to talk to a real printer or
imagesetter and, if this is so, you can try sending some output to it. (If you do not have a suitable phys-
ical output device, try using None again but vary the screen resolution to a value in the range 300
through 600 dpi, so that you can see more detail. Run another job proofing fonts, then move to the
next section, Sending a job to the Harlequin RIP on page 53.)
To send output to a physical device:
1. First display the File menu and choose the Page Setup Manager option (which this manual often
describes as choosing the File > Page Setup Manager option).
2. In the Page Setup Manager dialog box, select Default Page Setup and click Copy to display
the New Page Setup dialog box. The New Page Setup dialog box is very similar to the Edit Page
Setup dialog box, shown in Figure 3.2 on page 47.
3. Select your preferred physical device from the Device pop-up menu.
Note: If the device is not listed in the Device pop-up menu, you may need to configure it using
the Device Manager, available from the button next to the Device list and described in Chapter 5,
Configuring Output Formats. It is probably easier to use the None device to do another screen
preview.
4. Assuming that you have successfully chosen a physical device, set the resolution and any other
required options in this New Page Setup dialog box. Note that if you change the Device, you
have to choose a separations style from the Style pop-up menu and, for some devices, a cassette
name from the Cassette pop-up menu.
5. Click Save As; the RIP displays the Save Setup dialog box. In the Save As text field type a name:
Default to Printer is suitably descriptive, so type that name then click Save.
Note: The Harlequin RIP limits all user created names or file names to 31 bytes. This is equiva-
lent to 31 characters when using standard ASCII text, and 15 characters when using double-byte
character sets, such as Kanji.
6. Click OK to close the Page Setup Manager.
7. Choose Media Manager from the Output menu and select the Disable media management box.
(You need to configure the media management before using it; that topic is covered in Chapter
9, Media Management.)
8. Now create a new sample job as before, by choosing the Fonts > Proof Fonts command and
choosing some fonts from the Proof Highlighted Fonts dialog box.

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9. From the Page Setup list, select Default to Printer and click Proof.
The RIP displays the same indicators of activity: text in the RIP Monitor window, an animated picture,
and one or more progress dials. Another fontlist job appears in the Active Queue and a large, empty
rectangle appears just above the center of the Output Controller/Monitor and starts to fill with gray.
This rectangle is known as the progress box. Note that in either of the single modes, the progress box
appears in a separate window.
This time, when the job is being processed, watch the two gray bars that successively fill the progress
box, a light gray and a dark gray spreading from the top. The light gray bar represents the amount of
data the RIP has processed; the dark gray bar represents the amount that has been sent to the output
device (printer).
Note: The bottom edge of the light gray bar should always be ahead of (below) the dark gray. If the
dark gray catches up, the page may not be output properly; it depends how the printer reacts to having
to wait for data. In this case the RIP printer buffer has probably been set too small, and you should
increase its size. You can do this in the Configure RIP dialog box available from the File > Configure
RIP menu command. Typical sizes are in the range 4 MB through to 12 MB.

When the dark gray has reached the bottom of the progress box, the RIP has finished the job and the
progress box clears. If the job was processed successfully, you can now pick it up from your output
device. If the job does not output, or stops and starts while outputting, you may need to reconfigure the
RIP or the host machine. (To help you identify a problem, the RIP Monitor window displays and
records any error messages.)
The Output Controller/Monitor provides another two useful facilities:
• If you want to reprint a page once it is in the Held Queue, you can do so easily: just drag it with
the mouse back into the Active Queue. Try that with the top fontlist job now: it is sent again
to the same device, which should be None. If you did the same to the other fontlist job
(which was sent to your imagesetter or printer), the RIP would produce another hard copy.
It is very quick to output a page like this again, because it has already been processed once; the
RIP stores the raster data, and just sends this data again to the relevant output device. By
default, the RIP deletes processed jobs from the Held Queue only when it is necessary to free up
disk space for new jobs.
• If you select a job and click on the Info button (or just double-click on the job), the RIP brings
up the Throughput Info dialog box, which contains the settings for that particular job. You can
change some of these settings before reprinting the job.
Note: If you are roaming a page, there are fewer available options in the Output Controller. For exam-
ple, you must close the Roam window (and the Reduced Roam window if you opened it) before you
can roam another page.

3.1.5 Sending a job to the Harlequin RIP

You have seen how the Harlequin RIP processes a simple job, created within the RIP. Now it is time to
see how to send a real job.
If you want to print a file, you can do so directly by choosing Print File from the File menu and speci-
fying that file. Try printing a file now, if you have a small file available: for example, a PostScript lan-

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guage file. The RIP interprets the file and sends it to the printer or on-screen preview, according to the
Page Setup that you choose in the Print File dialog box.
Using the Print File command on page 218 describes this method and the following sections describe
other types of files that the Harlequin RIP can print.
Usually, however, you will want to let the RIP accept input directly from other applications. We shall
see how to do this using a spool folder or directory visible to other computers on your network. For
more details on supplying jobs to the RIP, see Chapter 8, Configuring Input.

3.1.5.1 Publishing a setup with AppleTalk

Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
First, if you are outputting to an imagesetter and want to produce color separations, you should turn on
HPS, Global Graphics’ proprietary high-quality screening system. To do this:
1. In the Page Setup Manager select the Page Setup that uses this output device‚ we suggested
Default to Printer‚ and click Edit.

2. Click the Separations Manager button (next to the Style list) in the Edit Page Setup dialog box to
open the Separations Manager.
3. In the Separations Manager select an appropriate style from the list, for example CMYK
Separations (Halftone), and click Edit to open the Edit Style dialog box.

4. In the Edit Style dialog box, select the check box marked Use Harlequin Precision Screening; this
enables a high-quality screening method (HPS). Click OK to save your change and close the
Edit Style dialog box, and then click Select to close the Separations Manager. The name of the
style that you just edited appears in the Style list.
5. Click OK twice more to exit the Edit Page Setup and Page Setup Manager dialog boxes.
Because this may be the first time you have used this screening method, HPS has to cache (save)
information on disk; this may take a few minutes. This happens with each new resolution, dot shape,
and screen frequency you use: the RIP displays a suitable progress dial as it caches each screen. For
more information about the options in the Edit Page Setup dialog box, see Edit Page Setup dialog box
on page 82.
To publish a printer on the network:
1. Choose Input Controller from the Harlequin RIP menu (or bring that window to the front if there
is already a check mark against that menu option).
2. When the Input Controller dialog box appears, click New to display the Input Channel Edit
dialog box.
3. In the Input Channel Edit dialog box, choose a Name for the printer you are about to publish, say
Brill-O-Print, and type it in. Select AppleTalk from the Type menu list and select
Default to Printer from the Page Setup menu list. Make sure that the Enabled box is
selected and click OK.

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You can leave the Input Controller dialog box displayed or close it. See if there is a check mark in
front of the Start Inputs option in the Harlequin RIP menu; if there is no check mark, choose this menu
option. You will see a progress dial appear as the new setup is published.
Now go to a Macintosh computer elsewhere on your network, and try to print a document. Among the
available printers shown by the Chooser, you should now see Brill-O-Print. If you send a job to
this printer, the RIP again displays the progress box filling with light and dark gray bars to show the
job being processed in the usual way. The progress box is part of the Output Controller in either of the
multiple modes, or a separate window in either of the single modes.
To disable a single AppleTalk input or other input temporarily, select it in the Input Controller and
click Off. To remove an input permanently from the Input Controller, select the entry and click Delete.
See Using the AppleTalk input plugin on page 206 for more information.

3.2 A more complex use of the Harlequin RIP

You have seen how the Edit Page Setup dialog box lets you choose the output device and a variety of
effects that control the appearance of the pages you display.
Many publishing environments deal with more than one kind of document. For example, suppose that
you need to print a product manual in draft and final versions: draft documents need not be printed at
a high resolution, but final versions should exploit the full printing quality of the output device.
The Harlequin RIP processes documents according to page setups. Each Page Setup specifies a com-
plete page format in terms of the orientation, resolution, size, and so on; and provides a way to recall
that page format, easily and exactly. For full details, see Chapter 5, Configuring Output Formats.

3.2.1 Saving a Page Setup

To make and save a new Page Setup:
1. Stop inputs to the Harlequin RIP if necessary. In the File menu, make sure that there is no check
mark in front of the Start Inputs option. Choose the Start Inputs option if there is a check mark:
this stops inputs. Alternatively, click the Stop Inputs button in the tool bar.
2. Choose Page Setup Manager from the File menu or click the Page Setup Manager button in the tool
bar. The Page Setup Manager dialog box appears, where you have two choices. If there is
already a similar Page Setup, select it and click Copy to display the Edit Page Setup dialog box.
(If there is no similar Page Setup, click New to display the very similar New Page Setup dialog
box.)
3. Edit the settings in the New Page Setup dialog box to give the configuration you want. Click
Save As.

4. The Save Setup dialog box appears, and you can specify a name for your new Page Setup in the
Save As text field. (See Figure 3.6.) Click Save to save the setup and return to the Page Setup
Manager dialog box.
You can verify that the setup was saved under this name by looking at the entries in the Page
Setup Manager dialog box. Whenever you want to output a job manually you can use this setup
by selecting its name in the Page Setup menu in the relevant dialog box: for example: the Print

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File or Proof Highlighted Fonts dialog box. You can also configure the Harlequin RIP to make
named Page Setups available to jobs submitted by other users and applications, as described
next.
Note: You can reorder the entries in the Page Setup Manager dialog box by selecting one or
more entries and dragging with the mouse. The order in the Page Setup Manager is the order of
appearance in menus where you choose a Page Setup‚ typically when configuring a managed
input (described in Managing input plugins on page 203) or interactively printing a file
(described in Using the Print File command on page 218).
Note: The order of page setups in the list is important in one other circumstance. From the Mac-
intosh Finder, you can drag a file and drop it onto the Harlequin RIP icon to make the RIP print
the file. When printing a dropped file, the RIP always uses the page setup at the top of the list in
the Page Setup Manager.

Figure 3.6 Save Setup dialog box

3.2.2 Associating a Page Setup with an input

Creating and saving Page Setups also allows you to make a published printer use a specific Page
Setup: this allows all users of the RIP to choose a suitable Page Setup for a particular job by choosing
the associated printer. Try the following to see how this works with just two published printers on the
network:
1. Display the Page Setup Manager. Copy the Page Setup Default to Printer‚ select it and
click Copy. In the New Page Setup dialog box, make no changes, just click Save As. Give this
Page Setup the name Pos.
2. In the Page Setup Manager, select Pos and click Copy to make a copy and start editing that
copy. In the Effects section of the New Page Setup dialog box, select the Negative check box and
click Save As.
3. Save the new Page Setup with the name Neg. Click OK to close the Page Setup Manager.
4. Display the Input Controller and create two new AppleTalk devices, as before, called Pos-O-
Print and Neg-O-Print. While using the Input Channel Edit dialog box, select the Page
Setup Pos for Pos-O-Print and Neg for Neg-O-Print.

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Once you have enabled the new inputs, and used File > Start Inputs, the RIP publishes the two new
printers on the network. Sending a job to Pos-O-Print causes it to be output as normal, while jobs
sent to Neg-O-Print are output in negative.
You can publish several more inputs to the Harlequin RIP, each with different Page Setups. As well as
changing the Negative setting, you can change the output device, output resolution, rotation, screening
strategies, and many other settings.

3.3 Using the Harlequin RIP with a spool folder

Using a Spool Folder input, you can configure the Harlequin RIP to print files placed into a common
folder, usually one accessible from other computers on your network. This means that various users or
applications can write files into a spool folder. The RIP repeatedly checks this folder, and when it
finds a new file, it processes the file. The RIP deletes each file from the spool folder after printing it
but, using the Spool Folder Configuration options, you can instruct the RIP to save the file in another
folder after printing.
The RIP associates each spool folder with a Page Setup, giving the benefits described in Section 3.2 A
more complex use of the Harlequin RIP, when the RIP was published as a network printer. In particu-
lar, you can define several spool folder inputs, each with a different Page Setup, to match the needs of
different users or applications. (If you find it convenient, you can use the same Page Setup with a
spool folder and other types of input.)
To define a spool folder, follow these steps:
1. Choose Input Controller from the File menu (or bring that window to the front if there is already
a check mark against that menu option). When the Input Controller dialog box appears, click
New. In the Input Channel Edit dialog box, choose a Name for the output device you are about to
publish, say SpoolPrint, and type it in. Choose SpoolFolder from the Type menu and for
Page Setup choose an appropriate Page Setup.
Click Configure to specify the folder. The default folder is called Spool in the SW folder. You
can use any other folder that the RIP can access. See Using the Spool Folder input folder on
page 207 for more information. Exit the Spool Folder Configuration dialog box by clicking OK.
2. In the Input Channel Edit dialog box, select the Enabled box and click OK to exit. If necessary,
choose Start Inputs from the File menu. You will see a dial appear as the new setup is published.
This starts the spool folder and any other enabled inputs. If there are files already in the spool
folder, the RIP asks if you want to start by printing them. Files that are put into the folder after
this input is enabled are rendered and printed in order of arrival in the folder.
Note: The RIP may fail to publish a spool folder input. If so the relevant entry in the Status
column of the Input Controller dialog box shows Stopped. The most likely reason is that you
have tried to use a folder already in use by another spool folder input: return to the Spool Folder
Configuration dialog box and choose a new folder.
3. When you want to stop running the spool folder (and all other enabled inputs), choose Start
Inputs in the File menu again.

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To disable a spool folder temporarily, select it in the Input Controller and click Off. To remove a spool
folder’s entry in the Input Controller, select the entry and click Delete. (Removing the entry does not
remove the associated folder on disk, nor any contents of that folder.)
Note: Even though PostScript Language compatibility level 1 is rarely used, you should note that the
spool folder plugin does not work with Page Setups set to PostScript Language compatibility level 1.
See PostScript language compatibility level on page 143 for more information. If this is attempted an
undefined on find resource error will occur.

3.4 Monitoring the Harlequin RIP

The RIP Monitor window shows the progress of jobs through the Harlequin RIP. The text displays
information about timing, errors, job completion, fonts, and other messages.

To see this window if it is not visible, select RIP Monitor from the File menu. Alternatively, hold down
the Command key and press M: that is, type Command-M. Repeat this command to hide or redisplay
the RIP Monitor window.
Figure 3.7 shows some example messages in the RIP Monitorwindow.

Figure 3.7 RIP Monitor window messages

The RIP Monitor window displays only messages since the start of the RIP session and can display the
last 32,000 characters of these messages. (Within this limit, you can scroll back to inspect the mes-
sages for old jobs: the window scrolls back to the end when new text appears.) In Multiple (Parallel)
mode‚ in the default page buffer mode‚ timings require careful interpretation because the RIP may be
outputting and interpreting jobs at the same time. Also, if the RIP has to pause (for example, to wait
for disk space to be freed), the timings may be misleading because of the variable time spent freeing
space.

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The RIP adds a copy of all the messages appearing in the RIP Monitor to a file, called LOGFILE, in the
SW folder.

The size of the log file can be restricted by editing the GeneralPreferences text file found within
the Config folder in the SW folder.
By changing the value of /MaxLogfileSize to any value other than 0 will specify the maximum
size of the file in bytes. When this maximum value is reached LOGFILE will be changed to LOG-
FILE.OLD.

The size of the file is checked when the RIP is started and each time a message is written to the file.
Only one LOGFILE.OLD is retained. Therefore, you must be aware of the size of the log files and
rename them to keep all messages.
Note: You will only see messages that have been added to the log file since you started the current RIP
session. To view the entire contents of the log file including messages from any earlier sessions, you
must use a text editor.
The log file is an important source of information when difficulties arise. Refer to it if you have any
problems.
Note: From Eclipse Release SP3 Font backup no longer backs up logfiles with the prefix LOGFILE.
Thus copies of logfiles whose names do not start with LOGFILE will be included in font backup files.

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 4

Harlequin RIP Output Methods

This manual uses the term throughput to mean the productivity of your RIP workflow‚ i.e., how much
work you are completing in a given time. The Harlequin RIP provides a comprehensive set of tools
that allow you to maximize your throughput.

4.1 Historical overview

The Harlequin RIP is able to overcome many of the problems which have beset other interpreters and
renderers for page description languages.
RIPs have traditionally operated in a serial fashion; that is, the RIP processes a page of the PDL and
then outputs it, then processes the next page and outputs it, and so on.
The Harlequin RIP can operate in this manner. This approach to processing (which includes both
interpreting and rendering) and output is usually adequate with low to medium resolution devices.
However, with higher resolution devices this approach becomes wasteful, because periods are spent
with the output unit idle while the RIP is working, and then with the RIP idle while the output unit is
working. The RIP allows you to overlap processing and output for greater throughput.
Also, if you need to change cassettes or deal with a printer fault or media jam, most RIPs must wait
until the fault is cleared before they can output the current page and continue. If you are processing a
long job and a fault occurs, it must be reinterpreted once the fault has been detected. For an overnight
job, the fault will probably not be detected until the morning, in which case a lot of time will have
been wasted.
The Harlequin RIP overcomes these limitations by allowing you to choose one of four different modes
of operation.

4.2 Page buffering modes

Depending on the job involved, and the configuration of your hardware, you can choose whichever
mode is most suitable and overcome many of the problems described above.
There are two general methods of operation in the RIP: multiple and single. Multiple modes allow you
to write each interpreted page to disk, ready for later printing and reprinting. Single modes only inter-
pret one page before printing must occur (and hence make the RIP operate in a more traditional man-
ner).

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The four specific modes are: Single, Single (if required), Multiple, and Multiple (Parallel). Table 4.1
introduces and compares these modes.

Table 4.1 Comparison of page buffer modes

Mode Behavior

Single (if required) Only buffers a page to disk if the page is too complex to
process in working memory‚ deletes this buffer after
printing.
Otherwise, sends output directly to the output device.

Single Always buffers a page to disk before printing it.

Deletes the page after printing.

Multiple Always buffers a page to disk before printing it.

Retains on disk all pages created for a job, for ease of
reprinting.

Multiple (Parallel) Always buffers a page to disk before printing it

Retains on disk all pages created for a job, for ease of
reprinting.
Sends interpreted pages to the output device while inter-
preting other pages at the same time.

Note: For normal use, you should use Multiple (Parallel) mode. This gives the best overall perfor-
mance from the RIP and the best control over every page processed. The RIP uses this mode by
default.
Refer to Chapter 7, Configuring the RIP, for details of how to select different page buffering modes in
the RIP.

4.2.1 Page buffering modes for the headless RIP

When run as a headless RIP the page buffering mode is automatically changed to Single (if
required).

From the Harlequin RIP Genesis Release v7.1 the page buffering mode can be changed from Single
(if required) to one of the other available throughput modes. This can only be done programati-
cally using a PostScript language file or via the SOAR interface.

4.2.2 Operating modes

Figure 4.1 presents an overview of the behavior of the Harlequin RIP in the single and multiple
modes.

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When the RIP is in either of the single modes, it sends each page straight to the output device once it
has been interpreted. If the RIP buffers a page to disk, that page buffer is deleted once the page has
been printed.

Single Modes Multiple Modes

Interpreter Interpreter
....../manualfeed ....../manualfeed
exch def exch def
/paperheight /paperheight
exch def exch def

Jobs Jobs
Page buffer
file
Page buffer
files

Output device Output device

Figure 4.1 How the Harlequin RIP behaves in Single and Multiple Modes

When in one of the multiple modes, pages are always buffered, and they are not usually deleted (until
disk space is required for new pages) so they can be reprinted at a later point. The throughput system
tools can be used to oversee printing‚ allowing the range of benefits described below. See The
throughput system on page 63.
Note also that when in Multiple (Parallel) mode, interpretation can take place at the same time as out-
putting an earlier page to a printer or imagesetter, but this is not true of either of the single modes. This
is not illustrated in the diagram.
Even though the increase in job throughput is significant when in Multiple (Parallel) mode, there may
be cases‚ usually because of hardware limitations‚ when you will need to use one of the other modes
provided. For example, you may not have enough disk space to store any page buffers, or the combi-
nation of a slow disk and an output device with a high data rate may mean that working in Multiple
(Parallel) mode becomes impractical. See The throughput system on page 63 for more details.

4.3 The throughput system

This section describes the Output Controller, which is the central part of the throughput system, and
discusses how it can be used to increase throughput. The Output Controller is available when either of
the multiple modes is selected (see Control of page buffering modes on page 189, for details on how to
change the page buffer mode).

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The Output Controller gives you powerful facilities for controlling any jobs output by the RIP. These
include:
• Reprinting without reinterpreting the original page description.
• Changing the order of the pages to be printed.
• Control over a variety of page characteristics without reinterpreting the page description.
• Aborting any page before it is completely printed.

4.3.1 Output Controller

To display the Output Controller (if it is not already displayed), select Output Controller from the Out-
put menu, or type Command-O. It will appear as a separate window on your screen, as shown in
Figure 4.2. If you want to remove it, choose the menu option again. By default, the Output Controller
is displayed when you start up the RIP.

Figure 4.2 Output Controller / Monitor dialog box

4.3.1.1 The Active Queue and Held Queue

The Active Queue and Held Queue in the Output Controller can contain a number of items, each repre-
senting a page of output.
The Active Queue contains pages which are currently queued for printing. Pages listed at the top of the
Active Queue will be printed first.

The Held Queue contains pages which are being held on your hard disk. They may have already been
printed, or you may have moved them there yourself. (See Moving page buffers on page 65).
The number of items in a queue, together with the amount of disk space they use, is displayed below
each queue.
If a page is currently being printed, it is shown in the box at the top of the Output Controller between
the Active Queue and Held Queue.
As pages are printed, there is a constant flow from the Active Queue to the Held Queue. After a page has
been interpreted, it will be placed at the end of the Active Queue, printed in its turn, and then trans-

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ferred to the Held Queue where it will be retained until disk space is needed for new pages, when it will
be automatically deleted. This is illustrated in Figure 4.3.

4. Print page buffer

3. Place page buffer in 5. Retain page buffer in

Active Queue Held Queue

2. Interpret job

1. Issue print command

Figure 4.3 Flow of a page buffer between the active and held queues

4.3.1.2 Interrupting output

The Disable output check box can be used at any time to stop printing. When it is selected, pages will
remain in the Active Queue until you clear the check box to resume the printing.
Disable output does not stop the current page printing, if there is one. To stop a page while it is printing,
drag the page name from the top box into the Held Queue or Active Queue.
If pages are interpreted while output is disabled, the new pages created are added to the Active Queue
as normal. Disabling output does not prevent you from processing jobs.
You will find Disable output useful if you need to renew the media in an output device, or if there is a
fault on a device, but you wish to continue interpreting and preparing more pages for output.
The RIP automatically disables output when certain errors occur, for example if a device determines
that the wrong cassette is mounted.

4.3.1.3 Moving page buffers

You can move any of the pages shown in the Output Controller between the Active Queue and Held
Queue by selecting and moving them with the mouse.

To move a page buffer, do the following:

1. Select the desired file.
2. Holding down the mouse button, drag the file between the queues.
The selected page will move with the mouse pointer and enter the list at the position where you release
the mouse button.

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Shift
If you wish, you can move a block of several pages at once. To select a block, select the first one, then
hold down the Shift key and select the last one.

You can also select several page buffers which do not form a contiguous block. Hold down the Com-
mand key while selecting the page buffers.
You can reprint or abort a job, or reorder the pages in the queue, easily and quickly, by moving the
pages between the queues, as follows:
• To reprint a page, move it from the Held Queue to the Active Queue.
• To stop a page before it is printed, move it from the Active Queue to the Held Queue.
• To abort the page that is currently being printed, move it from the box between the queues to
the Held Queue.
• To change the order of the pages in a queue, move them within the queue.
• If you are moving a lot of pages at once, disable output first to ensure that none of them are
inadvertently printed before you are able to move them.

4.3.1.4 Page buffer information

Information about each page is displayed in the Active Queue and Held Queue. Refer to Figure 4.2 on
page 64 to see examples of this. The following items of information are displayed:
• The delete permission for each page.
• Whether or not the page was created by an older version of the RIP.
• The page number of the original job.
• The original job name.
• The color for printing the page.
The delete permission for (or origin of) each page
You can configure the RIP so that it automatically deletes pages once they have been printed, or when
space on the hard disk is low. However, you can still retain an important page by changing its delete
permission. See Deleting buffered pages on page 69, for details on deleting pages automatically, and
Operations on buffered pages on page 70, for details on retaining important pages.
The mark, if any, to the left of each page in the Active Queue and Held Queue indicates its delete per-
mission.

ℜ♦ The page is locked and cannot be deleted automatically

℘ (no mark) The page is unlocked and can be deleted automatically

< The page was created in an earlier version of the Harlequin RIP

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Note: The mark ( < ) in front of the name of an older buffer is there to remind you that there are some
limitations on what you can do with earlier versions of page buffers: see Page buffers produced by
older versions of the Harlequin RIP on page 74 for details.
The page number of the original job
The page number of the original job from which the page buffer comes is displayed on the right of the
delete permission.
For example, if you are producing separated CMYK color, the RIP produces four monochrome pages
for each original page of the job. The first four pages represent the Cyan, Magenta, Yellow, and Black
separations for the original page 1. The next four represent the CMYK separations for the original
page 2, and so on. Separated pages produce pages with the original number labeled by color. Thus the
four separations for page 1 are called 1. Jobname (C), 1. Jobname (M), and so on.
If you only print a range of pages from a document, they are labeled in the original job from 1
upwards, rather than with the true page number in the document. For example, pages 3 through 7 of a
document are labeled from 1 through 5 in the job.
The original job name
The name to the right of the page number is the job name. This is not necessarily the same as the file
name of the job.
If the job name for a PostScript language job is not specified in the page description, then one of the
following will apply:
• If the input came from a file, the file name will be used.
• If the input came from the Executive, then the value of %exec% will be used.
• If the input came from an AppleTalk network, then the value of %ip:atalkname% will be
used. The atalkname is the AppleTalk printer it came from.
For other types of jobs, the file name will be used.
The color for printing the page
Color separation pages in the Output Controller are labeled with their separation name (for example:
C, M, Y, or K; or the spot color name), or Composite if there are several colors on one page, for exam-
ple when using the PackDrum page feature. (PackDrum is intended for use with drum imagesetters,
and it is an example so you must add it before use, as described in Features on page 140.)

4.3.1.5 Monitoring progress

The Output Controller can be used to monitor the progress of each page as it is printed: the large box
between the two queues gives you an indication of the progress of the job. As soon as a buffer begins
to print, the shape of this progress box changes to reflect the aspect ratio of the page. For instance, if it
is a portrait page, the box will have greater height than width, and if it is a landscape page, it will be
wider than it is high.

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As the page is printed, the box starts to fill from the top with a light gray pattern, followed by dark
gray. Figure 4.2, on page 64, shows this happening.
• The amount of dark gray in the progress box indicates the proportion of the job that has already
been printed.
• The amount of light gray in the progress box indicates the proportion of data currently in the
printer buffer, waiting to be printed.
• The amount of white space in the progress box indicates the proportion of data not yet printed
and not yet buffered.
• When the progress box is completely filled with dark gray, the page has finished printing,
though margins and extra feeds may require a few more seconds.
In addition, the time taken for the current page buffer is displayed in the message area below the
progress box.
Some printers may also buffer the data internally, so they may not start printing until some or all of the
data has been received.
The message area and the progress box are both used to display additional information when problems
arise. For example, if your printer becomes low on media, an icon will be displayed in the progress
box, together with an appropriate status message. See Appendix A, Troubleshooting, for a full
description of these error messages.
Note: In either of the single modes, the Output Controller is not available and the progress box
appears in a separate window.

4.3.2 Job management

The Output Controller gives you control over a variety of page attributes. Using the Output Controller
you can for example:
• Ensure that certain pages will never be automatically deleted.
• Specify the number of copies of any page to print.
• Change individual page characteristics without having to interpret the job again.
There are two general methods of controlling these attributes: configuring the RIP so that it carries out
certain tasks automatically, and changing them yourself.

4.3.2.1 Deleting buffered pages

When the RIP is in either of the multiple page buffering modes, pages are kept buffered on disk. When
the hard disk fills up, however, there is no room for new pages, and so the RIP cannot interpret any
further jobs. To proceed, the RIP deletes some existing pages to make room for new ones.

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The pop-up menu labeled Delete in the Output Controller lets you specify one of three strategies to fol-
low. Choose whichever option you prefer.
• The default strategy is When necessary. As disk space is required for new page buffers, the
oldest ones will automatically be deleted from the Held Queue. Pages which have been locked
will not be deleted. (See Locking important pages on page 71, for details of how to lock pages.)
The amount of hard disk space currently available is displayed at the bottom of the Output
Controller, so you can tell when old page buffers are likely to be deleted. (The number dis-
played does not include any space you have reserved for the system; see Chapter 7, Configur-
ing the RIP).
• Choosing Always will cause pages to be deleted immediately after they have been output. This
means that page buffers will never be retained for reprinting, unless they have been locked
before printing was completed. (See Locking important pages on page 71, for details of how to
lock pages.) When switching to Always from another strategy, any unlocked pages in the Held
Queue will be automatically deleted if you answer yes to a prompt.

• Choosing Never will cause pages to be locked as soon as they have been output, which means
that they will never be deleted automatically. If this strategy is used for long periods of time,
the hard disk will eventually fill up, and no more jobs will be processed until you manually
remove pages or otherwise create more disk space.
Note: The option When necessary offers a good way to retain newer page buffers and manage disk
space automatically. If you choose Never or Always for some special purpose, we strongly suggest
that you return the setting to When necessary as soon as possible‚ the RIP remembers and uses the
option you choose for Delete, even between RIP sessions.
In When necessary and Always modes, it is possible for the RIP to get so far ahead of the output
device that the disk becomes filled with pages in the Active Queue. In this case, the RIP will tempo-
rarily suspend creating more pages until some of the existing ones are output and can be deleted to
allow it to continue. The RIP Monitor window displays a message warning that the system has tempo-
rarily run out of disk space.
If disk space runs out when there are no pages that can be removed and no pages still to be output, the
RIP will continue anyway, and if the disk reserve is used up then it will abort the job.

4.3.2.2 Operations on buffered pages

There are a number of useful tasks that you can perform on buffered pages, as listed below. Some of
the options are only available for pages which are not currently being output or when no pages are
being output.
Using the lists of page buffers, and the Roam button, you can:
• View pages on the screen.
• Select several color separations and view them on the screen.
Using the Info button and the Info dialog box, you can:
• Lock and delete page buffers.
• Print multiple copies of page buffers.

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• Change a page to print in negative or vice versa.

• Change the exposure with which page buffers are printed.
• Trim excess white space from the output.
• Select the output device and cassette for page buffers (when appropriate).
• Set margins and center the page on the media (when appropriate).
• Change the colors used to Roam page buffers.
You can apply these changes to the selected page only, or to all the pages of a job.
These options are available in the Info dialog box. (Some options can be unavailable: either tempo-
rarily while you are Roaming a related page buffer or permanently because the output plugin requires
particular settings.) Display the Info dialog box by selecting a page and pressing the Info button, or by
double-clicking on the page.
Note: The mark ( < ) in front of the name of an older buffer is there to remind you that there are some
limitations on what you can do with earlier versions of page buffers: see Page buffers produced by
older versions of the Harlequin RIP on page 74 for details.

4.3.2.3 Viewing pages with the Roam function

You can view one page or several pages or separations at the same time.
By selecting one page buffer and clicking Roam, you can preview the selected page. This prevents
wasted film and time by letting you check that an image has processed correctly before it is printed.
While roaming a page, the RIP is still able to process other jobs, but not to output them. You cannot
roam a page while the RIP is outputting, so you should disable output when using Roam.
To roam more than one page at once, select all the pages you wish to view and click Roam; the
selected pages will be overlaid in the Roam window. For example, this allows you to preview all sep-
arations of a color image together. Remember, you can select several buffers using the Shift and Com-
mand keys.
When viewing a higher resolution image, the Roam > Reduced Roam menu option is probably avail-
able. It allows you to see more of the image in one view. You must close the Roam window (and the
Reduced Roam window if you opened it) before you can roam another page.
For more details about the Roam function see Roam and Preview windows on page 89.

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4.3.2.4 Locking important pages

To lock a page buffer so that it is not deleted by the RIP when disk space is low, select the Don’t delete
page check box in the Info dialog box. Page buffers which have been locked in this way are displayed
in the Output Controller with a mark on the left of the job name, as described on page 66.

Figure 4.4 Info dialog box

You can delete any buffers from the hard disk‚ whether locked or not, by selecting them and clicking
on the Remove button in the Output Controller. A warning dialog box appears which lets you cancel
the operation if necessary.

4.3.2.5 Printing multiple copies

Multiple copies of any page buffer can be printed by specifying the number of copies required in the
Copies to print text box of the Info dialog box for the appropriate page buffer. The next time that buffer
is printed, the specified number of copies will be produced, with the number in the Copies to print text
box reducing with each copy until the value is 1. The Copies printed value keeps count of how many
pages have been printed in total.

4.3.2.6 Printing in negative

You can produce a negative copy of a positive page buffer or a positive copy of a negative page buffer
by selecting the Negative check box in the Info dialog box. The default value taken by this option is the
one specified in the Page Setup for the selected job; for instance, if the Page Setup specifies negative
printing, you can use this option to produce a positive copy. See Chapter 5, Configuring Output For-
mats, for details of Page Setups and how they are defined.
Note: If you have calibrated your output device, selecting this option from the Info dialog box may
produce incorrectly calibrated output. If so, select the Negative option in the Edit Page Setup dialog
box instead, and output the job again.

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4.3.2.7 Trimming blank space

You can trim white space from the top and bottom of a page by selecting the Trim page check box in
the Info dialog box. The default trim page setting is specified in the Page Setup for the selected job.
See Other options that save media on page 127, for details. Trim page is switched off as a default.

4.3.2.8 Changing the output device or cassette

You can change the selected output device or cassette for a page by choosing the one you want in the
Output device or Cassette pop-up menus of the Info dialog box. Next time the page is printed, the new
output device or cassette will be used. The default value taken by these options is the one specified in
the Page Setup for the selected job. See Chapter 5, Configuring Output Formats, for details.
Only output devices suitable for the page buffer are shown in the Info dialog box.

4.3.2.9 Changing the exposure

If an appropriate output device is selected, you can change the exposure for the selected page. Type in
the new value in the Exposure text box of the Info dialog box. Next time the buffer is printed, the new
exposure value will be used. You should consult the documentation for your output device to find
appropriate exposure values, and also see Chapter 12, Calibration.

4.3.2.10 Changing the color

You can specify the color of a job separation to roam from the Info dialog box. Click the Change roam
color button to use the Change Roam Color dialog box, as described in Changing the color in Roam on
page 376.
When roaming color images, this lets you assign different colors to different separations and view the
resulting image without having to interpret the job again.

4.3.2.11 Specifying page layout

You can change a variety of margin settings for a page buffer by clicking Page layout in the Info dialog
box. The Page Layout dialog box will then be displayed, as shown in Figure 4.5. It is the same as the

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Page Layout dialog box that you can display by clicking Page layout in the Edit Page Setup dialog box,
as described in Default page size on page 128.

Figure 4.5 Page Layout dialog box

This dialog box allows you to change the margins for the selected page buffer. Type the margin size
you want into the appropriate text boxes. You can choose the units of measurement you require from
the Select units pop-up menu. In addition, you can center the selected page on the media by clicking on
the Center page on Media Width and Center page on Media Length check boxes. The default value for
each option is taken from the Page Setup for the selected page buffer. If you override any of these val-
ues, they will take effect next time you print the page buffer.
Some of the fields in the Info dialog box may not be editable, depending on the type of device.
Note: When Centre page on Media Length and Centre Page on Media Height are enabled the left and top
margin values are set to zero. In other words, the RIP does not clip when those options are turned on.
The page buffer ignores the margin when the centre options are turned on.

4.3.2.12 Changing attributes for the whole job

Each of the options described above only affects the selected page buffer. However, many jobs consist
of more than one page, and very often you will want to make the same changes to all of the page buff-
ers produced by the job, not just one. Making changes to each buffer individually can be tedious, if not
impractical, so an option is available which allows you to change all the page buffers produced by a
job at once.
To propagate changes in the current page to all other pages produced by the job, make your changes
for one page buffer then select the Change all pages in job check box in the Info dialog box before click-
ing OK to close the dialog box. This change affects pages in both queues. If the current page is from a
job currently being processed and pages are still being created, the new pages will get the new
attributes if this option is selected.

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4.3.3 Page buffers produced by older versions of the Harlequin RIP

The Harlequin RIP can read and print page buffers created by older versions of the RIP. The newer
installation of the RIP must have an output device that matches the output device used to create the
page buffers. There are some limitations on what you can do with earlier versions of page buffers,
depending on the way in which you access the older page buffers.
There are several ways to use older page buffers with a newer version of the RIP:
• You can copy the older page buffers into a special transfer folder used only for that purpose by
the newer version of the RIP. This is the safest method because it avoids any interaction
between the two versions of the RIP, but it uses more disk space and requires you to manage
two page buffer folders in the newer version. Choose File > Configure RIP, then click Change to
change the folder used to hold page buffers.
• You can copy the older page buffers directly into the page buffer folder used by the newer ver-
sion of the RIP. You may need to restart that version of the RIP before the RIP displays the
page buffers.
Warning: Take care not to copy page buffers with the same file names as ones already in the
destination folder.
• You can leave the page buffers in the page buffers folder of the older version of the RIP. In the
newer RIP version, choose File > Configure RIP, then click Change to change the folder used to
hold page buffers.
Note: If you use Reduced Roam on a page first in the newer version of the RIP, this prevents
you using Reduced Roam on that page in the same folder when using the older version of the
RIP.
You can inspect the information displayed in the Info or Page Layout dialog boxes for an older page
buffer but you cannot change anything. The main consequences are that you cannot change the num-
ber of copies to be printed and you cannot change the permission for automatic deletion.
You can Roam older page buffers without any problems beyond a small color change, which is most
pronounced in continuous tone, unscreened page buffers.

4.4 Advanced details of page buffering modes

This section gives more details about each page buffer mode. As mentioned earlier, you should use
Multiple (Parallel) mode whenever possible, but if this proves difficult, you can specify a different
mode in the Configure RIP dialog box, described in Chapter 7, Configuring the RIP.
Recall that a page is buffered to disk into a file of rasterized data, produced as the RIP interprets the
data on the page. When the page has been interpreted, the data in the buffer file is sent to the output
device and printed.
Using buffers on disk means that complex pages can be interpreted without requiring large amounts of
working memory.
This section provides more specific details than the brief description in Page buffering modes on page
61. You may find this section useful if you wish to experiment with running the RIP in different
modes.

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4.4.1 Multiple (Parallel) mode

Multiple (Parallel) mode is a highly efficient way of increasing throughput, utilizing your computer to
the full, and is the recommended mode for most cases. However, if you have an output device that can
stop / start, you may want to use the Single (if required) mode, especially if the data rate of the printer
is high.
Interpretation of pages can proceed while other, already interpreted, pages are being output. In addi-
tion, multiple page buffers are created and saved on disk in this mode. These are not deleted after the
pages have been output, allowing pages to be reprinted whenever necessary. This is extremely useful
if a problem such as a developer jam occurs with the output device.
All the available processor time on your machine is used in this mode; priority goes to the task of
sending bitmap data to the output device, and any processor time not used in that way can be used to
interpret the next page of data.
It is possible for several pages to have been written to disk, but not yet sent to the output device. This
may occur if there are pages which are quick to interpret, or if the printer is relatively slow or is not
ready.
Eventually, of course, this will fill up the hard disk. When this happens, interpretation is suspended
until enough pages have been output and deleted, or disk space has been freed up by another applica-
tion. When the disk fills up, the RIP Monitor window displays this message:
System warning: Insufficient Disk Space

In Multiple (Parallel) mode, you can customize the RIP so that when disk space runs out, it automati-
cally deletes pages which have been output. See Deleting buffered pages on page 69 for details.

4.4.2 Multiple mode

In Multiple mode, like Multiple (Parallel) mode, page buffers are kept on disk. (This is in contrast to
the single modes, where only one page can be held on disk at a time.) Before reprinting, the Output
Controller can be used to change many characteristics of the interpreted pages, meaning that time is
not wasted in interpreting jobs again.
As in Multiple (Parallel) mode, it is possible that the hard disk will become full; you should ensure
that page buffers are deleted when necessary to free up disk space. You can let the RIP delete pages for
you, preserving important pages which you do not want deleted, or you can delete page buffers your-
self whenever you want.
The main difference between this Multiple mode and Multiple (Parallel) mode is that interpreted
pages cannot be output while other pages are being interpreted.
In Multiple mode, when a page is ready, interpretation is suspended until it has been output, in a simi-
lar fashion to the way the single modes operate. The advantage of Multiple mode over either of the
single modes is that, because multiple page buffers can be written to disk, interpretation can continue
even if the output device is not ready to accept data (for instance, if there is a media jam or if it has
been turned off).

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Multiple mode should be used if you experience a lot of data underrun in Multiple (Parallel) mode.
This is only likely to happen with very complex jobs or an output device that requires data to be sup-
plied at a very high speed.
Note: Data underrun occurs when an output device does not receive data to print at a fast enough rate.
Some devices will signal an error and stop when this occurs. Others may continue to feed through
media‚ with the consequence that large bands will appear in the output. Still others will attempt to stop
and restart. This may result in a loss in quality of the image, and in any case is likely to be slower. For
more information about using the Harlequin RIP with such printers, see Using a printer that can stop /
start on page 189. See also Printer buffer size on page 193.

4.4.3 Single mode

When running in this mode, the RIP interprets a page of a job and sends it to the output device, then
interprets the next page and sends it, and so on, until all the jobs specified have been printed.
Note: To run successfully in Single mode, as in Multiple mode, it is important that the RIP can send
data to the output device as quickly as the output device requires it.
In this mode, the RIP always creates a single page buffer, sends the data in it to the output device, and
then deletes the page buffer to make room for the next one. This means that you cannot use the
throughput system tools.
By default, if a data underrun occurs and data cannot be read from the page buffer fast enough to keep
up with the printer, the RIP tries once more to output the page and, if it still fails, aborts the job.
Note: The RIP does not display the Output Controller/Monitor in Single mode and Single (if required)
mode.
In this mode, the Output menu contains a Hold and Reprint option. (You can also select this option by
pressing Command-H.) Selecting this option allows you to choose whether or not to reprint each fol-
lowing page without having to reinterpret it. This can be used to print more copies of a page.
When you have selected the Hold and Reprint option, the RIP displays a dialog box at the end of pro-
cessing each page‚ asking if you want to reprint the page. You can answer: Yes, in which case the RIP
reprints the page and re-displays the dialog box; or No, in which case the RIP deletes the page buffer
and interprets the next page.
Note: As a side effect of using Hold and Reprint, the RIP displays a harmless error message in the RIP
Monitor window:
%%[PrinterError: re-print for hold and re-print]%%

4.4.4 Single (if required) mode

This mode is similar to Single mode, except that a single page buffer will be created only when it is
necessary. The RIP will attempt to output a page to the printer without using a page buffer at all, but
will create one in either of the following cases:
• It is not possible to interpret the page quickly enough to keep up with the printer, and the
printer does not have a stop and restart function.

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• All the available working memory on your computer has been filled by interpreted data before
the page has been completed.
In the second case, the interpreted data is placed in a page buffer, thus freeing memory. More data is
interpreted, and when memory is exhausted again the data is merged into the original page buffer, and
memory is again available to continue the job. This process continues until all the data for the page has
been interpreted, at which point the data in the page buffer is sent to the chosen output device, as for
Single mode.
This mode is very productive but robust where there is an unpredictable mix of simple and complex
jobs, and is especially useful when most jobs are relatively simple. It is productive because the RIP
processes the simple jobs without creating disk buffers and achieves maximum throughput for these
jobs. It is robust because, when a job is complex enough to require buffering, the RIP creates and then
sends the page buffer: this takes some extra time but the time is taken only when required.
In some cases, Single (if required) mode provides the quickest way to output a job.
The Output menu, contains a Hold and Reprint option, as described for Single mode.

4.4.5 Multiple (Parallel) compared to Single (if required) mode

The preferred mode for maximum performance and convenience is Multiple (Parallel) mode. The Sin-
gle and Multiple modes will always be slower than Multiple (Parallel) mode: they are available only
to help you cope with very demanding output devices that are not able to stop/start, when there is very
little memory to use as a printer buffer.
However, in some circumstances, it is possible that the Single (if required) mode will be faster than
Multiple (Parallel) mode. This is because the bitmap of an output page does not need to be com-
pressed, written to disk, read back from disk and decompressed again, before being printed. If you run
in Multiple (Parallel) mode, and the page buffer folder is on a RAM disk, the disk time required is
minimal, but you still have to compress and decompress the page. It is a question of speed versus con-
venience. Multiple (Parallel) mode offers much greater convenience, and will usually also offer the
best performance.
However, you should use Single (if required) mode if you are either only outputting a single page, (so
there can be no benefit from the overlapping of outputting and interpreting) or if the time to compress
and decompress the page to and from disk is large. This is true, for example, of the Seybold Rainbow
®

Islands test job, where 30% time savings are possible if Single (if required) mode is used at 2400 dpi.
The main problem with Single (if required) mode is that if the job is too complex, then the printer will
catch up, a paint to disk will be necessary, and the page output again: wasting the time spent on the
failed page and some media.
Another potential inefficiency of Single (if required) mode is that if the page is relatively simple, a lot
of processing time is wasted when the page is outputting, which could be used to get the next page
ready (as happens in Multiple (Parallel) mode).

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4.5 Page buffering modes: a summary

The table below provides a summary of the major capabilities of each page buffering mode.

Single (if Multiple

Will the Harlequin RIP... Single Multiple
required) (Parallel)
Ever create a page buffer? 3 3 3 3

Always create a page buffer? 7 3 3 3

Ever create more than one page 7 7 3 3

buffer?
Retain any page buffers on disk? 7 7 3 3
Always output as soon as a page 3 3 3 3
is ready?
Always stop interpreting while 3 3 3 7
outputting?
Interpret pages while outputting 7 7 7 3
other pages?
Allow pages to be output again? 3 3 3 3
Allow modification of page 7 7 3 3
buffer settings without
reinterpretation?
Allow previewing the page? 7 7 3 3

Table 4.2 Summary of the capabilities of each page buffering mode

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 5

Configuring Output Formats

Chapter 3, Getting Started with the Harlequin RIP, presented some of the basic ways of getting output
from the RIP. That chapter introduced the Page Setup Manager and Edit Page Setup dialog box and
showed how you can use Page Setups to choose the output device and many output options.
This chapter describes the details of these dialog boxes and discusses likely output devices.

5.1 Creating and managing Page Setups

Every job that you supply to the RIP takes its imaging options from a named Page Setup. This is true
both for jobs arriving through a managed network input defined in the Input Controller, and for jobs
that are the result of you choosing a menu option in the RIP, for example: Proof Fonts or Print File.
(These menu options can be a useful way to test new Page Setups.)
You can keep a number of different Page Setups which you use regularly‚ perhaps one that has Harle-
quin Precision Screening (HPS) turned on, and one that does not, one that previews images, and one
that sends output to a particular printer. You can save as many configurations as you wish.
Page Setups are such an important part of the RIP that you must name each one as you create and save
it. You can use up to 30 characters in a name. It is useful to give each Page Setup a meaningful name,
without being too specific about its contents.
• Choose a meaningful name because the Page Setup name appears in several menus where you
have to choose a Page Setup. Also, for each job, the RIP displays a message in the RIP Monitor
saying which Page Setup it used.
Choose a form of name that suits the variety of jobs and output devices that you work with.
Consider making the name contain parts indicating the output device, and settings such as reso-
lution. Another tactic might be to label a Page Setup with its general purpose, for example:
proofing or final output.
• Try not to be too specific because you can change the settings within a Page Setup without
changing its name.
For example, this can be useful if you change the device you use for proofing. If you have sev-
eral networked inputs that each use the same Page Setup, it is easier to edit just one Page Setup
than to create a new Page Setup and then change all the inputs to use the new Page Setup.
You can give an experimental Page Setup a less carefully chosen name, but try to make it clear that it
is not for routine use.

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5.2 Page Setup Manager dialog box

The Page Setup Manager dialog box appears when you choose Page Setup Manager from the File menu,
or when you type Command-S. (You must stop inputs before you can display the Page Setup Man-
ager: if necessary, choose the File > Start Inputs menu option or click the tool bar button that shows a
red arrow and traffic lights.)

Figure 5.1 Page Setup Manager dialog

The Page Setup Manager contains a list of all existing Page Setups, showing the name of each Page
Setup, the corresponding output device and some important settings: the output resolution, the calibra-
tion set in use, and the separations style.
In a new installation of the RIP, there is always one Page Setup called Default Page Setup. This
Page Setup uses a set of options that can be expected to work with any installation of the RIP, produc-
ing a low-resolution on-screen preview. You can delete or redefine this Page Setup to suit your instal-
lation.

5.2.1 Controls and actions

The controls below the list allow you to create new Page Setups, and to edit, copy, or delete existing
Page Setups. You can also choose the units in which to view the resolution of output listed for each
Page Setup.

Edit Select a Page Setup and click this button to edit it in the Edit Page Setup dia-
log box. A shortcut is to double-click a Page Setup. See Edit Page Setup dia-
log box on page 82 for details of using this dialog box.
Note: To rename a Page Setup, copy it and save the copy with the desired
name, before deleting the original.

New Click this button to create a new Page Setup and edit it in the New Page Setup
dialog box. See Edit Page Setup dialog box on page 82 for details of using
this dialog box.

Copy Select a Page Setup and click this button to edit a copy in the New Page Setup
dialog box.

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Delete Select one or more Page Setups and click this button to delete them.
If any of the Page Setups are in use by a managed input, the RIP displays a
warning dialog box for each used Page Setup. Click Yes if you are certain that
you want to delete the Page Setup.

5.2.2 Reordering Page Setups

You can also select Page Setups and reorder them by dragging them to new positions in the list. The
order in the Page Setup Manager is the order of the Page Setups listed in the Print File, Proof Fonts,
and Print Calibration dialog boxes and in the Select Page Setup dialog box shown before entry to the
Executive window.
Note: The order of Page Setups in the list is important in one other circumstance. From the Macintosh
Finder, you can drag a file and drop it onto the Harlequin RIP icon to print that file. When printing a
dropped file, the RIP always uses the Page Setup at the top of the list in the Page Setup Manager dia-
log box.

5.2.3 Selecting several Page Setups

You can select multiple Page Setups when you want to delete or reorder them. Use the following keys:

Shift
To select a block of setups that appear together in the list, select the first setup in the block, then, while
holding down the Shift key, select the last setup in the block.

To select several setups, regardless of whether they form a continuous range, hold down the Com-
mand key while selecting the setups.

5.2.4 Closing the Page Setup Manager

You must close the Page Setup Manager before you can use any tool bar buttons or menu options in
the RIP: for example, to start inputs.
You have these choices:
• Click OK to confirm all the changes you have made in the Page Setup Manager or in the Edit
Page Setup or New Page Setup dialog boxes.
• Click Cancel to discard all changes.

5.3 Edit Page Setup dialog box

The Edit Page Setup dialog box (shown again in Figure 5.2) appears when you click Edit in the Page
Setup Manager. The New Page Setup dialog box appears when you click New or Copy. The New Page
Setup dialog box is the same as the Edit Page Setup dialog box, except that the OK button is labeled

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 Configuring Output Formats

Save As. See Closing the New Page Setup dialog box on page 83 for details. References to the Edit
Page Setup dialog box throughout this manual also apply to the New Page Setup dialog box.

Figure 5.2 Edit Page Setup dialog box

The options you can configure from the Edit Page Setup dialog box include:
• The device to which the RIP sends output.
• The separations to be created from each job, together with the output format.
• The halftone screening to be used with each job.
• The calibration to be applied to each job.
• The color setup for the job.
• The effects to be applied to input jobs.
Selecting different devices on page 84 through XPS Options on page 152 describe the options within
these categories. Many options involve subsidiary dialog boxes.
All the information that you need to create a Page Setup is available from the Edit Page Setup dialog
box. You can call the Device Manager, Separations Manager, Color Setup Manager, Calibration Man-
ager, and the Cassette Manager from the Edit Page Setup dialog box.

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 5.3 Edit Page Setup dialog box

The changes you make in these managers are independent of the Page Setup you are creating. For
example, you can use the Separations Manager to create a separations style, even if you do not want to
use that separations style in the Page Setup.

5.3.1 Closing the Edit Page Setup dialog box

You must close the Edit Page Setup dialog box to save your changes. You must also close the Page
Setup Manager before you can use any tool bar buttons or menu options in the RIP: for example, to
start inputs.
Click OK to confirm all the changes you have made in the Edit Page Setup dialog box. This confirma-
tion is provisional: you must also click OK in the Page Setup Manager to finally save your changes.
Alternatively, click Cancel to discard your changes immediately.
Note: If you open one of the other managers from the Edit Page Setup dialog box, changes that you
make in that manager are independent of the Edit Page Setup dialog box. For example, if you open the
Separations Manager and create a separations style, as long as you close the Edit Style and Separa-
tions Manager dialog boxes with OK or Select, the new style will remain even if you click Cancel in the
Edit Page Setup dialog box.

5.3.2 Closing the New Page Setup dialog box

You must close the New Page Setup dialog box to save your changes. You must also close the Page
Setup Manager before you can use any tool bar buttons or menu options in the RIP: for example, to
start inputs.
If you click Save As in the New Page Setup dialog box, a dialog box appears, requesting that you enter
a name for the new Page Setup. Figure 5.3 shows this dialog box.

Figure 5.3 Save Setup dialog box

The dialog box shows a list of existing Page Setups. You have these options:
• Type a name in the Save As text box and click Save. The new Page Setup is added to the list in
the Page Setup Manager.
• Select a name from the list of the Page Setups to transfer it to the Save As text box. You can edit
the name first or click Save immediately to overwrite the existing setup.

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• Click Cancel to return to the New Page Setup dialog box.

If you attempt to save a setup using an existing name, the RIP asks you to confirm the action before
overwriting the existing setup. If you answer No, you return to the Save Setup dialog box where you
can choose another name.
Once you have saved the Page Setup, you must also click OK in the Page Setup Manager to finally
save your changes.

5.4 Selecting different devices

The Device pop-up menu in the Edit Page Setup dialog box allows you to specify where your output is
to be sent once the job has been interpreted.
You can send output to a physical printer, write it to a file in a specified format, or preview the file on
your screen. Although the precise configuration of available devices may vary, the following output
devices are always shipped with the evaluation copy of the RIP:
• Preview - enables you to preview on your monitor any jobs processed. This output device is
available in both single and multiple modes.
• None - does not produce any printed output, but does perform all the necessary processing for
the job, including the production of page buffers. This can be used for testing and timing jobs,
and is especially useful for previewing on screen when you want to jump between pages or
overlay separations using the Output Controller. The Output Controller is available in either of
the multiple modes.
• TIFF - produces TIFF (Tag Image File Format) files. Most desktop publishing applications can
import this format of file.
And, depending on which physical output devices are available:
• Plugin devices, for example, Ultre, PelBox and Hewlett Packard HP650.
Note that if you change the Device, you may have to choose a separations style from the Style pop-up
menu and a cassette name from the Cassette pop-up menu before you can save the Page Setup.

5.4.1 Setting the resolution

Under Resolution, there are two options that allow you to specify the resolution of the image to be
printed. The resolution defines the detail with which an image is printed or displayed, and is given in
terms of dots per inch (dpi).
The list of available resolutions varies between output devices. Most physical output devices support a
limited number of resolutions and you must choose from the values shown in the pop-up menus. For
some devices (such as TIFF) you can either type in a resolution or choose one of the values.
Normally the vertical and horizontal resolutions should be the same value: this is your only option
when the screening method is HDS or when the chosen output device requires the same vertical and
horizontal resolution. For other screening methods and with other output devices you can set the reso-
lutions to different values‚ if you need to.

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• Set both resolutions at once by defining just the vertical resolution‚ the horizontal resolution is
automatically set to the same value.
• Set different vertical and horizontal resolutions by setting first the vertical and then the hori-
zontal resolution.
Note: The resolutions shown in this dialog box always take effect for jobs that do not specify a resolu-
tion. If the job attempts to specify the resolution, you must select the Override resolution in job check
box if you want to produce the resolution shown here.

5.4.2 Image interpolation

When an image is at a different resolution to the device on which it is to be imaged, artifacts can be
introduced with various degrading visual effects. Image Interpolation attempts to eliminate these
effects, using extra processing to effectively recreate the image specifically for the device.
Image Interpolation works both ways: reducing the resolution of the image to match an output device
with a lower resolution and increasing the resolution of an image to match an output device with a
higher resolution.

5.4.2.1 Increasing image resolution

If you input an image that has a resolution which is slightly lower (between 50%-100%) than the reso-
lution of the output device, the resulting image appears with “jaggies.” Image interpolation will gener-
ally eliminate this type of problem, with very little (if any) perceptible loss of image quality.
If you input an image that has a resolution which is significantly lower (50% or less) than the resolu-
tion of the output device, the resulting image appears “blocky.” Image interpolation will smooth such
images giving a blurry look. If the resolution of the original image is reduced more when compared to
the output device, the output becomes more blurry.
In practice, you can still get jaggies when the image has a resolution that is significantly lower in res-
olution, but their effects are not as pronounced as in the slightly lower case.
It is a good idea to run some tests and decide whether or not to use image interpolation.
Image interpolation works by producing a smooth transition between adjacent sample values rather
than painting all pixels covered by a source sample with the same color.
There is a performance penalty when interpolation takes place, and this penalty is related to the area of
the output image, and to whatever color management is taking place.
Because it may increase the time required to render the image, image interpolation is disabled by
default. It is enabled when the width or height (or both) of an image on the device is larger than the
corresponding dimension of the source. If either dimension of the image on the device is less than that
of the source, the filter is deactivated.
Image interpolation takes place when the Interpolate flag in an image or mask dictionary is set to true
and this is set by the generating application, or you can force all images to be interpolated.
Note: Interpolation (image and mask) is not supported for type 4 images.

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Image interpolation increases the resolution of the image to the device resolution by increasing the bit
depth of the image. For example, a 1 bit grayscale image will interpolate to, say, an 8 bit image, with a
smooth gray scale transition between each black and white pixel.
Image mask interpolation produces output that is 4 times higher in resolution than the input, but it can
run up to three times in a row, providing at most 64 (4 x 4 x 4) times higher resolution output. The
mask interpolator uses two criteria to choose if higher resolution output is needed:
• If the source mask width and height are both higher than the device resolution, stop.
• If either the source mask width or height are more than 150% of device resolution, stop.
• Otherwise, interpolate again.
The second check is concerned with images whose source data is not square, but they have been trans-
formed so that on the device they are close to becoming square. This is to avoid the larger side of the
image becoming very large as the smaller side tries to achieve the device resolution.

5.4.2.2 Reducing image resolution

When an image is reduced on an output device, rows and columns of the source image are discarded to
make the image fit in the desired area.
Some images are generally unaffected by this process‚ photographs for example. However, some
images, such as technical drawings, can become badly affected. When an image contains many fine
horizontal and vertical lines they can become badly distorted or even lost completely by the process
naively discarding whole columns and rows.
The image reduction filter eliminates this kind of problem by resampling the whole image to the
device resolution, ensuring that all pixels in source image are represented on the output. Thin lines on
a white background would become more faint as the image is reduced, rather than be discarded com-
pletely.
Any reduced image may benefit from the reduction filter; however images containing fine line detail
will show the most benefit.
Although some processing time is required, the reduction filter can, in some cases, speed up process-
ing as it reduces the amount of information the RIP has to work with. In particular, large, high-resolu-
tion images being output on a relatively low-resolution device (1200 dpi image on a 300 dpi device)
may notice a speed improvement, particularly if the job is using color management.
The image reduction filter becomes active when the width or height (or both) of an image on the
device is smaller than the corresponding dimension of the source. If either dimension of the image on
the device is greater than that of the source, the filter is deactivated.

5.5 Sending output to the screen

There are two output devices that are provided for sending output to the screen: Preview and None.
None is the more flexible choice if you are running the RIP in the Multiple or Multiple (Parallel) page
buffer mode.

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None is a dummy device provided for test runs and for previewing, so no physical printing takes
place. You can preview the pages sent to the None device using the Roam command from the Output
Controller in the same way as you can preview the pages sent to an actual device. You can roam sev-
eral pages at once if they are the same size, which allows you to view selected separations of a color
image together or to compare buffers for the same page when processed with different Page Setups.
You can also hide one or more separations when previewing a composite image. The Output Control-
ler is only available in either of the multiple page buffer modes.
Preview is also a dummy device, and it enables you to preview individual separations, a composite
image, or selected colors of a composite image in all page buffer modes. The Preview device does
not allow you to combine pages or separations for viewing, and jobs sent to Preview do not appear in
the Output Controller.

5.5.1 Using the Preview device

By setting the output device to Preview, you can preview any jobs processed on your monitor. As a
separate output device, Preview is most useful when running in Single or Single (if required) modes,
when the Output Controller is not available. The RIP pauses all job processing while you are viewing
a page and resumes only when you close the Preview window.
When you print a file to the Preview device, a new window appears containing the image processed,
as shown in Figure 5.4.

Figure 5.4 Preview window

You have already seen an example of screen roam in Chapter 3, Getting Started with the Harlequin
RIP. Using screen preview as a device gives you the same options as screen roam. You can preview up
to 24-bit RGB or 32-bit CMYK raster images, as long as you have sufficient memory. If you have
installed an N-color device, you can also roam N-color images.
Navigation in the Preview window is the same as in the Roam window. For details see Roam and Pre-
view windows on page 89. You can hide one or more separations when previewing a composite image.
See Roam Options and Preview Options dialog boxes on page 90 for details.

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5.5.2 Using the None device

When running in a multiple page buffering mode, you can preview pages from within the Output Con-
troller by clicking the Roam button. (See Job management on page 68.) By setting the output device to
None, you can carry out test runs, and preview pages and separations.

You have already seen an example of screen roam in A simple Harlequin RIP session on page 45. As
you saw in that example, when you print to the None device, you can select a page in the Held Queue
of the Output Controller and click Roam. The Roam window appears. The title bar of the Roam win-
dow contains the name of the file, the resolution and the color of the page or pages. You can view any
page in any queue of the Output Controller, not just the pages you printed to the None device.
To roam more than one page at once, select all the pages you wish to preview and click Roam; the
selected pages will be overlaid in the Roam window. For example, this allows you to preview some or
all separations of a color image together. Remember, you can select several page buffers using the
Shift and Command keys.
If you roam the separations of a color image or if you are roaming a composite image then the com-
bined image may become difficult to interpret, particularly if any of the separations have similar col-
ors. There are ways to reduce the complexity:
• You can hide one or more separations as you are roaming the separations until all but one sepa-
rations are hidden. See Roam Options and Preview Options dialog boxes on page 90 for details.
• You can choose to display a separation in any color (in the Info dialog for that separation)
before starting to roam it. See Changing the color in Roam on page 376 for details.
The Roam and Preview windows are described in detail in the following sections.

5.5.3 Roam and Preview windows

Note: This description applies to both Roam and Preview windows. For ease of description, this sec-
tion refers to the Roam and Reduced Roam windows only: the same description applies to the Preview
and Reduced Preview windows except that the word Roam in menus becomes Preview.
When previewing pages, the size of the image is proportional to the resolution chosen in Edit Page
Setup: the higher the resolution, the larger the image appears. Choose a high resolution if you want to
look at a processed image in fine detail; choose a lower resolution to see the whole image at once.
When you are viewing a higher resolution image, the Roam > Reduced Roam menu option is probably
available in the Roam window. It allows you to see more of the image in one view. You must close the
Roam window (and the Reduced Roam window if you opened it) before you can roam another page.
For most sizes of page, there are horizontal and vertical scroll bars at the edges of the Roam window.
(The scroll bars appear only when the window is too small to display the whole page at one time.)
When there are scroll bars, you can use them to move your view to different parts of the page image.
Alternatively, you can drag the page image around by holding down the left mouse button when the
cursor is over the image and moving the mouse. While you are dragging the image, the shape of the
mouse cursor changes to a hand. The hand speed determines how quickly the image moves when you
move the mouse. You can set the hand speed, together with other options, in the Roam Options dialog
box. See Roam Options and Preview Options dialog boxes on page 90 for details.

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For an accurate indication of what part of the page is visible hold down the Command key (sometimes
called the Apple or Cloverleaf key): a rectangle appears. This rectangle shows you how much of the
page is visible in the Roam window and which portion of the page you are looking at. For example, if
the rectangle is shown in the bottom right of the window, the bottom-right portion of the page is visi-
ble in the window. Hold down the Command key and click the mouse (Command-click) to jump to
another part of the page. For example, if you Command-click on the middle of the window, the win-
dow scrolls to show the middle of the page.

Roam window Page image

Figure 5.5 Command key held down in Roam window

Arrows are drawn from the edges of the window: this is a reminder that the rectangle is proportional to
the dimensions of the window. Typically, the shape of the window does not match the proportions of
the entire page so the scaling for height and width is not the same.

5.5.3.1 Roam Options and Preview Options dialog boxes

Note: This description applies to the options for both the Roam windows and the Preview windows.
For ease of description, this section refers to the Roam and Reduced Roam windows only: the same
description applies to the Preview and Reduced Preview windows.

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Display this dialog box by choosing the Options command from the Roam menu in either the Roam
window or the Reduced Roam window.

Figure 5.6 Roam Options dialog box

The Roam Options dialog box contains a list of the separations shown in the Roam window and the
Reduced Roam window.
You can use this dialog box to choose the separations that are displayed. Select a separation, or use the
Shift or Command keys to select multiple separation names, then click one of these buttons:

On Displays the selected separation or separations.

Off Hides the selected separation or separations. You cannot use this button if
using it would hide all separations.
The other controls do not require a selected separation.

Color display By default, the RIP displays the page image as quickly as possible. If you
prefer a more accurate (but slower) display of colors, select Accurate from the
Color display. (This control may be unavailable if there are restricted display
colors because of hardware limitations or display modes chosen in the operat-
ing system.)

Hand speed The hand speed determines how quickly the image moves when you move
the mouse. If you find that the page image moves too quickly, you can slow
down the hand speed by selecting Medium or Slow from the Hand speed.

Negative The Negative option allows you to switch the Roam image from positive to
negative or vice versa. This is particularly useful for negative images allow-
ing you to view the image as a normal positive image.
You can close the Roam Options dialog box using the Roam > Options menu option again. Alterna-
tively, closing the Roam window will also close the Roam Options dialog box. If you do not close the
Roam Options dialog box explicitly, it will be displayed the next time you preview pages.

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5.5.3.2 Reduced Roam and Reduced Preview windows

When viewing a large or high resolution image, the Roam > Reduced Roam menu option is probably
available in the Roam window. It allows you to see more of the image in one view. You must close the
Roam window (and the Reduced Roam window if you opened it) before you can roam another page.

When the Reduced Roam window is displayed in front, hold down the Command key. A rectangle is
drawn on the image in the Reduced Roam window, marking the part of the page which is being shown
in the (full-size) Roam window. (If only a little of the rectangle is visible, a circle is drawn around it to
make it easier to see. Also, if part of the rectangle lies outside the Reduced Roam window, the edge of
the rectangle is marked with an arrow head pointing in the appropriate direction.)
If you Command-click at a particular point in the Reduced Roam window, the view in the Roam win-
dow scrolls to center on that point on the page.

If you Command-drag with the mouse (hold down Command key, then press and hold the mouse but-
ton), you can range over the part of the page which is visible in the Reduced Roam window.

Reduced Roam Roam

abcdefghijklmn
ABCDEFGHIJKLM
1234567890-=

Figure 5.7 Command-click in Reduced Roam window

5.6 Output to Preview

By setting the output device to Preview in the Edit Page Setup dialog box, you can preview any jobs
processed on your monitor. Using screen preview as a device gives you the same options as screen
roam. As well as navigating a preview of an image, you can display a reduced preview window, which
shows the same image reduced in size.
If you are running the RIP in one of the multiple modes and wish to preview jobs, you may find it use-
ful to process those documents using None, and then preview each page buffer separately from within
the Output Controller by clicking the Roam button.

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Under Separations, Screening & Color, the Style pop-up menu contains all the separations styles created
for the Preview device. The choice of separations style determines the color space and format of the
output.
See Sending output to the screen on page 87 for further information about the Preview and None
devices.

5.7 Output to None

The None device option available in the Edit Page Setup dialog box does not produce any printed out-
put, but it does perform all the required processing for the job, including the production of page buff-
ers in the appropriate modes. This can be used for testing and timing jobs, and is especially useful for
previewing on screen when you want to jump between pages or overlay separations using the Output
Controller.
Under Separations, Screening & Color, the Style pop-up menu contains all the separations styles created
for the None device. The choice of separations style determines the color space and format of the out-
put.
Note: The Output Controller is only available in either of the multiple modes. You can preview a page
in one of the single modes by setting the output device to Preview instead of None.
See Sending output to the screen on page 87 for further information about the Preview and None
devices.

5.8 Output to TIFF

The Harlequin RIP can produce TIFF (Tag Image File Format) files, which you can choose by select-
ing the TIFF output device in the Edit Page Setup dialog box. Most desktop publishing applications
can import this format of file.
The Harlequin RIP produces TIFF files which are compatible with TIFF 5.0, Classes B (bilevel), G
(gray scale), and R (RGB color). CMYK color separations are also supported as defined in the pub-
lished TIFF 6.0 specification, Appendix K.
Note: From Eclipse Release SP4, if a TIFF file of 4GB or more is produced the output will abort, and
a File size overflow message will appear.
Under Separations, Screening & Color, the Style pop-up menu contains all the separations styles created
for the TIFF device. The choice of separations style determines the color space and format of the out-
put.
Note: The TIFF file is complete when it appears in the file system with the name requested by the
user, primarily to ease any subsequent, automatic processing of the file. (To make this possible, the
RIP produces, and then removes, an intermediate file with the suffix .TMP , or the suffix .TEM if the
requested name has extension .TMP .)
You can configure how the RIP produces and names TIFF files by clicking Configure Device in the Edit
Page Setup dialog box, when the selected output device is TIFF. Alternatively, if you are running the
RIP in one of the multiple modes, the device of any page buffer in the Output Controller can be con-
figured by clicking Configure Device in the Info dialog box of that page buffer.

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Figure 5.8 shows the TIFF Configuration dialog box.

Figure 5.8 TIFF Configuration dialog box

The options in this dialog box fall into categories: location and naming, file format, and post process-
ing‚ as described in the following subsections.

5.8.1 TIFF file location and naming options

Choose the folder in which the Harlequin RIP places files by clicking the Folder button and choosing a
folder from the dialog box‚ îselect the folder in the list and then click Select. The TIFF Configuration
dialog box then shows the path to the folder that you chose, using the colon ( : ) character to separate
the name of each folder from that of the containing folder.
If Path includes resolution is selected, the RIP places any TIFF files created in a sub folder of your cho-
sen folder with the name of that sub folder set to the resolution of the job: for example, 300 or 2400.
From the Harlequin RIP Eclipse Release SP4 two naming options are available; Conventional and Tem-
plate-based file name generation. Conventional file naming is much the same as previous versions.
Template-based file naming uses various tags to generate the name. This method has previously been
used in a number of Harlequin RIP plugins.
Choose the method you wish to use by selecting the option in the File name generation field.

5.8.1.1 Template-based name generation

Selecting Template-based in the File name generation text box allows you to specify the automatic gen-
eration of an output file name using a template of fixed text and tags. When this method is selected,
only the Template field is used for file name generation. All options in the Conventional name generation
section are ignored (including the Suffix field).

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Most tags are content tags, representing variables such as the date and time a job is processed; the
other tags allow you to reject names that would be illegal in a specified operating system.The maxi-
mum length of variables can be specified by preceding the tag name with an integer. For example,
<5jobname> truncates the job name to a maximum of five characters. Tags that produce numeric
values are truncated from left to right, whereas tags that produce alphanumeric strings (strings con-
taining the characters a-z, A-Z, and 0-9) are truncated from right to left. See the example below for
further details.
Fixed text can be part of the file name stem or extension. For example, stem_<3unique><sep-
name><dot>tif would generate a file name of the form: stem_000Cyan.tif, in which stem_ can
be any identifying text.
Try to use a file name extension that does not clash with any established convention.
Note: This file naming scheme does not provide useful file names derived from job names that contain
double-byte characters.
The default when Template-based is selected but the template field is left blank is:
TIFF<2unique>.TIF

This means that when 100 files have been processed the RIP will stop.
Note: If you use unrecognized tags they will be maintained in the output filename.
The following tags are available and can be used in any order:

Tag Description

<colorant> The color space of the device, such as DeviceCMYK, DeviceRGB, or

PhotoInk.
<colorname> The name of the separation, such as Cyan.

<date> The date when the job is processed, in the format YYYYMMDD, unless a trun-
cated form is specified.

<dot> Separates the stem of the file name from the file extension, and appears as a
period character ( . ) in the file name. For example, stem<dot>ext
appears as stem.ext. The use of the <dot> tag enables the verification of
the stem and extension lengths.

<exposure> The exposure setting, a device specific integer.

<job#> The job number allocated by the RIP. Automatic numbering means that succes-
sive jobs have incremented job numbers: 000, 001, 002, 003, and so on.

<jobname> The page buffer name without the page number prefix and without characters
illegal to the operating system. Whitespace characters are used, if present in the
job name.

<jobname1> The page buffer name without the page number prefix, and using only alphanu-
meric characters (a-z, A-Z, 0-9). Whitespace characters are not used.

<page#> The page number (allocated by the RIP), within the current job. For example:
002.
<prefix> The page number prefix from the page buffer name, such as 1., 2., and so on.

Table 5.1 Output file name tags

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 5.8 Output to TIFF

Tag Description

<prefixonly> You can use this tag to include the characters from the prefix before the full point
in the job name.

<realpage#> The page number is determined using the HqnPageCounter procset. This
is zero if the HqnPageCounter procset is not available.

<time> The time when the job is processed, in the 24-hour format HHMMSS, unless a
truncated form is specified.

<unique> A unique sequence number used to make file names unique when outputting
files to a directory.

<xres> The horizontal resolution of the page, as specified in the Page Setup.

<yres> The vertical resolution of the page, as specified in the Page Setup.

Table 5.1 Output file name tags

The legality of an automatically generated file name is always checked against the requirements of the
operating system on which the RIP is running.
To enable portability of files from one operating system to another, you can also use tags to specify the
operating system for which generated file names must be suitable. The use of these tags changes the
rules by which a file name is deemed valid. The tags do not modify the file names generated, but cause
error messages if the file name is invalid.
For example, you can create the template <dos>Averylongfilename.tif, but an error is gener-
ated. This error occurs because DOS file names require the 8.3 format for stem and extension, which
this template fails to meet by having 17 characters in its stem. Table 5.2 lists the operating system tags.

Tag Description

<dos> Verifies that the file name is a legal file name for the MS-DOS operating system.

<mac> Verifies that the file name is a legal file name for the Macintosh operating system.

<macosx> Verifies that the file name is a legal file name for the Mac OS X operating system.

<unix> Verifies that the file name is a legal file name for the UNIX operating system.

<win32> Verifies that the file name is a legal file name for Windows operating systems.

Table 5.2 Operating system tags

Note: These operating system tags should always appear at the start of the template line.
Note: The only characters disallowed (discarded) in Mac OS X template-based file names are colon
(:) and double-quote (").
Note: Illegal characters which would cause an error on a particular platform are removed. The tem-
plate format means that it is not currently possible to include less-than (<) or greater-than (>) charac-
ters in a template due to their use as tag delimiters.

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The following examples demonstrate the format of strings produced by individual tags. Some exam-
ples also show how the tags may be used in combination to form a template. The examples are based
on these job details:
Page buffer name: 1. TestPage: Section 20-Book 9
Date: 12th of May, 2004
Note: When creating multiple copies of a file, the same page buffer provides tag information. If a tem-
plate contains dynamic tags (such as <time>, where the value changes each time that a page buffer
file is output), then multiple copies of the file are created. If the template contains just static tags (such
as <jobname>, where the job name remains constant), a single output file is created. If there is no
uniqueness in the name, because the file already exists, a message to that effect is sent to the RIP mon-
itor and output fails with a file creation error.
<colorant>

This tag includes the color space of the device in the file name string.
For example, the template <colorant><dot>tif produces a file name of the form Photo-
Ink.tif for a device using a PhotoInk color space.
<colorname>
The tag <colorname> can be used to include the name of the separation in a file name, for
example: Cyan. You can include just the first letter of the separation by using the tag
<1colorname>, which truncates the separation name to its first letter. If a composite style is
used this is indicated by the string Composite. If a monochrome style is used this is indicated
by the string Gray.
<date>
The template <date><dot>tif produces the file name 20040512.tif. You can remove the
year information by using the tag <4date> to produce the file name 0512.tif.
<dos>

The use of this tag verifies that the file name is suitable for use in a DOS operating system. Ille-
gal characters, such as a colon and whitespace characters which would cause an error, are
removed.
For example, the template <dos><jobname><dot>tif, would generate an illegal file name
because the job name is greater than the eight characters allowed in DOS operating systems.
Truncation can be forced by using the template <dos><8jobname><dot>tif, which produces
the file name TestPage.tif.
<dot>
This tag separates the file name stem from the file name extension and enables the verification
of their lengths. It is particularly necessary when creating file names compatible with DOS and
Windows, otherwise the extension may be considered as part of the file name.
For example, the template <dos><8jobname>.tif would cause an error because the dot is
removed as an illegal character and tif is then considered part of the file name stem.

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<job#>

You can use this tag to include the job number in the file name string. The default length of the
number is three digits, so the first file name created with this tag would be 000, unless a differ-
ent length is specified. You can specify the length of the job number by preceding the <job#>
tag with an integer. For example, <5job#> creates job numbers five digits long.
In multi-page jobs use the <page#> tag as well as the <job#> tag to differentiate between the
different pages of a job.
<jobname>

This tag ensures that only legal operating system characters are used in the job name.
For example, in the RIP running under any Microsoft Windows operating system, the template
<jobname><dot>tif produces the file name TestPage Section 20-Book 9.tif. The
colon character ( : ) is removed from the file name, because this is not a valid file name charac-
ter for any version of Microsoft Windows.
<jobname1>
This tag ensures that only alphanumeric characters are used in the job name.
For example, in the RIP running under a Windows operating system, the template
<jobname1><dot>tif produces the file name TestPageSection20Book9.tif. The colon
and whitespace characters are removed from the file name, because they are not alphanumeric
characters.
<mac>

The use of this tag verifies that the file name is suitable for use in a Macintosh operating system.
Illegal characters such as an asterisk, colon, and quotation marks cause an error. The maximum
length of a file name is thirty-one characters (including the file extension).
For example, using the template <mac><28jobname><dot>tif produces the file name
TestPage Section 20-Book 9, in which the colon has been removed.

<page#>

You can use this tag to include the page number in the file name string.
For example, the template <page#><dot>tif produces a file name of the form 001.tif. It is
advisable to use this tag with the job number tag to differentiate between the same pages of dif-
ferent jobs.
<prefix>

You can use this tag to include the page number prefix from the page buffer name in the file
name string.
For example, based on the page buffer name above, this tag produces the string 1.
<time>

You can use this tag to include the time a file is processed in the file name string.

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For example, if printing to file at 15:39:36 (approximately 3:39 pm) this tag produces the string
153936.

<unique>

You can use this tag to generate a unique sequence number for the page. The default length of
the number generated is four digits long, so the first number would be 0000. The length of the
number can be specified, as detailed in the example for the tag <job#>.
When restarting the RIP, the unique numbering will attempt to restart at its initial value, for
example: 0000. However, if a file exists with that number, the next available unique number is
used.
<unix>

The use of this tag verifies that the file name is suitable for use in the UNIX operating system.
Illegal characters such as an asterisk, colon, and quotation marks cause an error. The <dot> tag
cannot be used with this tag because file names in UNIX are composed of a single string and are
not considered to have separate file extensions.
For example, using the template <unix><255jobname>.tif produces the file name
TestPageSection20-Book9.tif, in which the colon and whitespace characters have been
removed.
<win32>
The use of this tag verifies that the file name is suitable for use in a Windows operating system.
Illegal characters such as an asterisk, colon, or quotation marks cause an error.
For example, the template <win32><jobname><dot>tif produces the file name TestPage
Section 20-Book 9.tif, in which the colon has been removed.

<xres>

You can use this tag to include the horizontal resolution of the page in the file name string.
For example, you can differentiate between pages with a resolution of 1440 x 720 dpi and
720 x 720 dpi by using this tag. This tag produces a string such as 1440 or 720, depending on
the horizontal resolution.
<yres>

You can use this tag to include the vertical resolution of the page in the file name string. For
example, on a page with the resolution 1440 x 720, this tag produces the string 720.

5.8.1.2 Conventional name generation

Selecting Conventional in the File name generation text box allows you use the previously employed
method of generating file names.
In general, the RIP names each file within a folder uniquely by combining characters from some of the
following character strings:
• The page number of the job.
• A stem‚ fixed or variable.

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• The name of the separation.

• A sequentially increasing number.
• A suffix.
If the combined length of these character strings is sufficiently long, the RIP truncates the stem to stay
within the maximum length of a file name on the computer running the RIP or an optional tighter limit
providing greater portability between different types of computers.
To impose the limit for portability, select the box Use 8.3 Filenames. This specifies a maximum length
of 8 character names with 3 character extensions: for example, TIFF3001.tif. This limit is neces-
sary if you wish to move the TIFF files to a PC running some older versions of MS-DOS or Windows.
Specify the suffix of the file name (that is, the file extension) by typing a string into the Suffix text box.
By convention, many applications expect the suffix of a TIFF file to be .tif or .TIF.
The stem of the name can be a fixed stem or a variable stem based on the jobname.
You can specify the fixed stem of the file name produced (that is, the first part of the file name) by typ-
ing it into the Stem text box. For example: TIFF.
The RIP creates a simple file name based on the stem, a sequentially increasing number, and the suf-
fix. For example, for a stem of TIFF the sequence is: TIFF00.tif, TIFF01.tif, TIFF02.tif, and
so on. If any of these files already exists, the RIP creates the lowest numbered file that does not clash
and increases the numbers from that starting point, avoiding any other existing files.
Alternatively, the RIP can use the job name itself as the variable stem of the file name if you select Use
jobname as stem. The job name is truncated if necessary to keep within the allowed length of file name.

In this case, the RIP creates a file name based on the page number of the job, the job name, the color
of the separation, a number, and the suffix. For example, when separating a color job called job-
name.ps, you might see: 1jobnamepsC00.tif, 1jobnamepsM00.tif, 1jobnamepsY00.tif,
1jobnamepsK00.tif, 2jobnamepsC00.tif, 2jobnamepsM00.tif, 2jobnamepsY00.tif,
2jobnamepsK00.tif.

If a file already exists, the RIP creates the next file in the sequence.
If you do not want the page numbers to appear at the start of the file name, select the Del page num pre-
fix check box. In this case, the RIP creates file names such as jobnamepsC01.tif. This option is
only relevant if you select Use jobname as stem.
The Use jobname unchanged option is designed to support jobs arriving with names that include dou-
ble-byte characters, as used in several Oriental languages and other extended alphabets. Previously,
the output file name was constructed after testing characters byte by byte, and discarding characters
that were potentially illegal in file names. This is still the safe and strongly recommended option, but
when there are illegal characters it can produce files with unpredictable names, which may be difficult
to use in complex workflows.
To retain the previous behavior, leave the check box Use jobname unchanged unselected.
To enable the new option, select the check box Use jobname unchanged. (For this option to work, you
must also select Use jobname as stem.) The result is that each TIFF file has a predictable name but that

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name may be illegal because of length or characters used in the name. It is very dangerous to use this
option where the form of incoming job names is not known before submission to the RIP.
To recap, the full path and name of a TIFF file can be as complex as the following example:
McBit:RIP:TIFF_Folder/300/1jobname cvpsM00.tif

In this example, 300 is the resolution of the TIFF file. The preceding text is the path to the selected
folder and the following text is the file name.
The Unique Filenames option ensures that a ## number is added to the filename, and is selected as a
default (providing the same behavior as previous versions of TIFF output). If the Unique Filenames
option is not selected, the filename does not have the unique ## number added to it.
Shown below are examples of template-based file name generation that give similar (but not necessar-
ily identical) results to the conventional name generation method.
These examples are based on the assumption that the conventional name generation fields‚ and suffix,
are set to TIFF and TIF respectively.
The template-based method uses a fixed-length uniqueness field. The template-based method will
always fail to generate a unique name when files exist in the output folder using every possible num-
ber (whereas the conventional method increases the number of digits in the uniqueness number).
Template-based and Conventional name generation comparison.

Conventional options Template-based equivalent

Use jobname as stem (on its <prefix><jobname1>.TIF

own)
or
<prefixonly><jobname1>.TIF
Note: The first example is not identical because <prefix>
includes a space. The second example is available from 3.10r4.

Use jobname as stem <jobname1>.TIF

Del page num prefix
Del page num prefix (on its TIFF.TIF
own)
See Note 1.

Use 8.3 filenames (on its own) TIFF.TIF

See Note 1.

Use jobname unchanged (on TIFF.TIF

its own)
See Note 1.

Use jobname as stem <prefix><jobname>.TIF

Use jobname unchanged Note: Not identical‚ the template method strips characters which
are not allowed in file names on the relevant platform, such as
colon and slash (all platforms).

Table 5.3 Conventional and Template-based equivalents

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Conventional options Template-based equivalent

Use jobname as stem <prefix><jobname1><2unique>.TIF

Unique names or
<prefixonly><jobname1><2unique>.TIF
Note: The first example is not identical because <prefix>
includes a space.
The second example is available from v3.10r4.

Use jobname as stem <dos><prefix><3jobname1><2unique>

<dot>TIF
Use 8.3 filenames
Unique names

Use jobname as stem <dos><prefix><3jobname><2unique>

<dot>TIF
Use 8.3 filenames
Not identical.
Use jobname unchanged
See Note 2 and 3.
Unique names

Use jobname as stem <dos><6jobname1><2unique><dot>TIF

Del page num prefix See Note 2.
Use 8.3 filenames

Use jobname as stem <dos><6jobname><2unique><dot>TIF

Del page num prefix See Note 2.
Use 8.3 filenames
Use jobname unchanged
Unique names

Table 5.3 Conventional and Template-based equivalents

Notes on the table:

1. These Conventional name generation options always generate the name TIFF.TIF.
2. <dos> does not shorten names (which the conventional method's option does), so the tags used
to make up the stem need to total eight. To allow for more characters in the prefix, the jobname
would need to use less. You must use <dot> to separate the name and the extension when using
<dos>.

3. Because <dos> strips space and full-stop characters, <prefix> and <prefixonly> become
equivalent when <dos> is used.

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5.8.1.3 Temporary file names

Temporary files may persist in the case of a RIP failure or in the unlikely occurrence of the final file
rename failing. From TIFF 4.0r0 the following temporary file names are of the form:cccccccc.uuT.
Where cccccccc is an 8-hex-digit string, and uu is two decimal digits. For example:
CA7C63A7.00T
5BDDFE01.00T
5F1CA81C.00T
7B639678.00T

In some rare circumstances, the extension might be 01T or 002T instead of 00T.

5.8.2 TIFF file format options

All the remaining options in the dialog, with the exception of Anti-Aliasing, provide different ways of
storing the data in the file but do not affect the viewed image. These different ways of storing the data
may be required by the specific application that will read the TIFF files or may improve the portability
or speed of access of the files.
You can choose the basic internal format used for the file from the Format pop-up menu. TIFF files
can either contain the image data in a Single strip (all in one chunk) or Multiple strips (sev-
eral chunks).
Use the Style pop-up menu in the Edit Page Setup dialog box to choose the color space and interleav-
ing style.
To produce TIFF files with reverse bit ordering, select the Reverse bit ordering check box. This
reverses the order of bits in a byte in the raster data of a halftoned TIFF file (monochrome), so if the
byte was 11010001 it becomes 10001011.
Select the Pad to 32 bit alignment box to make each line of the TIFF file data end on a multiple of 32
bits. This is an efficiency setting, for monochrome output only, that may make the file faster to read in
some applications.
You can choose between Macintosh and IBM PC byte ordering from the Byte ordering pop-up menu.
This option lets you select the byte ordering to be that used by Intel (IBM PC) machines (little endian
machines), or Motorola (Macintosh) machines (big endian machines). This is the order of bytes in a
word, needed by the TIFF reader to correctly interpret the TIFF header. Most TIFF readers can read
both sorts of header.
You can choose the compression format used for the file from the Compression pop-up menu. The
choices are: None, CCITT Huffman, CCITT Group 3, CCITT Group 4, LZW, or Packbits.
Note: The CCITT compression formats are only suitable for monochrome output.
Finally, for all except monochrome files, you can choose a level of anti-aliasing in which intermediate
colors are used to visually smooth boundaries. (Anti-aliasing is most useful at low or medium resolu-
tions.) Select the desired option from the Anti-Aliasing pop-up menu. None is the fastest option but
provides no anti-aliasing. Of the other options, the higher numbers provide more smoothing, but also
require more time to prepare a given image.

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Note: If you output any job to TIFF CMYK Composite (Pixel) with anti-aliasing set at 8x8, the fol-
lowing error will appear for the TIFF device if the resolution is greater than 300 dpi:
%%[Warning: band size too small - please increase size]%%.

5.8.3 TIFF file post processing

You can use this section of the dialog box to define extra actions after the RIP has created each TIFF
file. To do this, you type text specifying a command and its options in a way similar to typing in a
command prompt or terminal window. The command can be a simple batch file or a complex applica-
tion, provided that you can give the command all necessary options and information on the command
line; a command needing operator interaction is likely to cause problems.
You can use such post-processing commands to convert the file to a different format or to send the
data to a destination that is not directly supported by TIFF output from the RIP. There are several other
possibilities, such as extracting information for use in reports, limited only by your ability to obtain or
create a suitable application and to supply information to it.
The controls in this section of the dialog box are:

Enable Select this check box to enable a post-processing command, as entered in the
Command text field. Leave it unselected to disable post-processing.

Create Window Check this box to display a command prompt window: for example, to dis-
play any messages produced by the post-processing command. The command
window closes at the end of the command so, to read any messages, you may
need a timed delay before the command finishes. (A wait for a key-press may
be useful for testing but becomes unworkable with many output files.)

Command The entry in this text field is a string specifying a post-processing application,
which must be available on the computer running the RIP. Optionally, you
can supply options understood by the application, and data such as the name
of the relevant input or output files. The command string can contain substi-
tution codes. The RIP expands the codes and runs the command at the end of
each output file.
Post processing substitution codes on page 105 lists the recognized substitu-
tion codes.
The string should normally include the file extension and the full path name
of the application file. However, you can type just the file name if the com-
mand file has extension .EXE and is in one of the folders specified by the
PATH variable. File names passed to the application as data are assumed to be
in the folder receiving the TIFF files, unless you type a different path name.

5.8.3.1 Post processing substitution codes

The Harlequin RIP recognizes the substitution codes shown in Table 5.4. You can insert an integer
between the percent character and the letter code, to restrict the maximum number of characters used
in the result string. For example:%6j represents the first six characters of the job name:

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Code Meaning

%c The current separation color, represented by a string of default length one

character. Typical separation names are Cyan, Magenta, Yellow, and
Black. Examples for length one are: C, Y, M, and B.

%d The current date. In the case of the TIFF plugin, this defaults to a length of 6
digits (YYMMDD).
For example: 26 October 1998 becomes 981026.
%8d gives YYYYMMDD.

%e The job exposure, as entered in the Page Setup dialog box. For example:
221.

%f The output TIFF file name, not including the full path. For example, based
on jobname and not suppressing the page number:
1ColdfacepsC05.TIF.

%g A fixed jobname using the following rules:

1. Skip over the leading nn.which the RIP pre-pends.
2. Remove all non-alphanumeric characters.

%j The current page buffer name, as shown in the Output Controller/Monitor.

For example: 1. Coldface.ps (C).

%n The current job number, an integer that the Harlequin RIP increments each
time it processes a new job. For example: 115.

%o The full output directory path set by the Folder button (but not the resolu-
tion, if the check box to include resolution has been checked; nor the file
name). For example: C:\S\TIFF\.

%p The current page number within the job. For example: 13.

%r The job resolution, in dots per inch. For example: 72.

%s The current job name, after removal of characters that would be illegal in a
file name. For example: Coldfaceps.
%s uses the following rules:
1. Skip over the leading nn. which the RIP pre-pends.
2. Remove all parenthetical expressions.
3. Remove everything which comes before delimiter characters - : (colon),
; (semi-colon), @ (commercial at), - (hyphen), and control characters.
Delimiters within parentheses do not count.
4. Remove all non-alphanumeric characters.
5. If rules 1-4 result in an empty name, start over again and just use rule 4.

Table 5.4 Post processing substitution codes

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Code Meaning

%t The current time in the format HHMMSS, using the 24 hour clock. The
default length is 6. For example, a time just after 7:30 pm would be shown:
193211.

%x The current file name suffix. For example: TIF.

%z The output file name stem, is taken from the job name if Use jobname as
stem is selected, otherwise it will be taken from the Stem text field.
For example: if Stem is set to TIFF, and Use jobname as stem is not
selected; %z will produce TIFF00, TIFF01, and so on for the output files
TIFF00.tif, TIFF01.tif and so on.

Table 5.4 Post processing substitution codes

5.9 Output to PDF Raster

The PDF raster output plugin is a layered option and requires a password for it to be enabled. See
Extras on page 194 for more information.
The Harlequin RIP can produce PDF raster format files, which you can choose by selecting the
PDFRaster output device in the Edit Page Setup dialog box.

The Harlequin RIP produces PDF raster files which are compatible with various PDF/X standards
depending on the selection made in the PDF Raster Configuration dialog. PDF raster files can be con-
sidered as a raster bitmap wrapped in PDF/X and can be opened in PDF readers such as Jaws PDF
Editor and Adobe Acrobat.
Under Separations, Screening & Color, the Style pop-up menu contains all the separations styles created
for the PDFRaster device. The choice of separations style determines the color space and format of
the output.
Note: From v8.1 because DeviceMono is no longer available any page setup which previously used
this option in the Separations dialog will now not work. The RIP setups should be changed to use
Monochrome instead.

You can configure how the RIP produces and names PDF raster files by clicking Configure Device in
the Edit Page Setup dialog box, when the selected output device is PDFRaster. Alternatively, if you
are running the RIP in one of the multiple modes, the device of any page buffer in the Output Control-
ler can be configured by clicking Configure Device in the Info dialog box of that page buffer.
The PDF raster output plugin supports up to 32 spot colors meaning that an output PDF raster file can
contain up to 36 colorants (CMYK plus 32 spots). When a PDF raster containing spot colors is created
by the RIP and then displayed in a PDF application (like Jaws PDF Creator or Adobe Acrobat), a tint
transform is used to tell those applications how to display the colors. If, however, the PDF is passed
onto a multichannel device (like the Harlequin RIP), which can support those colorants, they will be
supported.
Note: While the plugin will create PDFs with up to 32 colorants (total), the PDF specification defines
the limit as 8 colorants, and so the plugin issues a warning when more than 8 are requested. Once the
32 limit is reached, the plugin will refuse to process the page.

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Acrobat 8 will process pages with more than 8 colorants.

Note: PDF source documents can sometimes contain pages of variable size. If present, these variable
page sizes are maintained in the output file.
Note: Do not try to re-order pages using the PDF raster plugin in the Output Controller.
Note: If you are processing very large pages you may wish to increase the Memory for RIP setting. If
the RIP runs out of memory the job will fail. For more information see Harlequin RIP memory alloca-
tion on page 196.
Figure 5.9 shows the PDF Raster Configuration dialog box.

Figure 5.9 PDF Raster Configuration dialog box

The options in this dialog box fall into categories: location and naming, file metadata, file format, and
post processing‚ as described in the following subsections.

5.9.1 PDF raster file location and naming options

Choose the folder in which the Harlequin RIP places files by clicking the Folder button and choosing a
folder from the dialog box‚ select the folder in the list and then click Select. The PDF Raster Configu-
ration dialog box then shows the path to the folder that you chose, using the colon ( : ) character to
separate the name of each folder from that of the containing folder.

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If Add resolution to end of Path is selected, the RIP places any PDF raster files created in a sub folder of
your chosen folder with the name of that sub folder set to the resolution of the job: for example, 300
or 2400.
Template-based file name generation is provided which uses various tags to generate the name. This
method has previously been used in a number of Harlequin RIP plugins.

5.9.1.1 Template-based name generation

Template-based file name generation is used for PDF raster output, and allows you to specify the auto-
matic generation of an output file name using a template of fixed text and tags. When this method is
selected, the Template field is used for file name generation.
Most tags are content tags, representing variables such as the date and time a job is processed; the
other tags allow you to reject names that would be illegal in a specified operating system.The maxi-
mum length of variables can be specified by preceding the tag name with an integer. For example,
<5jobname> truncates the job name to a maximum of five characters. Tags that produce numeric
values are truncated from left to right, whereas tags that produce alphanumeric strings (strings con-
taining the characters a-z, A-Z, and 0-9) are truncated from right to left. See the example below for
further details.
Fixed text can be part of the file name stem or extension. For example, stem_<3unique><sep-
name><dot>tif would generate a file name of the form: stem_000Cyan.tif, in which stem_ can
be any identifying text.
Try to use a file name extension that does not clash with any established convention.
Note: This file naming scheme does not provide useful file names derived from job names that contain
double-byte characters.
The default value for template-based name generation is:
Raster<2unique>.pdf

This means that when 100 files have been processed the RIP will stop.
Note: If you use unrecognized tags they will be maintained in the output filename.
Note: The list of tags displayed in the PDF Raster Configuration dialog is only a useful subset. All
tags are supported for PDF raster output.
Template-based name generation for PDF raster works in exactly the same manner as for template-
based name generation for TIFF. Therefore, for full details on all the tags available see Template-
based name generation on page 94.

5.9.2 File Metadata

When either the Update PDF Creation Date or Update PDF Modification Date option is checked, the mod-
ification date or creation date will be set to the current time, whether or not these dates are present in
the original PDF source file. If a date is present in the original source document and you have not
selected the these option, the original date will be used in the output file.

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The Mark raster as Trapped option allows the output PDF raster to be set as trapped or not. PDF files
have a trapped flag which can be set either true or false. If set true the contents of the PDF have
been trapped in some way, either by the RIP or by using some third party plugin. This option allows
you to decide whether the output PDF raster is configured as trapped.
If required, you can specify an Art Box or Trim Box size if values for one or the other does not already
exist. If values for Art Box and Trim Box are present in the source PDF file they will be used no mat-
ter what values are input into this dialog.
To enter a value select either Art Box or Trim Box from the pop-up menulist and then enter values for
the LLx, LLy, URx, and URy which specify the lower-left x, lower-left y, upper-right x, and upper-
right y coordinates of a rectangle. For more information on specifying these values see the PDF Refer-
ence Sixth Edition v1.7 Section 3.8.4.
When the values have been entered check the Apply box.
Note: All boxes will be within the Media Box, and if they are not they will be clipped to the Media
Box size. Trim Box and Crop Box settings are maintained in the output file if they are present in the
source PDF.
If a PDF input file has a date within the metadata which does not conform to the PDF specification a
warning will appear and the date in the output PDF will be changed to the current RIP date. Warning
of the following form are displayed when this occurs:
Warning: input PDF uses a modification date \"%s\" that does not conform to the
PDF specification.

or
Warning: input PDF uses a creation date \"%s\" that does not conform to the PDF
specification.

5.9.3 PDF raster file output format options

All the remaining options in the dialog, with the exception of the Post Processing section, provide dif-
ferent ways of storing the data in the file but do not affect the viewed image.
You can choose the page style option from the Page style pop-up menu. This option decides whether
the output file is saved as one file per job (a 100 page job is created as a single PDF document contain-
ing 100 pages), or one file per page (a 100 page job is created as 100 separate PD documents each con-
taining one page).
Note: If you abort a page and your PDF raster configuration is set to one file per job (rather than one
file per page) your whole job and all pages therein will be aborted.
You can choose the output PDF format settings from the PDF Format pop-up menu. Currently the
options are: PDF/X 1a:2003 (PDF 1.4) and PDF 1.4.
You can choose the compression format used for the file from the Compression pop-up menu. The
choices are: None or ZIP. The compression settings only affect images.
The Level option determines the amount of compression applied to the output file. A value of 1 means
don’t compress very much‚(and is quicker); a value of 9 means compress as much as possible (and is
slower). The default value is 6.

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You can choose the rendering intent to be used for the file from the Output identifier pop-up menu.
There are various styles available. These styles cannot be changed or added to.
You can choose the output data format used for the file from the Output pop-up menu. The choices are:
ASCII or BINARY. If you are planning to transmit the output file via e-mail, choose ASCII, which
provides an Ascii85 encoding. Otherwise, for normal use choose BINARY.

5.9.4 PDF raster file post processing

You can use this section of the dialog box to define extra actions after the RIP has created each PDF
raster file. To do this, you type text specifying a command and its options in a way similar to typing in
a command prompt or terminal window. The command can be a simple batch file or a complex appli-
cation, provided that you can give the command all necessary options and information on the com-
mand line; a command needing operator interaction is likely to cause problems.
You can use such post-processing commands to convert the file to a different format or to send the
data to a destination that is not directly supported by PDF raster output from the RIP. There are several
other possibilities, such as extracting information for use in reports, limited only by your ability to
obtain or create a suitable application and to supply information to it.
The controls in this section of the dialog box are:

Enable Select this check box to enable a post-processing command, as entered in the
Command text field. Leave it unselected to disable post-processing.

Create Window Check this box to display a command prompt window: for example, to dis-
play any messages produced by the post-processing command. The command
window closes at the end of the command so, to read any messages, you may
need a timed delay before the command finishes. (A wait for a key-press may
be useful for testing but becomes unworkable with many output files.)

Command The entry in this text field is a string specifying a post-processing application,
which must be available on the computer running the RIP. Optionally, you
can supply parameters understood by the application, and data such as the
name of the relevant input or output files. The command string can contain
substitution codes. The RIP expands the codes and runs the command at the
end of each output file.
Post processing substitution codes on page 105 lists the recognized substitu-
tion codes.
The string should normally include the file extension and the full path name
of the application file. However, you can type just the file name if the com-
mand file has extension .EXE and is in one of the folders specified by the
PATH variable. File names passed to the application as data are assumed to be
in the folder receiving the PDF raster files, unless you type a different path
name.

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5.10 Sending output to a printer

You can use the Harlequin RIP to produce output on a variety of different imagesetters and printers.
The options available depend on the device drivers that have been installed with your copy of the RIP.
If any device drivers have been installed, you can select one of these drivers in the Edit Page Setup
dialog box from the Device pop-up menu. Selecting Ultre, PelBox, or HP650, for example, sends
output to the corresponding printer, provided that somebody has done any necessary configuration to
suit the way that the printer is connected and configured.
You can gain the ability to send output to many other types of device by adding other output plugins.
A simple plugin may add a single device driver, and this manual usually talks about the device that the
driver supports. Complex output plugins can support several device drivers and provide preconfigured
Page Setups, screening, or color management. Such complex plugins can require several steps during
installation: hardware installation, system software modifications, software installation in the
Harlequin RIP, and enabling specific devices or RIP options with passwords. There is likely to be a
separate installation or operator’s manual for such plugins and, perhaps, a special installation pro-
gram.
Note: It is often dangerous to attempt to re-install or update an installed plugin in the same copy of the
Harlequin RIP, because of file name mapping (described briefly on page 35) and other issues. It is
much safer to make a fresh installation of the RIP, install the new plugin, and then transfer your setting
to the fresh installation. The separate Migrate program can help you make this transfer.
Where a plugin supplies a single device type, the device type becomes ready for use as soon as it has
been installed and, if necessary, enabled with a password. Multiple device output plugins appear first
as one of the options in the Device Manager, where you can choose which device you want to use. See
Multiple device output plugins on page 114.
Once installed, the name of a device added with a new output plugin appears as one of the device
options in the Edit Page Setup dialog box and you can select it just like any other device.
Under Separations, Screening & Color, the Style pop-up menu contains all the separations styles created
for the current device. The choice of separations style determines the color space and format of the
output.
Note: Some output plugins allow you to select the color generation mode using the Configure Device
button. When this is the case, the Style pop-up menu contains only the separations styles correspond-
ing to the selected color generation mode.
For certain types of output device, a text box labeled Exposure becomes active in Edit Page Setup. By
specifying a number in the text box, you can change the exposure of the chosen output device: this
varies the power of the laser used to create the image, which in turn makes the image lighter or darker.
Refer to the documentation for your output device to see if it has an exposure control. Choosing the
correct exposure is described in Chapter 12, Calibration.
Media and cassette monitoring and management facilities are available for all continuous feed printers
supported by the Harlequin RIP. For details of how to use these facilities, see Chapter 9, Media Man-
agement, and Cassette management on page 142.

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5.11 ProofReady plugins

ProofReady plugins allow the RIP to provide page images to a supported printer.
When you create a Page Setup for a ProofReady device a default color setup is applied, using input
and output profiles, and rendering intents defined within the plugin. You must have ColorPro enabled
to use this automatic color management feature. You can also create your own color setup if you do
not wish to use the default settings.
ProofReady plugins have the following capabilities:
• Instant color management using supplied profiles
• A choice of resolution for the output page image for all media sizes and types supported by the
model of printer in use
• User choice of output quality
• Availability of Harlequin screening techniques
• Preview of the screened output
Using the ProofReady plugin is straightforward. You select the required device, configure it, select a
profile from the ProofReady menu and then print.
If you would like to improve color accuracy and you have a measurement device available, you can
print an uncalibrated target, measure it with Genlin and then import the data and make a new calibra-
tion set.
You then go back to the Page Setup and select this calibration with the ProofReady Setup unchanged
and proof using the calibration and the ProofReady setup combined.

5.11.1 Using ProofReady plugins

Each ProofReady plugin is supplied ready to use with preconfigured color management for several
types of media.
With a ProofReady plugin, the way that you apply color management is simpler than with ColorPro
because the setups are ready to use. The special color setups appear in the ProofReady menu in the Out-
put Device section of the Page Setup dialog box, each named for a particular combination of media and
resolution. Choosing one of the entries from the ProofReady menu, gives you a default color setup that
produces good results for most jobs.
When an option is selected from the ProofReady menu, the options in the Separations, Screening and
Color section of the Page Setup dialog are enabled. This allows you to create and edit ProofReady
color setups or separation styles. However, non-compatible separation styles and color setups cannot
be selected or created.
If you want to create a calibration set for your printer rather than using the reference calibration pro-
file, you can print an uncalibrated target and import the data using Genlin. Once you have created a
calibration set, you must choose it from the Calibration menu.
You can also expand the capabilities of a ProofReady plugin, by creating and using custom color set-
ups built upon the same profiles used to create the default color setups.

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For more details of ProofReady plugins, see the user guide for the relevant ProofReady plugin.

5.12 Multiple device output plugins

The Harlequin RIP lets you install multiple device output plugins, which allow you to drive a number
of different devices without needing a separate output plugin for each one.
Note: Many output plugins intended for use with a range of similar output devices, such as inkjet
printers, are multiple output plugins but are supplied with preconfigured devices ready for use in the
Edit Page Setup dialog box. You should only need to use the description given here if the installation
procedure for a plugin fails to install a device of the type you want.
This discussion uses the following terms:

Device A device is often a physical piece of equipment which produces output. It can
also be a way of producing a graphics file in a format like TIFF. A device can
be selected by name from the Device pop-up menu in the Edit Page Setup dia-
log box.

Device type Any particular device is of a certain type. For instance, some printers are of
type Ultre, and some are of type ExxtraSetter. Distinguishing different device
types is like distinguishing different models of computer. Some options (for
example, the resolutions or media types available) depend on the device type.

Output plugin The output plugin is the software you install into the RIP to make it drive a
particular device. It tells the RIP the name and type of the devices it drives, as
well as the address of the device (that is, where to find the device‚ in terms of
the computer rather than physical location).
With ordinary output plugins, one plugin can drive only one device. If you want to install a large num-
ber of devices, you need many different output plugins. This can make configuration of the system
cumbersome.
Multiple device output plugins allow you to drive a number of different devices using just one plugin.
You can have any number of devices of a particular type.

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Figure 5.10 shows you the configuration of an imaginary system using both single and multiple device
drivers.

Device Driver Multiple Device

Driver

U U U E E
Device1 Device2 Device3 Device4 Device5
Ultre Devices (marked U) ExxtraSetter Devices (marked E)

Figure 5.10 The use of multiple device drivers in the Harlequin RIP

Five devices are shown, driven by two output plugins. Device1 is of type Ultre, and is driven by an
ordinary output plugin.
However, the remaining four devices are all driven by one multiple device output plugin. Two of these
devices are of type Ultre, and two are of type ExxtraSetter, so this driver must know about at
least two device types; it may well know about others.

5.12.1 Installing and using multiple device plugins

Install a multiple device output plugin, just as you would for an ordinary output plugin and as
described in Sending output to a printer on page 112. The plugin then appears as one of the options in
the Device Manager dialog box, shown in Figure 5.11.

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You create and configure devices driven from a multiple device driver using the Device Manager. To
open the Device Manager click the Device Manager button, which is the icon button under Output
Device in Edit Page Setup. The Device Manager is also available from the File menu.

Figure 5.11 Device Manager dialog box

The Plugin pop-up menu shows the multiple device output plugins currently installed in the RIP. You
can install several multiple device plugins, and this pop-up menu lets you choose between them. The
devices driven by the selected plugin appear in the table listing: each line displays the name, type, and
address of one device. For instance, in Figure 5.11 the dialog box lists devices linked to the ENCAD
multiple device plugin.
Note: Both the name and the values entered for each device are used here for illustration only. There
are several multiple device plugins but their names and the acceptable values vary greatly, so they are
documented separately.The Device Manager has the following uses:
• To change the configuration of a device, select its entry in the list and click Edit then use the
Device Manager Edit dialog box.
• To add a new device, click New then use the Device Manager Edit dialog box.
• To add a device that is similar to an existing device, select its entry in the list and click Copy
then use the Device Manager Edit dialog box. You must give the copy a new name.
• To delete a device from the current multiple device driver, select it in the Device Manager and
click Delete. This removes the driver immediately.
When you click the New, Edit, or Copy button, the RIP displays the Device Manager Edit dialog box
shown in Figure 5.12.

Figure 5.12 Device Manager Edit dialog box

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This dialog box has three fields that you can edit:
• Specify a name for the device in the Name text box. This is the name that appears in the Device
pop-up menu in the Edit Page Setup dialog box, and elsewhere.
• Choose the device type from the Type pop-up menu‚ a list of all the device types that the
selected multiple device output plugin supports. The device types are preset during the manu-
facture of a plugin and are not subsequently configurable. You cannot tell a multiple device
driver to look for a device with a type not listed here.
• Use the Address text box to type in the address of the device you are adding or editing. This
text box provides device information such as a multiplex address, a SCSI port, or a file name;
all highly dependent on the type of device. For details of what to enter here, refer to the
documentation (available from your supplier) for the specific multiple device output plugin.
Click OK when all values in the Device Manager Edit dialog box are as you want them. This confir-
mation is provisional: you must also click OK in the Device Manager to finally save your changes. If
you opened the Device Manager from the Edit Page Setup dialog box, you can also save the changes
by clicking the Select button. In addition to saving the changes, the Select button displays the selected
device in the Edit Page Setup dialog box. Click Cancel to discard all changes.

5.13 Output plugin dialog boxes

Many devices have features which only apply to that device. For example, a certain printer may be
able to print on both sides of the paper, a feature called duplexing. Such features may be controllable,
in which case the device driver offers a dialog box unique to that driver containing, for example, a
check box to turn duplexing on or off. For example, the device TIFF can have its output file name and
format configured (as shown in Figure 5.8, on page 94). If the driver does not have any configurable
options, the Configure Device button is disabled.
Some output plugins allow you to set the color generation mode using the Configure Device button. In
these cases, the Style pop-up menu contains only the separations styles corresponding to the selected
color generation mode. Otherwise, the choice of separations style determines the color space and for-
mat of the output.

5.14 Separations, Screening and Color

The options under Separations, Screening & Color allow you to choose the separations style and color
setup for the current Page Setup.

Style The Style pop-up menu allows you to choose a separations style for the cur-
rently selected device. A separations style contains information on separa-
tions and screening (where appropriate), which you can use in one or more
Page Setups. The choice of separations style determines the color space and
format of the output.
Note: Some output plugins allow you to set the color generation mode using
the Configure Device button. In this case, the Style pop-up menu contains only
the separations styles corresponding to the selected color generation mode.

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If you change the Device, you may have to select a corresponding separations
style for the new device before you can save the Page Setup.
Click the Separations Manager button to create or edit a separations style.

Separations Manager
This icon button is next to the Style pop-up menu. It opens the Separations
Manager dialog box, from which you can create or edit a separations style.
See Chapter 13, Color Separation for details.
The Separations Manager is independent of the Edit Page Setup dialog box.
You can create or edit a style in the Separations Manager, even if you do not
want to use it in the current Page Setup. If you do want to use a new or
changed style for this Page Setup, select the style in the Separations Manager
and click the Select button.

Color The Color pop-up menu allows you to choose a color setup for the currently
selected device and color space. The choice of separations style determines
the color space. Click the Color Setup Manager button to create or edit a color
setup. See Color Setup on page 363 or the separate manual Harlequin Color-
Pro User’s Guide.

Color Setup Manager

This icon button is next to the Color pop-up menu. It opens the Color Setup
Manager dialog box, from which you can create or edit a color setup. See the
separate manual Harlequin ColorPro User’s Guide.

Separations Manager
This icon button is next to the Style pop-up menu. It opens the Separations
Manager dialog box, from which you can create or edit a separations style.
See Chapter 13, Color Separation for details.
The Separations Manager is independent of the Edit Page Setup dialog box.
You can create or edit a style in the Separations Manager, even if you do not
want to use it in the current Page Setup. If you do want to use a new or
changed style for this Page Setup, select the style in the Separations Manager
and click the Select button.

TrapPro Manager
The TrapPro Manager is independent of the Edit Page Setup dialog box, and
is only available if TrapPro is enabled under Configure RIP > Extras. You can
create or edit trapping setups in the TrapPro Manager, even if you do not
want to use them in the current Page Setup. If you do want to use a new or
changed trapping setup, select the trapping setup in the TrapPro Manager and
click the Select button.
For more information see Trapping features on page 374.

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5.15 Advanced Media Saving

Media saving is provided as an extra layered option that allows you to instruct the Harlequin RIP to
automatically fit pages onto the output media in a way that makes the most efficient use of the media.
For example, when imaging A4 pages they would normally be placed one above the other on the out-
put media. With media saving enabled, the A4 pages could be placed side-by-side thus utilizing more
of the media width.

5.15.1 How to activate Advanced Media Saving

To make use of the Advanced Media Saving, you must enter a valid password in the Configure RIP >
Extras dialog. For more information on how to activate a password protected option see Extras on
page 194.
This option is especially useful with Capstan and Drum devices. For more information on how to
select the extra features supplied with the RIP see Extras on page 194.
Media saving is enabled for each Page Setup by clicking the Advanced Media Saving option situated in
the lower left, Cassette & Page section of the Edit Page Setup dialog box.

Figure 5.13 Advanced Media Saving option

With the Advanced Media Saving option selected, jobs processed in the RIP are automatically
grouped together with other jobs according to resolution, bit depth, paper type and output device. The
jobs are only output to the device when the page is full. A collection of jobs on a page is known as a
flat.
For example, you may have a 32 inch roll installed in the output device and a queue of three A4 sized
jobs waiting to be output. Instead of printing a single job along the width of the roll, the RIP will fit all
three jobs along the width of the roll‚ ultimately saving media.
The Media saver works by receiving page buffers from the RIP. In the pagebuffer header there are
fields specifying the media width and media height, page width and page height. The Media saver
uses the media width and media height values as the size of the flat and page width and page height
value as the size of the page.
If the device supports cassettes, the media width and media height values are defined in the Cassette
manager. If the device is a roll, media height in the page buffer is the same as the page height and is
ignored by the media saver.
If the device does not support cassettes, the media width and media height values are those entered by
the user in the Page Layout dialog box. Again the roll device rule applies.

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Note: A Watermark RIP cannot currently be used in conjunction with the media saving option. For
this reason, the Advanced Media Saving check box in the Page Setup dialog box is disabled when
using a Watermark RIP.

5.15.2 Tracking media width for automatic cassette selection

From Harlequin RIP Eclipse Release SP3, the width of media used is tracked to aid the use of auto-
matic cassette selectors.
For roll fed devices, the length of the media that needs to be exposed when outputting a flat has always
been tracked, with the assumption that the width value is constant. However, because automatic cas-
sette selection devices are starting to be used, it is now important for the RIP to track the width of the
media used in addition to the length.
If the width of the flat is reduced, a cassette with smaller width media can be selected leading to a
shorter exposure time and saving of media.
When enabled, the RIP Output menu contains the Advanced Media Saving option, which on selection
displays the Media Saving dialog.

Figure 5.14 Media Saving dialog box

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5.15.3 The Media Saving dialog box

The Media Saving dialog box displays all the information required for you to keep track of which jobs
are being combined into flats. Jobs will only be added to a flat if the resolution, bit depth, paper type
and device are all the same. If any of these are different, a new flat will be created.
As soon as a flat is full it will be output to the device. A flat is deemed full when it reaches that stage
where any new page of the same specification will not fit in the flat.
You can send a flat to the output device before it is completed by highlighting the flat to be output fol-
lowed by clicking the Print Flat button.
You can ensure enough space is placed around each job by specifying a value in the Margin between
pages option. The Media saver ensures that there is the same given margin between the edges of the
paper and the pages of jobs. It achieves this by absolute positioning of the pages on the flat. Shown
below is a diagram illustrating how pages are position on the flat.

Margin between
pages value

Cut mark
between flats

Figure 5.15 Margin media saving control

Note: If when using media saving you get output that is clipped, you should make the Margin between
jobs value greater than the value of the unprintable margin for the device.

For a TIFF output device (or any other device with an unlimited media width and height) the media
width and height end up being the same as the Page Size, and the size of a TIFF flat would be the same
as the first page buffer on the flat.
From Eclipse Release SP4 the TIFF media width and TIFF media height text boxes are added to the
Media Saving dialog. These options are designed for use with the TIFF output device (and any other
device with unlimited width and height). The values in these fields are used to calculate the size of the
TIFF flat.
If you want to avoid the possibility of a flat never being output, because there may never be enough
page buffers of the same type, you can click the Time to wait between pages option and enter either a
number of minutes or hours. When an incomplete flat has been displayed in the Media Saving dialog
box for the defined time out period, it will automatically be output to the selected device. When Time
to wait between pages is not checked, partially filled flats will always wait for new pages of the same
specification to arrive.

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You can Roam individual pages displayed in the Media Saving dialog by selecting them and clicking
the Roam button. Similarly, you can delete individual pages by selecting them and clicking the Delete
button.
When a flat is printed, the page buffers that the flat references are deleted from the disk. Because of
this, the Print Flat button is disabled when a Roam window is open.
If a flat is going to be printed because the time out period has expired and a Roam window is open, the
flat is placed in a queue and is printed as soon as all Roam windows are closed.
By default, if the device is roll fed (for example part drum or capstan), the buffered pages are placed
on the flat in one row along the width of the media. The height of the flat is ultimately that of the tall-
est page placed on the flat, and the width of the flat is as specified in the Page Layout dialog.
From Harlequin Eclipse Release SP4 this default behavior can be changed in two ways.
• For part drum devices, the Fill whole drum (for part drum devices only) check box controls the
behavior that defines the media height as that of the device width, allowing multiple rows of
page buffers on the flat, and as such allowing the whole of the drum to be utilized.
• For part drum and capstan devices (that is, roll fed devices), the Track flat width (for roll fed
devices only) check box controls the width of the flat. If it is checked, the flat width will be the
width of the widest row of pages on the flat.
You may encounter problems when you are outputting to a device that specifies a minimum media
width. If a flat is submitted which defines a media width that is smaller than the device's minimum
media width, the plugin will reject the flat and display the message:
"Error - The media width is less than the minimum allowed" - and the job is
aborted.

Also note, that if you are outputting separations and the flat size is being tracked (either width or
height), it can occur that the separations will have different sizes. You are therefore unable to Roam
these separations together.
From the Eclipse Release SP3 an option to Switch roam color to black is added to the Media Saving dia-
log. This is only enabled when the Order of pages on flat option is set to none, that is, when more than
one separation color is allowed on the same flat. When selected, the Roam color of the resulting flat is
black. This option does not apply to composite output.
Note: You are able to change the Roam Color from the Throughput Info dialog. See Changing the
color on page 72 for more information.
From version 5.5r1 an extra media saving option is provided called Order of pages on flat. The Order of
pages on flat option provides a drop-down list with the following options:

none Page buffers are placed on flats if they fit, regardless of color.

by separation
Each flat is dedicated to a particular separation name, therefore page buffers
with different separation names cannot appear on the same flat. For example,
cyan separations can only appear on cyan flats. However, once allocated to its
flat, a page buffer may be positioned anywhere on that flat.

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by separation, page position

Each flat is dedicated to a particular separation name, in the same way as
described in the by separation option above. The page buffers for a given
job must all be at the same position on their respective flats. But no consider-
ation is given to what other separations may be on these flats. Therefore, it is
not guaranteed that the group of flats that contains all the page buffers for any
one job also contains all the page buffers for the other separations on the flat.
Note: This option will not work for preseparated jobs, because the RIP treats
each separation as a different job.

by separation, page position, job

Each flat is dedicated to a particular separation name. The page buffers for a
given page must all be at the same position on their respective flats. It is addi-
tionally guaranteed that the group of flats that contains all the page buffers for
any one job also contains all the page buffers for the other pages on the flat.
Empty spaces will be left for separations that are not available or missing.
Note: This option will not work for preseparated jobs, because the RIP treats
each separation as a different job.
From the Eclipse Release SP3 a Name flat after option is provided in the Media Saving dialog which
controls the job name of the flat. The default setting is to name the flat after the 1st PGB in flat
which is how it always has worked. That is, the flat is named after the first job placed on the flat. The
alternative option is to name the flat after the flat number. With this option the job name uses the
flat number as it appears in the dialog, so Flat 1 will have the job name; 1. Flat 1. Subsequent new
flats will be named incrementally. When the RIP is stopped and started the name of the first flat will
be; 1. Flat 1 unless an existing flat is detected in the media saving, in which case any new flats will
be named incrementally from the name of the detected flat.
Note: If you decide to change this option midway through a RIP session, any previously created flats
will not be renamed, that is the change will only affect any subsequent flats that arrive.
The following examples illustrate the differences between the by separation, page position
and by separation, page position, job options.

Incoming Job by separation, page by separation, page Flat

position position, job No.

position 1 position 2 position 1 position 2

—, —, —, K1 K4 K1 — Flat 1

K1

C2, M2, Y2, — C2 C4 C2 — Flat 2

—, M3, Y3, †M2 M3 M2 M3 Flat 3

î

C4, —, Y4, K4 Y2 Y3 Y2 Y3 Flat 4

Table 5.5 Media saving‚ example 1

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Incoming Job by separation, page by separation, page Flat

position position, job No.

— Y4 C4 — Flat 5

— — Y4 — Flat 6

— — K4 — Flat 7

Table 5.5 Media saving‚ example 1

Table 5.5 shows an example where four incoming jobs are placed on flats differently according to the
selection of either; by separation, page position or by separation, page position,
job.

With by separation, page position selected, the first incoming job contains only a black sep-
aration (K1) which is placed on the first flat in position 1. The second job (C2, M2, Y2) contains no
black separation and therefore creates three new flats (2, 3, and 4). The third job contains only
magenta and yellow separations (M3, Y3).There is space on existing flats for this job, magenta flat 3,
position 2 and also yellow flat 4, position 2. The fourth job contains cyan, yellow and black separa-
tions, (C4, Y4, K4). There is space on black flat 1, position 2 for K4, and also space on cyan flat 2,
position 2 for C4. However, yellow flat 4 already contains a separation, therefore a new flat (5) is cre-
ated and the yellow separation is placed in position 2.
It can be seen from this that each flat contains separations in no particular order. A single job can
appear on earlier or later flats as long as there is space.
With by separation, page position, job selected, the first three incoming jobs are treated as
before. The black separation in the first job (K1) is placed on the first flat in position 1. The second job
(C2, M2, Y2) creates three new flats (2, 3, and 4). And the third job (M3, Y3) finds space on existing
flats on, magenta flat 3, position 2 and also yellow flat 4, position 2.
The fourth job contains cyan, yellow and black separations, (C4, Y4, K4). Even though there is space
on black flat 1, position 2 for K4, there is no corresponding space in position 2 of flat 3 and flat 4 for
the magenta and yellow plates. This is because this option keeps the separations for each job together.
Therefore, new flats 5, 6 and 7 are created to accommodate (in position 1), the cyan, yellow and black
separations from incoming job 4.
This illustrates that using this option, jobs stay together and appear on consecutive flats.

Incoming Job by separation, page by separation, page Flat

position position, job No.

position 1 position 2 position 1 position 2

C1, M1, —, †C1 C3 C1 — Flat 1

î

—, M2, Y2, †M1 M2 M1 M2 Flat 2

î

Table 5.6 Media saving—example 2

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 5.15 Advanced Media Saving

Incoming Job by separation, page by separation, page Flat

position position, job No.

C3, M3, Y3, — — Y2 — Y2 Flat 3

— M3 C3 — Flat 4

— Y3 M3 — Flat 5

— — Y3 — Flat 6

Table 5.6 Media saving—example 2

Table 5.6 shows an example where three incoming jobs are placed on flats differently according to the
selection of either; by separation, page position or by separation, page position,
job.

With by separation, page position selected, the first incoming job contains a cyan and
magenta separation (C1, M1) which are placed on flat 1 and 2, position 1. The second job, (M2, Y2)
can use the second position in flat 2 for the magenta and creates a new flat (3) for the yellow. The third
job contains cyan, magenta and yellow separations (C3, M3, Y3).There is space on flat 1 for the cyan
separation, but no space on flats 2 and 3, position 2 for the magenta and yellow. (The yellow cannot go
onto flat 3, position 1 because it would not be in the correct position for registration). Therefore, new
flats (4 and 5) are used and the cyan and magenta separations are placed into position 2.
Again, each flat can contain separations in no particular order. A single job can appear on earlier or
later flats as long as there is space.
With by separation, page position, job selected, the first two jobs behave as before. The
first incoming job contains a cyan and magenta separation (C1, M1) which are placed on flat 1 and 2,
position 1. The second job, (M2, Y2) can use the second position in flat 2 for the magenta and creates
a new flat (3) for the yellow.
The third job contains cyan, magenta and yellow separations (C3, M3, Y3).There is space on flat 1 for
the cyan separation, on flat 1, position 2 but it is not used because the next flats do not have space.
Therefore, new flats (4, 5 and 6) are created and the cyan, magenta and yellow separations are placed
into position 1 on those flats.
This illustrates that using this option, jobs stay together and appear on consecutive flats.

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5.15.4 Media Saving dialog box example

The following example of the Media saving dialog box shows a number of flats in various stages of
construction:

Figure 5.16 Example flats

In this example there are three flats in construction: Flat 10 is destined to be output on a Capstan
device and has two jobs called Box.ps and Box1.ps using 67% of the flat. Flat 11 is destined for
output on a Drum device and has three jobs using 20% of the flat. Flat 12 is also destined for output
on a Capstan device but at a different resolution to Flat 10.

5.16 Media and time saving using optimization

The Harlequin RIP provides media and time saving options in the Optimization pop-up menu in the
Processing section of the Page Setup dialog box. These options are only available if your output
device supports them. If your output device does not support these features, the options will not
appear in the list.
The media saving described in this section is different to the Media saving option described in
Advanced Media Saving on page 119, and does a different job. Using the two options together may
give unpredictable results.
The Optimization pop-up menu allows you to instruct the RIP to rotate pages automatically if doing so
saves time or media. For capstan and drum type devices you can choose Media Saving. For drum
type devices you can also choose Time Saving.
If you choose Media Saving in the Optimization pop-up menu , the RIP rotates the image if it calcu-
lates that media can be saved by doing so. You should ensure that the media width is correctly set
within the Cassette Manager to make this option work effectively. (See Chapter 9, Media Manage-
ment.) If the current device is a drum recorder, you can choose Time Saving, which rotates the page
in whichever direction takes the least time to output.
Note: Some applications, such as QuarkXPress, generate a page size for the job which is dependent on
the media width set in the application. Media saving often cannot work when processing jobs gener-
ated by these applications. To avoid this problem, make the media width in the application the same as
the width of the page being created (including any crop marks which are to be printed).

5.16.1 Other options that save media

Selecting the Trim page check box in the Effects section causes the RIP to trim any white space off the
top and bottom of each page.

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When printing an image which does not contain a PageSize definition (such as an EPS), and also
which is smaller than the currently configured page size, the Trim Page feature will trim the page size
to that of the image size. For example, printing an A5 image to a Page Setup which has A3 defined as
the Page Size would normally result in a roll output device printing onto media A3 in size with an A5
image on it. With Trim Page selected, a roll output device will produce media A5 in size with an A5
image on it. This example illustrates that the amount of media used is considerably reduced.
Note: Trim page will trim to the full size of the image whether or not that image contains white space.
Note: If you are sending output to a device fed with fixed size sheets, such as a typical laser printer,
using Trim page does not save media and is very likely to alter the registration between pages: for
example, when the content of those pages has a variable outline or bounding box.
Several features listed in the Enable Feature pop-up menu of the Edit Page Setup dialog box instruct
the RIP to use media as economically as possible. In general, these features pack pages together so
that, for example, more than one page is imaged side by side in the length of media that would other-
wise be used by one page. See Features on page 140 for a fuller description.

5.17 Default page size

Normally a job sets its own page size and overrides the default page size. However, in some cases
(such as when using the Proof Fonts command), the RIP uses the default page size.
You can specify the default page size by clicking Page layout (in the Edit Page Setup dialog box) to
display the Page Layout dialog box. You can specify either a standard page size by name, or the abso-
lute page width and height.
If you do not want to use a standard page size using Page size, specify your preferred values in the Page
width and Page height text boxes. Sizes can be in inches, millimeters, picas, or points, depending on the
current selection in the Select units pop-up menu to the right of the Page width box. When you have
specified a nonstandard size, the RIP displays Other in the Paper size pop-up menu.

5.18 Margins
You can specify margins for a job by clicking Page layout to display the Page Layout dialog box. This
dialog box varies slightly, depending on the type of device. The example in Figure 5.17 is for a sheet
fed device.
You can set the margins by typing values into the appropriate text boxes. Any margins you specify are
added to values set within the job.
Choose the units to use from the Select units pop-up menu. When you specify the left margin, the right
margin is calculated automatically, based on the total width of the media and the size of the image. If

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you wish, you can specify a negative value for any margin. For example a -1.0 inch left margin would
clip 1 inch off the left hand side of the page.

Figure 5.17 A typical Page Layout dialog box

You can center the page on the media by selecting the relevant option. Note that the page is always
centered if you choose this option, even if the job itself explicitly sets the page width.
If you are using one of the multiple modes, the Page Layout dialog box is also available from the Info
dialog box. This dialog box is displayed when you click Info in the Output Controller (see Operations
on buffered pages on page 70). When chosen from the Output Controller, the page layout options are
specific to the selected page or, optionally, to all pages in the same job. When chosen from the Edit
Page Setup dialog box, the options are applied to all jobs subsequently interpreted with that setup.
The output device dimensions are built into the driver for the current device, and cannot be changed.
You can set the media width in the Cassette Manager. For details of how to use the Cassette Manager
and other media management facilities, see Chapter 9, Media Management.

5.19 Printing effects

The Effects options in the Edit Page Setup dialog box allow you to produce output using assorted
effects.
The dialog box displays a representation of a page (near the Effects label), in which the letters AB are
written. You can either click the Rotate, Negative, and Mirrorprint options to select the effects, or you
can click the Effects page to cycle through all the possible combinations of effects.
The Effects page changes as you select any of the options, illustrating the effects of using the selected
combination.

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The Rotate pop-up menu allows you to select 90, 180, and 270
degree rotations. The image itself remains unchanged. If the job
was already set to rotate in the opposite direction, the two rotations
cancel, giving non-rotated output. Similarly, if the job rotates in the
same direction, the two rotations add.

If Negative is selected, the page produced is in negative. If the job

was already in negative (that is, a negative image is defined in the
page description), the two negatives cancel each other out, giving
positive output.
Using this option may affect the proper choice of calibration set;
see Chapter 12, Calibration.

If Mirrorprint is selected, the RIP produces a mirrored image

which is reflected about the vertical axis. However, if the job being
sent was already reflected, selecting the Mirrorprint option cancels
this out, giving a non-mirrored image.

Eclipse Release SP3 and later of the Harlequin RIP includes a Con-
trol Strip check box in the Effects panel of the Page Setup dialog
box.
For more information see Control strip below.

5.20 Control strip

If you select this check box, a control strip is added to your job, based on the area available on the out-
put medium. This is particularly helpful when creating proofs, because the control strip indicates the
settings used for the job and allows you to analyze the print quality.
Note: The control strip is not suitable for use when outputting to platesetters.
The control strip includes:
• Logos identifying the RIP as a Harlequin RIP, including a Global Graphics Software (GGS)
logo.
• A color bar for both visual and colorimetric analysis of the print quality.
• A text slugline carrying data about the job file itself and the print configuration.
The color bar printed on cut-sheet media may be constructed using one, two or four lines of color
patches, depending on the space available. It may include the following groups of patches:
• Step wedges, containing different numbers of patches at different tint values. These may con-
tain CMYK or spot colors.

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• Graduated linear tints.

• Progressives (secondary and tertiary colors built from Cyan, Magenta and Yellow).
• Neutral patches comparing CMY combinations with plain Black, and using values from a vari-
ety of standardized printing conditions, such as SWOP and ISO 12647-2.
• ChipCheck ‚a patent-pending approach that allows the color accuracy of the proof to be tested
TM

quickly and cheaply without requiring the use of a colorimeter.

• PDF/X status, showing whether the job being printed is PDF/X compliant or not, and whether
it claims to be.
• Orientation‚ showing the orientation of the page, and whether or not it is saved in negative in
the original document.
• Feed direction‚ showing how the output was fed through the printer, as an aid to resolve some
kinds of print artifacts.

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A sample control strip is shown below:

Harlequin Logo

Page orientation
Job name
Paper feed
Registration
Paper measurement Job style
Page number
Job file name

TM
ChipCheck File modification date and time

Output device

Print date and time

Resolution
Process step wedges
Page setup name

Color setup name

Screening

Anti-alias factor

Progressives
RIP version

Global Graphics
Software Logo
Serial number

Figure 5.18 Control strip

5.20.1 Control strip elements

The control strip contains some of the following elements, depending on your job configuration and
the available space on your media.

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5.20.1.1 Harlequin At Heart logo

Figure 5.19 Harlequin at Heart logo

The Harlequin at Heart logo is always part of a control strip and is located at the left end of the strip.

5.20.1.2 Orientation icon

Figure 5.20 Orientation icon

The orientation icon indicates the orientation of the job, that is, whether the job has been rotated and
so on. It also shows as black on white if the incoming job was negative and forced to positive by the
RIP.

5.20.1.3 Paper feed icon

Figure 5.21 Paper feed icon

The paper feed icon indicates the direction in which the paper is fed through the printer.

5.20.1.4 Registration icon

Figure 5.22 Registration icon

The registration icon allows you to check for any misregistration errors.

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5.20.1.5 Paper measurement icon

Figure 5.23 Paper measurement icon

The paper measurement icon allows you to take a paper white reading for the purposes of calibrating
your measurement device.

5.20.1.6 PDF/X validation icon

Figure 5.24 PDF/X validation icon

When processing a PDF file the PDF/X validation icon will be displayed. If the file claims to be a spe-
cific PDF/X version, the RIP will validate that claim during interpretation. The claimed conformance
level will be displayed above the PDF/X validation icon, and the characterized printing condition for
which it was prepared will be displayed below it.
If the file is a valid PDF/X file the icon to the right will be a tick, otherwise a cross will be shown.
A PDF file that does not claim to be PDF/X compliant will show Baseline PDF on the green back-
ground.
Files that claim to be PDF/X conformance levels that are not explicitly supported by the RIP will not
be validated, and will show a question mark in the black box to the right.This also applies to files that
claim to comply with a conformance level which are not fully validated in the current Page Setup. For
example, PDF/X files will not be validated if the option in the Accept Type(s) menu of the PDF Options
dialog box has been set to Any PDF <= 1.4 as basic PDF, for instance.

5.20.1.7 ChipCheck strip TM

Figure 5.25 ChipCheck strip

TM

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ChipCheck is designed to allow very rapid and easy validation that a proofer has been correctly con-
TM

figured without requiring the use of instruments. It will identify whether an error has been introduced
by, for example, the wrong media selection in the RIP interface, or whether the required calibration
has not been performed. It can also quickly check whether a stored proof has aged enough to alter the
colors significantly.
To read the strip, compare chips from a valid Pantone Coated swatch book with the patches in the
color bar under appropriately controlled lighting (typically D50).
For even faster and easier checking of proofs, build a strip of Pantone chips in the correct order to
compare with the patches.

5.20.1.8 Process step wedges

Figure 5.26 Process step wedges

The process step wedges allow you to measure the process colors at various increments. The incre-
ments used depend on the space available.

5.20.1.9 Progressives strip

Figure 5.27 Progressives strip

The progressives strip allow you to measure color combinations. Each patch has a label above it indi-
cating the colors used in the patch, for example, CM is a patch containing Cyan and Magenta. The per-
centage of each color varies, according to the space available. For example, the first six patches in the
strip in Figure 5.27 contain 100% of each named color, and the last six patches contain 50% of each
named color.

5.20.1.10 Neutrals strip

Figure 5.28 Neutrals strip

The neutrals strip allows you to test the neutral grays produced by your job settings. The neutral
patches compare CMY combinations with plain Black, and use values from a variety of standardized

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printing conditions, such as SWOP and ISO 12647-2. The appearance of the neutrals strip varies
depending on the space available.
Combined with ChipCheck (see ChipCheckTM strip on page 133), this provides a very rapid method
of checking the configuration of the proofing device. If the CMY combinations do not match the K
tints you may have selected the wrong media in the RIP, or you may need to recalibrate the printer.

5.20.1.11 Company logo

Figure 5.29 Company logo

The company logo always appears on the control strip and represents the distributor of the

5.20.1.12 Job name icon

Figure 5.30 Job name icon

The job name icon precedes the job name.

5.20.1.13 Job style icon

Figure 5.31 Job style icon

The job style icons indicate the separations, screening and color Style used for the job, as specified in
the Page Setup.
The first icon in Figure 5.31 indicates a composite color job; the second icon indicates an unrecom-
bined, preseparated job, and the third icon indicates a recombined, preseparated job (monochrome
jobs will be marked as composite).

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5.20.1.14 Page number icon

Figure 5.32 Page number icon

The page number icon precedes the page number. Note that the page number is the page number
within the current file. If for example, you have printed to the PostScript language from your design
application and chosen to print just pages 7 and 8, then they will be labelled as pages 1 and 2 on the
proofs.

5.20.1.15 Job file name icon

Figure 5.33 Job file name icon

The job file name icon precedes the job file name.

5.20.1.16 File modification date icon

Figure 5.34 File modification date icon

The file modification date icon precedes the date and time at which the file was last modified. The file
modification date will only be shown if it is recorded in the file.
Note: The brackets and slashes within the control strip delimit different parts of the strip. The date in
the first set of brackets is the file modification date (if available), and the date in the second set of
brackets is the print date.

5.20.1.17 Print date icon

Figure 5.35 Print date icon

The print date icon precedes the print date and time.

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Note: The brackets and slashes within the control strip delimit different parts of the strip. The date in
the first set of brackets is the file modification date (if available), and the date in the second set of
brackets is the print date.

5.20.1.18 Scale icon

Figure 5.36 Scale icon

The scale icon precedes details of the scale factor, for example, 50.0%.

5.20.1.19 Clipped icon

Figure 5.37 Clipped icon

The clipped icon is a warning that not all of the 'page' of the job may be shown. This may be due to the
fact that the non-printing margins of the output device have not been accounted for. See Margins file
on page 139 for more details.

5.20.1.20 File creator icon

Figure 5.38 File creator icon

The file creator icon precedes the name of the person and/or machine that created the or PDF file.
This information is only displayed if it is recorded in the file.

5.20.1.21 Output device icon

Figure 5.39 Output device icon

The output device icon precedes the name of the output device, for example, TIFF.

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5.20.1.22 Page Setup name icon

Figure 5.40 Page Setup name icon

The Page Setup name icon precedes the Page Setup name.

5.20.1.23 Color setup name icon

Figure 5.41 Color setup name icon

The color setup name icon precedes the name of the color setup. If the default color setup is being
used, then the text (No Color Management) is displayed.

5.20.1.24 Screening icon

Figure 5.42 Screening icon

The screening icon precedes details of the type of screening used, for example, HDS Fine.

5.20.1.25 Resolution icon

Figure 5.43 Resolution icon

The resolution icon precedes the resolution details, for example, 300.0 dpi.

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5.20.1.26 Anti-alias factor icon

Figure 5.44 Anti-alias icon

The anti-alias icon precedes the details of the anti-alias factor, for example, 3x3. The Anti-Aliasing
option is available in the Configuration dialog box of various plugins, such as the TIFF plugin.

5.20.1.27 Serial number icon

Figure 5.45 Serial number icon

The serial number icon precedes the Harlequin RIP serial number details. This allows you to identify
the Harlequin RIP that produced the proof.

5.20.2 Configuration

5.20.2.1 Page image positioning

The page image will normally be placed in the lower left corner of the imageable area of the printer
(after allowance for the control strip). It can be centered in the imageable area in either dimension
using the Center page on Media Width/Length check boxes in the Page Layout dialog box. These
options will not move the control strip, which will remain along one side of the sheet or roll.

5.20.2.2 Margins file

In some cases, the following warning may be displayed in the RIP Monitor window:
%%[ WARNING: Control Strip: no margins file found, output may be clipped ]%%

If necessary, speak to your plugin supplier for further details on margins files.

5.21 Scaling the image

You may not always want to print your job at its original size. The horizontal and vertical scaling
boxes in the Edit Page Setup dialog box allow you to print out any job at a specified scale. This
changes the page size.
All scales are expressed as a percentage of the original size. Thus, to print out a copy of a job at half
the linear size, specify 50 in both the horizontal and vertical scaling text boxes. To print it out at twice
the size, specify 200.

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You can specify different horizontal and vertical scales if you wish. Note that the aspect ratio of the
image changes unless the values in the horizontal and vertical scaling boxes are the same.
Screen ruling is not affected by the scale at which a job is output.

5.22 Features
You may sometimes want to apply a special effect to your jobs that is not otherwise available from the
Edit Page Setup dialog box. You can do this in the Harlequin RIP by using features. These are both
powerful and easy to use.
For instance, you can use a feature to perform a simple page imposition that prints two pages side by
side (and at reduced-scale if required) on one normal sized page to reduce media consumption when in
the draft stages of document production. Another feature scans PostScript language jobs for the use of
spot colors and reports the colors on screen before you print.
You can use features by choosing one from a pop-up menu, without knowing how they work, but with
a little knowledge you can add new features. A Harlequin RIP feature is a fragment of PostScript lan-
guage code which is executed just before a job is run. The fragment specifies the changes to be made
to the interpretation of that job, but is completely independent of it.

5.22.1 Using features

Several page features are supplied with the RIP, ready for immediate use. To use one of these features,
select the Enable Feature check box and select a feature from the pop-up menu. Make any other set-
tings you wish and save the Page Setup. The feature is applied to all jobs using that Page Setup until
you clear the check box.
Many of the features enable you to save media by packing pages on large format devices, or to get
more information about jobs and any errors arising from jobs. In addition, one feature (Image
replacement) enables substitution of high resolution images for PostScript language jobs, using
Open Prepress Interface (OPI) and Desktop Color Separation (DCS) schemes.
The page features currently supplied and supported are:

Error Handler (Long and Short)

Error messages generated by the RIP are generally fairly concise. These page
features make the RIP generate longer and shorter (but longer than normal)
error messages.

Image Replacement
This will load both OPI and DCS image replacement code. Please note that
there is an issue when using image replacement with DCS files. When a
Monochrome color separation setup is employed, only the information from
the Black DCS separation is used in the final grayscale image.

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List Spot Colors

This lists to the system monitor / console the names of all the spot colors
accessible in the current job. Also loads the level 1 separator so all level 1
spot colors are also displayed.
For maximum performance, when using this page feature, set the resolution
to the lowest possible value that is supported by the output device.

Print info on error

Use this to add additional information related to PostScript language errors to
the output, and to image the page interpreted so far.

Print page on error

Use this file as a page feature (or a boot option in HqnOEM) to print partial
pages when a PostScript language error other than interrupt or timeout
occurs.

Install Annotation
You can if you wish use your own custom annotation files. This is done using
this page feature which, when activated via the Page Setup dialog, allows you
to print an EPS file (EPS only), to install that file as a new annotation.It is
recommended that the EPS file is wide and low. It will be centered on the
selected raster edge. For more information see Annotations on page 279.

Use Filename as Jobname

From the Harlequin RIP Genesis Release a page feature has been added,
TM

which allows users to request that an incoming file name be used for the job
name. This page feature is a much cleaner approach than any previously sup-
plied code. It is therefore is highly recommended that this page feature is
used rather than any previous code offerings.
Note: Each page feature is a simple text file and contains a similar description, sometimes with more
detail, as a comment.

5.22.2 Adding other features

The Enable Feature list provides a number of commonly useful features, but there are other supplied
examples that you can add to the list and a PostScript language programmer can create many more.
One of the supplied examples (Draft) prints the word Draft on each page. Another one (Pack Drum)
saves film by packing images on a drum recorder in the way that Fill Film does on a sheet-fed
device and Pack Capstan does on a capstan recorder. Finally, PGB hot folder enables you to
resubmit page buffers to the version of the RIP that produced them.
Note: All page features in the Examples folder are supplied as an illustration of what is possible with
the Harlequin RIP. The page features are believed to work as described but they are not supported as a
part of the Harlequin RIP. Page features that appear in the Enable Feature list are supported but are
documented only in the PostScript language files.

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A feature appears in the Enable Feature list only if there is a corresponding PostScript language file in
the Page Features folder in the SW folder where you have installed the RIP. The name of the feature
in the dialog box is the same as the file name.
All the other supplied examples are files in an Examples folder in the Page Features folder. There
is also a file called Read Me that describes the example features and how to create others. To make an
example feature available, copy the file from Examples into the enclosing Page Features folder
and display the Edit Page Setup dialog box.
Similarly, to remove a feature, move it from the Page Features folder into the Examples folder.
You can add other, new, features by creating appropriate PostScript language files and placing them in
the Page Features folder.

5.23 Cassette management

If you are using the media management facilities to keep track of the amount of media you have left in
your output devices, or if you are using media optimization, you must specify the cassette which is to
be used with the Page Setup. Do this using the Cassette pop-up menu in the Edit Page Setup dialog
box. Note that if you change the Device, you have to choose a cassette name from the Cassette list,
unless media management is disabled for that device.
See Chapter 9, Media Management, for more details.

5.24 Page Setup Options

The Page Setup Options dialog box, shown in Figure 5.46, provides several options that affect the way
the RIP processes jobs. Display this dialog box by clicking the Options button in the Edit Page Setup
dialog box.
Several options provide compatibility with jobs using PostScript LanguageLevel 2 or
LanguageLevel 1. Other options deal with more general fault conditions or are convenience features.

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(Click the Extras button in this dialog box to see options specific to job-creating applications: see Page
Setup Option Extras on page 147 for details.) This section describes each option in the dialog box.

Figure 5.46 Page Setup Options dialog box

5.24.1 PostScript language compatibility level

This option allows you to choose the level of PostScript language compatibility for jobs submitted to
this Page Setup. You can choose PostScript LanguageLevel 1, 2, or 3.
By default, this option is set to 3, because most jobs run correctly and this setting allows the RIP to
use the maximum number of PostScript language features and Harlequin RIP extensions. The result is
often faster operation or increased output quality.
You may need to set the value to 1 or 2 for a small number of older jobs to run correctly. For example:
if you set this option to 2, the RIP interprets jobs using the Level 2 PostScript language conventions,
together with any non-conflicting Harlequin extensions. This means that level 2 jobs run in exactly the
expected environment. Well-constructed level 3 jobs also run but are likely to operate more slowly if
they use features better supported in LanguageLevel 3.

5.24.2 Run prep at start of job

Prep files are libraries of PostScript language routines that can be downloaded into a RIP and used
whenever necessary. Many LaserWriter drivers require certain libraries to be loaded before they can
be used. See Automatic prep loading on page 196, for details.
If the box for this option is selected and a prep file chosen from the pop-up menu, the chosen prep file
is run at the start of every job that is interpreted with the relevant Page Setup.
By default, this option is not selected.

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5.24.3 Remove color operators

This option also provides PostScript language compatibility. There are two cases where you should
consider using it.
• One case occurs because of a bug in LaserWriter Driver 6.0. If you are using this driver and get
a PostScript language error, especially if the sending application is Freehand (formerly from
Aldus, now Macromedia), then select this option and output the job again.
• Some applications use PostScript language Level 1 extended color operators incorrectly, pro-
ducing incorrect (for example, blank) output. If you select this option, the RIP uses basic color
operators instead, and output appears correctly.
Note: This option is available only when the PostScript Language compatibility level option is set to 1.
Color operators are always available in PostScript LanguageLevel 2 and 3.

5.24.4 Fast patterns

This option enables Level 1 PostScript patterns defined as halftone screens to be processed more
quickly, but at a lower resolution than normal. You should not use this option if you require high qual-
ity images, since the option makes the output of any user defined patterns have a more grainy texture
than normal at resolutions above 300 dpi.
By default, this option is not selected.

5.24.5 Emulate old imagemask behavior

This option is used to overcome a now rarely seen bug in a previous version of the Adobe interpreter.
The effects of this bug may still be present in some older files of PostScript language code.
By selecting the Emulate old imagemask behavior check box, you can print these old jobs correctly.
By default, this option is not selected.

Consider the case where a page of PostScript lan-

guage code contains a negative image mask. If the
page is itself printed in negative, the image mask
appears normal, as illustrated on the left.

In older jobs, negative image masks are still

printed in negative, producing the error illustrated
on the left. This is because the PostScript language
code in the job is attempting to rectify a bug that is
no longer present.

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5.24.6 Add showpage at end of job if necessary

Certain PostScript language file formats, such as EPS, EPSF, or EPSI (all forms of encapsulated
PostScript), do not necessarily include a showpage operator at the end of the job. To print these files
directly from a RIP, a showpage may need to be added. If this option is selected, the RIP automati-
cally appends a showpage to jobs when necessary.
Note: If a job containing a PostScript language error is aborted, any partially complete page is pro-
cessed and output.
Note: With Simple Imposition used in your Page Setup the Add Showpage at end of job if necessary
option is not required. EPS files will print correctly.
By default, this option is not selected.
Note: If you process an EPS file that contains known errors it will output when using both Add Show-
page at end of job if necessary and a page feature that uses imposition. If either the Add Showpage at end
of job if necessary or page feature is turned off the page will correctly error.

5.24.7 Abort if calibration on, and the selected cal set does not match job
If you require job calibration, select this option to prevent the RIP printing jobs with an inappropriate
calibration set. The calibration set is specified in the Page Setup. See Chapter 12, Calibration for
details.
By default, this option is not selected.

5.24.8 Abort the job if any fonts are missing

Select this option to ensure that a job is aborted if any font it uses is not available. If you leave this
option unselected, the RIP attempts to use a suitable replacement for any missing font.
By default, this option is not selected.
You are able to specify Default fonts in the SW/Config/FontSubstitution file. See Font substi-
tution on page 302 for more details.

5.24.9 Enable font emulation

If a font is missing from a job, and is not available in the RIP, you can select this option to substitute
the missing font with suitable facsimile text based on the characteristics of the missing font in terms of
style, spacing, height and width. In this way, a suitable readable font with similar characteristics of the
target font is used in place of a missing font.
Font emulation is often acceptable when digital printing, and can be preferable to the file not being
produced at all.
For more information see Font Emulation on page 303.

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5.24.10 Preserve monochrome and preseparated jobs

Select this option only if it is important to emulate the behavior of a traditional separating workflow
when a monochrome or preseparated job is submitted to the RIP using a Page Setup that is intended
for automatic separation of composite color jobs.
When this checkbox is enabled you will generate CMYK separated output when monochrome or pre-
separated files are input to a CMYK page setup.
Selecting this option ensures that the RIP generates correctly labeled separations. Select this option to
make monochrome jobs produce a single black separation, and to make preseparated color jobs pro-
duce correctly labeled separations.(Even though correctly labeled, the separations may also be blank.)
Note: You can avoid blank separations by selecting Not Blank in the Print column of the Edit Style
dialog box, as described in Producing separations on page 357. That option is slightly different
because if it is used alone on preseparated jobs in a separating workflow then the resultant separation
may have the wrong label: for example, a preseparated job for CMYK may produce only four K
(black) separations. It can be useful to use both options together.
Warning: When Simple Imposition is being used, the Print option must be set to Yes if you wish to
see color patches on either the proofing or the plate colorbars. Using the Not Blank option will omit
color patches for that color.

5.24.11 Number of copies to print

This text box contains the number of copies of a job that are to be printed. You can type a new value
into the box to specify a particular number of copies.
By default, this option is set to 1 (one).

5.24.12 Minimum shaded fill levels

With the introduction of PostScript LanguageLevel 3 and PDF version 1.3, it is possible to construct
vignettes using Shaded Fills. There are a number of controls available to impact the quality of these
Shaded Fills and one which is particularly important is the smoothness setting.
This option essentially controls the number of steps used to produce a vignette. Some applications set
smoothness to a value which will not produce good results on some devices (Adobe Acrobat sets a
value of 50). In this case, vignettes are constructed in a way which reveals noticeable banding. Typi-
cally, the creating application can be set to use a more sensible default value, however this can be dif-
ficult to implement for all creators of PDF files. For this reason the Minimum shaded fill levels option is
available.
This option allows you to set sensible override values.
Minimum shaded fill levels sets a limit which controls the minimum number of steps that can be used in
constructing a vignette. This is important in ensuring vignettes do not have banding.
From Eclipse Release SP4 the default Minimum shaded fill levels value is Auto which optimizes the
value to suit the currently selected Page Setup, and in particular the screening setting.

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The Minimum shaded fill levels option has a drop down menu allowing selection of various pre-config-
ured values. The higher the value you select, the more shaded fill levels are created, and the more
work the RIP has to do to create those levels, resulting in reduced output rate. If Auto is selected, the
RIP automatically optimizes the Minimum shaded fill levels to suit the current Page Setup. For example,
if the current Page Setup employs screening that allows only 64 shades of gray, the RIP will optimize
the Minimum shaded fill levels so that it uses only 64 shades. In addition to this, if the Page Setup
allowed 256 shades you can make the RIP run faster by manually selecting a lower value, such as 128.

5.25 Page Setup Option Extras

The Page Setup Option Extras dialog box, shown in Figure 5.47, enables you to alter the way the RIP
processes jobs produced by specific applications. The topics include color management, font substitu-
tion, and vignettes in spot colors.
Note: The treatment of embedded color management and spot color vignettes is the same whether the
job submitted to the RIP is a file produced directly by the named application, or a file produced by a
page make-up application and referencing or containing a file from the named application. There are
differences in what is possible with different file formats from some applications, as noted for each
option. Typically, an EPS file is handled better than a PostScript language file printed directly from the
named application.
Display this dialog box by clicking the Extras button in the Page Setup Options dialog box. This sec-
tion describes each option in the dialog box.

Figure 5.47 Page Setup Option Extras dialog box

5.25.1 Adobe Photoshop features

These options control handling of features found in jobs from Adobe Photoshop.
Note: The Honor PostScript Color Management check box has been removed. The option is now
called Override color management in job and is part of the Input Document Controls within the
Color Setup Manager. See Color Setup on page 363 for more details.

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To make fullest use of jobs containing device-independent color definitions, enable a color
option in the Configure RIP Extras dialog box.

Separate spot color duotones, tritones & quadtones to spot color plates...
This option enables the interception of Photoshop duotones, tritones, and
quadtones when encountered in EPS files. Select this box if you want to sep-
arate spot color duotones, tritones, and quadtones to spot color separations.
For this option to take effect, select a RIP separations style that creates sepa-
rations and that enables the relevant spot color separations. The separations
style must either specify a separation for each spot color or have (Other
colors in job) set to Yes. See Producing separations on page 357 for
details.
Note: This option is available only when the PostScript Language compatibility
level option is set to 3. It is only relevant for Photoshop versions 2.5
through 4; Photoshop version 5 does this automatically if imaged in
LanguageLevel 3.
For more information see Duotones, tritones, and quadtones on page 15
By default, this option is selected.
Note: Photoshop images saved to EPS always include the input profile from Photoshop, which a job
may not want to actually have applied when color managing. For details on overcoming this, see
Appendix C of the Harlequin RIP Extensions manual.

5.25.2 Adobe Illustrator features

These options control handling of features found in jobs from Adobe Illustrator.

Don’t let files silently substitute Courier for missing fonts

Illustrator 7 checks for font availability and replaces any unavailable fonts
with Courier. This means that changing the default font or selecting the Abort
the job if any fonts are missing option in the RIP would have no effect.
If you select this option, the RIP ignores the font substitution in the Illustrator
PostScript language code. You can then change the default font or select the
Abort the job if any fonts are missing option. This options applies to both Post-
Script language and EPS files from Illustrator.
By default, this option is selected.

Separate spot color vignettes to the spot color plate...

For both Illustrator 6 and 7 files: if you select this option, the RIP places the
spot color vignettes on the appropriate spot color separations, if available.
There are limitations: all vignettes appear in process separations when the job
submitted to the RIP is a PostScript language file printed directly from Illus-
trator; and vignettes from a spot color to a process color appear in process
separations even when the job is in EPS format.

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For this option to take effect, select a RIP separations style that creates sepa-
rations and that enables the relevant spot color separations. The separations
style must either specify a separation for each spot color or have (Other
colors in job) set to Yes. See Producing separations on page 357 for
details.
For Illustrator 6 files: if you do not select this option, the RIP honors the
information in the job and places spot color vignettes on the process color
separations rather than the spot color separations.
For Illustrator 7 files: if you do not select this option, the result depends on
the separations style and on the information in the job.
If the separations style generates a separation for a particular spot color, the
RIP places a vignette in that spot color on the spot color separation.
However, if (Other colors in job) is set to Yes the RIP will generate
a separation for a spot color if it encounters a flat tint in that color, but not if it
encounters a vignette in that color. Once the spot color separation exists, the
RIP will add a vignette in that color to the separation. If the spot color separa-
tion does not already exist, the RIP places the spot color vignette on the pro-
cess color separations.
Note: This option is available only when the PostScript Language compatibility
level option is set to 3.
By default, this option is selected.

5.25.3 QuarkXPress features

This option controls handling of features found in jobs from QuarkXPress.

Separate spot color vignettes to the spot color plate...

The PostScript language code generated by QuarkXPress places spot color
vignettes on the process color separations rather than the spot color separa-
tions.
If you select this option, the RIP places the spot color vignettes on the appro-
priate spot color separations, if available. (This option applies fully to Post-
Script language files printed from QuarkXPress.) For this option to take
effect, select a RIP separations style that creates separations and that enables
the relevant spot color separations. The separations style must either specify a
separation for each spot color or have (Other colors in job) set to Yes.
See Producing separations on page 357 for details.
Note: This option is available only when the PostScript Language compatibility
level option is set to 3.
By default, this option is selected.

Replace XPress graduated fills with smooth shading

Select this check box to replace graduated fills produced by QuarkXPress
with LanguageLevel 3 smooth shading (shaded fills). Shaded fills generally

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produce better visual quality and may be faster to generate. You can use this
selection if you are using the TrapPro trapping option. This is because
TrapPro can handle shaded fills.
Note: This option is available only when the PostScript Language compatibility
level option is set to 3.
By default, this option is not selected.

5.26 PDF Options

This button displays the PDF Options dialog box, in which you can set the options for printing PDF
files. Using these options you can, for example, print a range of pages rather than the whole file or
specify which versions of PDF file to accept. You can also supply a user password, to enable the RIP
to print password-encrypted files.

5.27 Calibration
The Harlequin RIP can apply one or more calibration sets to a job. If you are printing to a direct output
device, the Page Setup can include a calibration for the output device and a tone curve calibration.
If you are preparing a job for a printing press, the Page Setup can include an imagesetter calibration, a
tone curve calibration, and calibrations for the intended and actual presses. If the Page Setup uses an
ColorPro color setup, the intended press calibration is disabled.
Calibration sets are created for a particular device and color space. You can only select a calibration
set for the currently selected device and color space. The choice of separations style determines the
color space. Note that, while an imagesetter is not a multi-color device, you can create a calibration
curve for each color in the separations style, to take account of the different screen angles likely to be
used for the colors.
To create or edit a calibration set, click the Calibration Manager button, which is the icon button in the
Calibration & Dot Gain section of the Edit Page Setup dialog box. See Chapter 12, Calibration, for
more information.

5.27.1 Device calibration

The Calibration pop-up menu contains a list of all calibration sets for the currently selected device and
color space. Select (None) for no device calibration.
Typically, you select a calibration set that has been prepared for the resolution, screen frequency, dot
shape, positive/negative setting, and exposure of the Page Setup that you are editing. The dot shape
and screening details are set in the separations style.
Some output plugins‚for example, ProofReady plugins, are supplied with reference calibration pro-
files, typically named in this form: (Media_name Resolution), where Media_name and
Resolution represent values suitable for the output device. These profiles appear in the list of cali-
bration sets and you can use these profiles in the same way as any other calibration set. The additional
feature of these profiles is that selecting a reference calibration profile, or a calibration set that you
have based upon one, is enough to apply a default color management setup provided that you have

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enabled an color management option. See the manual for the relevant output plugin or the Harlequin
ColorPro User’s Guide for details.

5.27.2 Press calibration

The Actual Press pop-up menu contains a list of all calibration sets created for the Printing Press
device in the current color space. Select (None) for no press calibration. There is default entry sup-
plied for (SWOP (CGATS TR001)), and there may be others.
Note: Some of the press calibration sets may be derived from profiles when you are using ColorPro.
See the Harlequin ColorPro User’s Guide for details. You can add other entries, as described in Chap-
ter 12, Calibration.

5.27.3 Use of a different printing press

If you are not using ColorPro, you can retarget a job from its intended printing press to another print-
ing press, using the Intended Press option.
This is a complex topic in the general case, discussed more fully with reference to calibration in Press
calibration on page 325.
In summary, the overall effect of press calibration in the output path is to first apply any primary cali-
bration (for example, as required for an imagesetter), to remove compensation for the gain of the
Intended Press, and then to compensate for the gain of the Actual Press.

The Intended Press calibration is not available when ColorPro is enabled. Instead, several options are
provided for processing color data ahead of the transfer to press. These options include emulating the
output of one press on another type of press. For details, see the separate Harlequin ColorPro User’s
Guide. The calibration set specified in Actual Press is always used.
The Intended Press pop-up menu contains a list of all calibration sets created for the Printing
Press device in the current color space. If you have a scanned image that was not aimed at a specific
press, select (None) for no intended press calibration. There is a default entry supplied for (SWOP
(CGATS TR001)), and there may be others.

Note: Some of the press calibration sets may be derived from profiles when you are using ColorPro.
See the Harlequin ColorPro User’s Guide for details. You can add other entries, as described in Chap-
ter 12, Calibration.

5.27.4 Tone curves

Tone Curves allow you to make another set of color adjustments, in addition to the device calibration
and the press calibration. The Tone Curves pop-up menu contains a list of all calibration sets created
for the Tone Curves device in the current color space. Select None for no tone curves calibration.
See Tone curves on page 324 for more details.

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5.28 XPS Options

This button displays the XPS Options dialog box, in which you can set the options for printing XPS
files.

Figure 5.48 XPS Options dialog box

Honor PrintTicket DocumentPageRanges

Switching this on enables the RIP to act on the page range settings in the XPS
PrintTicket. Leaving the option unchecked means that Page Setup options
continue to override the XPS Document PrintTicket settings.

Print all pages

Leave this check box selected to print all the pages in the XPS Document. If
you wish to print only a subset of the pages from an XPS Document, deselect
this check box and enter the desired pages in the Pages field.
Reselect this check box when you have finished printing the subset of pages.
This enables the printing of all pages from other XPS Documents. (You do
not need to delete the entry in the Pages field.)

Page(s)
Enter numbers for the page or pages that you wish to print. You can enter
individual page numbers or ranges, separating each number or range with a
comma ( , ) character.
To enter a page range, enter the numbers of the first and last pages in the
range, using a hyphen to separate them: for example, 7-16. If you wish to
print all pages from a particular page to the end of the job, enter a range start-
ing with that particular page and ending with a number that you know to be
higher than the last page in the PDF job: for example, 47-10000.
You can combine individual page numbers and ranges: for example, 1,2,7-
16,23,24.
Pages may be repeated, for example [27, 27, 27] will print three copies of
page 27.
Pages may be listed out of sequence, for example [154, 27, 170].

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Page size
This enables the RIP to act on page size settings configured in the Page Setup
dialog or XPS Document‚ PrintTicket. The default setting is to use the Page
Setup FixedPage width and height. Alternatively, the BleedBox or
ContentBox settings can be selected. You can override the Page Setup val-
ues by selecting the PrintTicket PageMediaSize setting.

Blend color space

Selects the blend color space from sRGB, scRGB, the Device blend color
space or uses the XPS Document‚ PrintTicket PageBlendColorSpace
setting. All colors are converted to the selected blend space before composit-
ing or gradient blending. If your RIP is outputting an RGB device select
sRGB. If your RIP is outputting to a CMYK device select Device.

5.28.1 PrintTickets
The PrintTickets attached to an XPS Document help to define the various printing options such as the
Print quality and Paper size. Also, other options such as the Output method and what to do with Digi-
tal Signatures can be selected. Many applications will attach a PrintTicket to the XPS Document when
it is printed.
The following PrintTickets are supported by the RIP if they are present within an XPS Document:
• DocumentPageRanges
• PageBlendColorSpace
• PageMediaSize
• PageResolution
The way that the RIP handles the DocumentPageRanges, PageBlendColorSpace and PageMe-
diaSize PrintTicket keys depends on the settings of the XPS Options dialog. See XPS Options on
page 152 for more information. By default, all PrintTicket settings are ignored, but these three keys
can be honoured if you choose to do so.
The only other PrintTicket setting which might get honoured is PageResolution. This will only
happen when the Override resolution in job option is not checked in the Page Setup dialog. See Setting
the resolution on page 84 for more information.

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Screening

This chapter describes halftone screening in monochrome and color work, and the different types of
screening offered by the RIP. You use the screening options in the RIP in combination with the options
that control color separations, to create a combined color separations style.
The RIP does not restrict the concept of color separation to producing separated output. When pro-
cessing any job, the RIP creates a separation for each process colorant and also, where appropriate, for
spot colorants. The output format determines whether the separations are printed together as a com-
posite, or separated. By configuring these separations you can control the printing of individual colo-
rants in the job. Although there is only one separation in the monochrome color space, the RIP
provides the same options for configuring that separation.
Separations information is saved together with screening information in a separations style, which can
be used in several Page Setups. You can keep a number of separations styles that you use regularly, for
example to define different screening options.

6.1 Managing separations styles

Separations styles are created and managed in the Separations Manager, as shown in Figure 6.1. You
can open the Separations Manager by clicking the Separations Manager icon button next to the Style
pop-up menu in the Edit Page Setup dialog box, or by choosing the Color > Separations Manager com-
mand.

6.2 Separations Manager dialog box

Figure 6.1 Separations Manager dialog box

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The Separations Manager displays a list of all existing separations styles for the current device, show-
ing the name of each separations style, the corresponding color space, and the output format.
From the Separations Manager you can create separations styles, and edit, copy, or delete existing sep-
arations styles. This chapter describes how to set the screening options for an existing separations
style. For details about creating separations styles, see Chapter 13, Color Separation.
Select a separations style from the list and click Edit. The Edit Style dialog box appears. If the output
format of the separations style supports screening, the Edit Style dialog box contains screening
options, as shown in Figure 6.2. For example, if you choose a separation style with an output format of
halftone separations, the Edit Style dialog box contains screening options.
The screening options do not appear if the output plugin for the selected output device does not sup-
port screening. This usually means that the output device supports continuous tone (contone) output or
that the device accepts contone data and performs its own screening. For devices that can be config-
ured to support either contone or screened output, the screening options in the Edit Style dialog box do
not appear when you select a contone separations style, unless you are using external screening.
Some proofing output plugins list two entries (for Device in the Edit Page Setup dialog box) for each
model of printer that the plugin supports. One entry is for a device that uses the screening options in
the RIP, which appear in the Edit Style dialog box for that device. The second device performs its own
screening, such as error diffusion screening (EDS), and does not have screening options in the Edit
Style dialog box.

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6.3 Edit Style dialog box

The Edit Style dialog box (shown in Figure 6.2) appears when you select a separations style and click
Edit in the Separations Manager.

Figure 6.2 Edit Style dialog box with screening options

The screening options in the Edit Style dialog box include some familiar to anyone who has used
screening and some that are specific to the Harlequin RIP.
• Halftoning on page 157, is a quick introduction to concepts if you are unfamiliar with screen-
ing and halftoning.
• Screen angles on page 163, Dot shapes on page 164, and Halftone frequency on page 168,
explain how to use three basic screening functions.
• Screening options and number of gray levels on page 168 describes an area where the Harle-
quin RIP technology provides some unconventional and valuable functionality.
The remaining sections in this chapter describe more subtle controls and some optional features of the
Harlequin RIP.

6.4 Halftoning
Halftoning is the process of approximating gray levels or color shades with a pattern of dots. In many
halftoning systems, the dots can have only one color value but can vary in size to alter the ratio of dot
color to background color. The simplest use of this technique is approximating gray levels with a pat-
tern of black dots against a white background, as illustrated in Figure 6.3.

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Here, the size of the dots varies to represent different shades of gray. You see an area of small dots as
a light gray, while an area of larger dots (each nearly filling its allowed space in the pattern of dots) is
seen as dark gray. More strictly, it is not the size of the dots but the resultant ratio of black area to
white area that represents the gray value.

Figure 6.3 An example of halftoning

Color shades are approximated with three patterns of dots, each in a primary color (cyan, magenta,
and yellow) is used with or without a fourth pattern of black dots. (This description of halftoning
assumes three patterns; in fact, the fourth pattern of black dots is almost always used, for technical
reasons that do not affect the principles of halftoning.)
Within each color separation, the size of the dots (in relation to their background) is proportional to
the amount of the primary color in the composite shade. When the separations are combined, typically
by overprinting in registration, they create the illusion of shades of color. The cyan, magenta, and yel-
low dots cannot be distinguished when viewed from a distance‚ instead, the pattern of color dots
appears to be an area of a shade of color.

6.4.1 Dots, halftone cells, and screens

The dots that this section has discussed are the visible part of halftoning and most halftoning can be
described in terms of patterns of these dots. The industry-standard terms used to describe the organiza-
tion of these dots into manageable structures are halftone cells and screens.
Each dot is considered to occupy a halftone cell. (Figure 6.4 shows two groups of four halftone cells.)
Every halftone cell is used to represent a gray level or color intensity. A dot can have any area in the
range 0% of the area of the halftone cell (a completely white cell) through 100% of the area of the
halftone cell (a completely black cell). Dots of intermediate areas create the illusion of gray levels.

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The number of pixels in the halftone cell defines how many intermediate areas of dot are possible and,
in most systems, this defines the number of reproducible grays.

Cell spacing (related

to screen frequency)

Figure 6.4 Halftone cells, screen frequency, and dot shapes

A screen is an invisible grid that is superimposed on the image‚ each square in the grid is a halftone
cell. For a particular dot shape, the important characteristics of a screen are its spatial resolution,
referred to as screen frequency, and the screen angle (as shown in Figure 6.5).

Screen frequency
is the number of halftone cells per inch or centimeter. The corresponding
units are lines per inch (lpi), lines per centimeter (lpcm), or lines per millime-
ter (lpmm). For example, a screen frequency of 100 lpi means halftone cells
spaced every hundredth of an inch.

Screen angle is the angle between one side of the halftone cell and an axis on the output
device (not a fixed axis on the page): the reference axis is usually the direc-
tion of the slow scan. The screen angle becomes important when you are
combining the separate patterns of dots used for color reproduction. The most
important consideration is the angular separation of the different screens, not
their absolute angles relative to the device axes.
Note: For most screens, you can use the box Rotate screens according to page
rotation in the Edit Style dialog box to maintain screen angles relative to the
page axes. This may help you diagnose the cause of problems with patterning
in the output.
ℜ°
0

Screen angle

Ðóℜ°
270
Ðóℜ°
90

Ðóℜ°
180

Figure 6.5 Halftone cells and screen angle

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6.4.2 Dot shape

The choice of the shape of each dot that is generated in a halftoned image is essential to the quality of
the eventual image. Figure 6.4 shows circular and elliptical dots, but dots can have other shapes and
need not even form a connected shape within the halftone cell. Indeed, there are screens where the
black pixels are distributed (dispersed) around the halftone cell without being joined into one dot. The
way in which pixels are produced physically makes it difficult to manage dispersed pixels, though
Harlequin Dispersed Screening (HDS) exploits this effectively to produce a less prominent pattern in
the output.
There are two common ways of producing dot shapes: spot function screens and threshold screens.
Both kinds of halftone work by telling the RIP which pixel within a screen cell to mark next to obtain
the next darker gray level.
The Harlequin RIP supports all the screen types defined by The PostScript Language Reference
¬Æ<Default ¬¹ Font>

Manual <Default ¬¹ Font>(2nd Ed) and the non-proprietary types added in The PostScript¬Æ Lan-
guage Reference (3rd Edition). This means support for HalftoneType values of 1 through 6, 10, and
16.
Note: If you create a Separations style using Eclipse Release SP1, and you decide to change the Dot
Shape used, if both the original and new Dot Shapes are genuine Spot Functions (such as changing
from Euclidean to Square), the screening settings remain as set, that is, they are not reset to the
default values.
If however, either or both the original or new Dot Shapes are a Halftone Dot Shape (such as an HDS
dot shape), the screening settings, such as the screen angles, and the Yes/No Print? values are reset to
their defaults. The default values are defined in the Screen Names file.
Note: Screen Names files created with the Eclipse Release or later RIPs are incompatible with previ-
ous versions. That is, you cannot transfer a Screen Names file from pre Eclipse Release RIPs to
Eclipse Release or later RIPs.

6.4.3 Spot function screens

Spot functions describe the dot shape using a mathematical function which, given the position of a
pixel within a halftone cell, produces a number which says where in the sequence of pixels that pixel
should be marked. This technique is very flexible, because it allows a single function to define a half-
tone cell at any size or angle.
In the Harlequin RIP the common dot shapes are provided by spot function screens. This means that
all the screening options in the Edit Style dialog box are available, including the benefits of using Har-
lequin Precision Screening (HPS).

6.4.4 Threshold screens

As an alternative to a spot function screen, a threshold screen describes a halftone to the Harlequin
RIP by providing the order in which to mark pixels explicitly in a table. The table has as many entries
as there are pixels in the halftone cell.
A consequence of this is that a threshold screen is always defined in terms of a fixed cell size in pixels,
whereas a spot function can be applied to arbitrary sizes of screen dot. This means that the screen cell

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for a spot function will occupy more pixels, but the same physical area on the output, if either the res-
olution is increased or the frequency (number of halftone cells per device independent unit distance)
decreased, but a threshold screen will get physically smaller and its frequency increase if the resolu-
tion is increased.
A further consequence is that HPS and other techniques which vary the actual pixels of a screen cell
cannot be applied to threshold screens. On the other hand, threshold screens can be controlled very
precisely, pixel for pixel, and are therefore suitable for describing Frequency Modulated (FM) screens
if the cell is large enough. While threshold screens can be used to describe conventional “clumped”
dots, they are less flexible because of their resolution dependence and absence of rotation to a speci-
fied angle (at least in their simplest form). Neither kind of screen is suitable for describing non-tessel-
lating screening techniques, such as error diffusion.
The PostScript language offers several variations on threshold screens, which allow greater or lesser
control over the sizes of the tables involved and the tessellation of the tiles (equivalent to the angle) in
a spot function.
There are no threshold screens in the standard set supplied with the RIP but it is possible to use thresh-
old screens embedded in a job, or installed in the RIP by your supplier.

6.4.4.1 Using threshold screens

In the Edit Style dialog box, when you have selected a threshold screen in the Dot shape list and Over-
ride dot shape in job is selected, the following options are not available:

• Frequency

• Override frequency in job

• Angles (for all process and spot colors)

• Override angles in job

• Use Harlequin Precision Screening

• Rotate screens according to page rotation

Note: If you clear the Override dot shape in job check box, these options are enabled, so that you can
override some parameters of spot function screens supplied in the job.
For more details of these options, see Section 6.5 through Section 6.7, and Section 6.10.

6.4.5 Halftone options

The Harlequin RIP provides a number of options to control halftone generation. Using them appropri-
ately can improve the quality of your image, depending on the output device, media, and resolution
used. You can also override any screening parameters that might be specified within the page descrip-
tion itself.
These are the three main features that are affected by the halftone strategy you choose:
• The shape of the dots created. See Dot shapes on page 164, for the relevant controls.

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• The frequency and angle of the dot pattern created. See Halftone frequency on page 168, for
the relevant controls.
• The accuracy of the screens generated. There is no general way of controlling accuracy. One
way of getting good accuracy is to use Harlequin Precision Screening (HPS), described in Har-
lequin Precision Screening on page 173.

6.4.6 Dot gain

When a halftone image is printed, the ink used to create each dot tends to flow outwards as it is
absorbed by the paper. This phenomenon is known as dot gain. Similarly, dots printed on a laser
printer tend to spread outward when the toner is bonded to the paper. As a result, any printed dot tends
to be larger than the calculated dot size.
Dot gain can affect the quality of printed images. For example, if there is a significant amount of dot
gain, images tend to appear too dark. For more details, see Chapter 12, Calibration.

6.4.7 Suggested background reading

If you do not have a reasonable grounding in halftoning systems then you may find the following
books helpful. This is by no means an exhaustive list and you can probably find alternatives in a good
book store or technical library.
Real World Scanning and Halftones (David Blatner & Steve Roth, Pub: Peachpit Press, Inc., ISBN: 1-
56609-093-8)
If you ignore the fact that the authors are very insistent that the PostScript language can only
produce 256 gray levels, then this is an excellent introductory text for PostScript halftoning.
PostScript Screening: Adobe Accurate Screens (Peter Fink, Pub: Adobe Press, ISBN: 0–672–
48544–3)
A very good introduction to digital halftoning, which then continues into discussion of process
work and advanced screening techniques. Some of the book is specific to Adobe Accurate
Screens, but many of the concepts are common to HPS as well. This book also has an interesting
section on factors affecting device calibration and other causes of poor film and press output.
An Introduction to Digital Color Prepress (AGFA Corporation)
This booklet was produced to sell Agfa imagesetters, but many of the ideas discussed are
common to all digital halftoning systems.
Electronic Color Separation (Dr. R.K. Molla, Pub: R.K. Printing and Publishing, ISBN: 0‚9620453)
This book refers to analog color scanners and does not discuss digital halftoning. The example
scanning systems are somewhat dated, but the halftone concept has not changed since the book
was written.

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6.5 Screen angles

The Harlequin RIP offers you complete control of screen angles for both process and spot colors.
There are a number of reasons for choosing screen angles carefully:
• A long-established reason for choosing the screening angles (and frequencies) of color separa-
tions has been to pick a set of values that minimize inaccuracies in the screens and consequent
moire patterning when they are superimposed.
This reason is becoming less important as the accuracy of screen generation increases. For
example, the RIP includes Harlequin Precision Screening (HPS), a technology that provides
more accurate screening and reduces moire without unduly limiting the choice of screen angle
and frequency. See Harlequin Precision Screening on page 173 for details.
• You may wish to override a set of angles requested in a job. This is especially useful if the job
has requested a set of angles that optimize the output quality for a particular output device,
such as a laser printer, but that may diminish the quality on other devices, such as an imageset-
ter.
• You may want consistency: for example, on all pages of a single publication when the jobs
come from different sources. Enforcing settings in the RIP is the simplest way of getting such
consistency.
A good choice of angles for general use with color separations in offset litho work is a set in which the
colors are separated by 30¬×, for example: 15¬×, 75¬×, 0¬×, and 45¬× respectively for CMYK (and
related sets using these angles plus or minus multiples of 90¬×). For use with elliptical dots, a separa-
tion of 60¬× is recommended, leading to angles of 15¬×, 75¬×, 0¬×, and 135¬× for CMYK.
Note: The angles shown in the Edit Style dialog box (shown in Figure 6.2, on page 157) always take
effect for jobs that contain no screening requests. If the job attempts to set screening, you must select
the Override angles in job check box if you want to use these values.

6.5.1 Changing angles for separations

The list of separations shows all colorants (including the standard process colors and any spot colors)
and their screen angles.
The boxes below the list of separations allow you to control the printing of process color separations,
and change the screen angles.
Note: From the Eclipse Release of the Harlequin RIP ink types are decided using the Ink Set Manager
which is only available when one of the TrapPro options are enabled. See the documentation supplied
with TrapPro for more information.
If the chosen output format supports additional colorants, you can also control the printing of spot
color separations. Any spot color not explicitly listed is controlled by the (Other colors in job)
settings. With the default settings, if a job calls for spot colors not named in the list of separations, the
RIP converts those spot colors to the appropriate combination of process colors.
To change the settings for a particular colorant, select the colorant from the list and edit the values in
the boxes below. To change the screen angle, type the new value in the Angle text box. For details of
the other options, see Edit Style dialog box on page 356.

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Note: The Angle column and text box are both blank when the selected Dot shape does not have a con-
trollable angle. Typically, this is because the dot shape belongs to a threshold screen (which does not
have a conventional angle) or because the screening is being done in an output plugin or hardware
device.
Each colorant has its own screening angle, which allows you to avoid moirЩ problems when a job
has several spot colors used in duotone combinations with each other or with the standard process col-
ors.
The angles shown in the Edit Style dialog box always take effect for jobs that contain no screening
requests. If the job attempts to set screening, you must select the Override angles in job check box if
you want to use the values shown in this dialog box.

6.6 Dot shapes

Manipulating the dot shape generated can greatly influence the amount of dot gain in an image.
The Harlequin RIP offers a variety of dot shapes; your choice between them might depend on the out-
put device, resolution and media used, and the type of image. Dot shapes are controlled from the Dot
shape, which is one of the screening options in the Edit Style dialog box.

Depending on the output device that you choose, you may see different entries in the Dot shape list.
Output plugins can modify the contents of this list, either to add screens suitable for the output device
or to remove the names of inappropriate dot shapes.
Note: The PostScript language allows you to specify an arbitrary dot shape by defining a spot func-
tion. This offers great flexibility but there are some possible problems as outlined in the The Post-
Script Language Reference Manual <Default ¬¹ Font>(2nd Ed). One probable consequence of
¬Æ<Default ¬¹ Font>

having a spot function defined in the PostScript language is slower rendering of jobs using that spot
function: it is almost always preferable to use a dot shape provided by a RIP in place of one imple-
mented in the PostScript language. The RIP includes efficient implementations of many commonly
used dot shapes to offer both speed and choice.
NJobs often specify their own dot shape. To force the RIP to use your chosen dot shape instead, select
the Override dot shape in job check box.
A Euclidean dot-shape strategy produces better saturated grays at gray values above 50%, especially
at finer (higher) screen frequencies. Euclidean strategies increase the fill of halftone cells from the
corners, instead of the centers, when the gray value exceeds 50%. That is, when the gray value is less
than 50%, the dots are black, the background is white, and the dot size increases as the gray value
increases; when the gray value reaches 50%, the dots become white, the background becomes black,
and dot size decreases as the gray value increases.

6.6.1 Common dot shapes

Sections 6.6.1.1 through 6.6.1.4 describe a number of commonly used dot shapes.

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6.6.1.1 Round
This is a commonly used dot shape, but dot gain can be a problem in the shadow areas, since the white
diamond at the center of four adjoining circles can easily become filled with black as the dot size
grows. However, round dots give a smooth appearance in the highlights and middle tones.
To use round dots, choose Round from the Dot shape pop-up menu.

6.6.1.2 Round Euclidean

This dot shape reduces dot gain in the shadow areas and is good for general-purpose use. (It is com-
mon in newspaper production, for example.) To use round Euclidean dots, choose Euclidean from
the Dot shape pop-up menu.

6.6.1.3 Elliptical Euclidean

This dot shape is used to avoid a fairly sharp transition at around 50% that can occur with the round
Euclidean dot shape with some imagesetters. To use it, choose EllipticalP from the Dot shape pop-
up menu. This is an excellent dot shape for general use.

A variant of EllipticalP is Elliptical1.

Note: The CMYK screen angles used for all elliptical dot shapes must be 60 degrees apart, instead of
the normal 30 degrees. This is because of the asymmetry of the elliptical dot.

6.6.1.4 HDS, HMS, and HCS

Global Graphics has developed a number of special screening strategies to provide better quality, con-
trol, and performance than standard forms of screening. These are not supplied with the Harlequin RIP
by default, but may be purchased separately. For details of Harlequin Dispersed Screening (HDS),

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Harlequin Micro Screening (HMS) and Harlequin Chain Screening (HCS), see Harlequin Screening
Library on page 180 describing the Harlequin Screening Library.

6.6.2 Other dot shapes

The dot shapes in this section are mostly used only for special effects or purposes; for general purpose
use, the shapes in Common dot shapes on page 165 tend to be better.

6.6.2.1 Elliptical
Elliptical dots generally produce a smoother transition than round dots, because the ellipses initially
intersect only along one axis, though this can produce a lined effect. To use an elliptical dot shape,
choose Elliptical1, Elliptical2, EllipticalQ1, or EllipticalQ2 from the Dot shape pop-
up menu.

Note: As mentioned for Elliptical Euclidean, the screen angles used for all elliptical dot shapes must
be 60 degrees apart, instead of the normal 30 degrees. This is because of the asymmetry of the ellipti-
cal dot.

6.6.2.2 Square
Square dots are rarely used, except for particular effects. Images produced with square dots tend to
have dot gain problems, particularly in the shadow areas. To use the square dot shape, choose
Square2 from the Dot shape pop-up menu.

6.6.2.3 Square Euclidean

Another form of square dot shape. To use square Euclidean dots, choose Square1 from the Dot shape
pop-up menu.

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6.6.2.4 Rhomboid
This dot shape is very similar to the square Euclidean shape, but generally gives a somewhat smoother
result. You should consider using it instead of the square dot shape. To use this dot shape, choose
Rhomboid from the Dot shape pop-up menu.

6.6.2.5 Line
Line-shaped dots are generally used only to produce special effects, since there tends to be a lot of dot
gain. To use the line dot shape, choose Line or Line90 from the Dot shape pop-up menu.

6.7 Halftone frequency

Another way to improve the quality of halftoning is to increase the halftone frequency, the density
with which the image is covered by halftone cells. Increasing the frequency is rather like increasing
the resolution of an image: more dots are produced and each dot is smaller. However, the more you
increase the frequency, the fewer gray levels you can print. Screening options and number of gray lev-
els on page 168, discusses how many gray levels you can obtain and how many are required for vari-
ous types of graphic elements. See also Controlling extra grays in HPS on page 174, on the extra
grays feature available when using Harlequin Precision Screening (HPS).

6.7.1 Changing the halftone frequencies

In the Edit Style dialog box there is a list of halftone frequencies: one for each device resolution, or for
a range of resolutions. The list of available resolutions depends on the chosen output device. The RIP
uses the frequency that corresponds to the resolution selected in the Edit Page Setup dialog box. The
controls below the list allow you to change the frequency for the selected row, and to change the fre-
quency and resolution units.
To change the halftone frequency for a particular resolution, or range of resolutions, select the row in
the list and type the desired frequency into the text box below. You can change the units for the resolu-
tion to dots per inch (dpi), dots per centimeter (dpcm), or dots per millimeter (dpmm). You can change
the units for the frequency to lines per inch (lpi), lines per centimeter (lpcm), or lines per millimeter
(lpmm).
Sometimes the job itself specifies a screen frequency to use when rendering. If this is the case, the
halftone frequency you specify in the Edit Style dialog box is ignored. To force the RIP to use your
screen frequency instead, select the Override frequency in job check box. Always consider selecting
this box if you use HPS. (See Harlequin Precision Screening on page 173.)

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6.8 Screening options and number of gray levels

It is an occasional requirement to know, and possibly control, the number of gray levels produced on a
rendered page.

6.8.1 How many gray levels can you see?

Many studies have been published explaining just how many gray levels the human eye can distin-
guish, or how many levels a printing press can produce from halftones. The results vary from around a
hundred to over a thousand depending on defined viewing conditions and the exact definition of what
constitutes a distinguishable difference. The most worrying aspect of these studies is that most of them
are correct‚ under the circumstances in which they were carried out, they determined the right result.
The only thing to do at this stage is to throw away such studies and build on observations of real-world
printing.

6.8.2 How many gray levels do you get?

Conventional screens can produce a maximum number of gray levels linked to the resolution of the
output device and the screening frequency.
If you do not enable extra grays you get as many gray levels as the number of laser spots in a halftone
cell (plus one for all spots off; that is, white). This number is given by the expression:

resolution ⎞ 2
⎛ ---------------------------------------- +1
⎝ screen frequency⎠
Thus at 100 lines per inch (lpi) and 2540 dots per inch (dpi) you get 646 gray levels
2
⎛ 2540
------------⎞ + 1 = 646
⎝ 100 ⎠
‚but at 175 lpi and 1270 dpi you get only 53 gray levels:
2
⎛ 1270
------------⎞ + 1 = 53
⎝ 175 ⎠
If you switch on Generate extra gray levels in the Edit Style dialog box then you get as many gray levels
as you define with the Limit number of distinct gray levels pop-up menu. It is a feature of HPS that the
number of levels can exceed the maximum defined in this expression.
Some RIP screening options do not follow this expression:
• Harlequin Precision Screening (HPS) is able to produce more gray levels than predicted by the
conventional expression.
• HDS does not have a conventional frequency to apply in the expression‚ though it is possible to
establish a rough correspondence between each HDS setting and a conventional screen of a
particular frequency at a particular resolution.

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6.8.3 How many gray levels do you need?

The number of grays you need depends on what you are trying to produce. Some types of images with
varying needs for number of gray levels are:
• Flat tints
• Contone scans
• Graduated tints and blends
Images vary within these categories, but the following discussion of each category should show you
the principles to apply in judging how many grays are needed.

6.8.3.1 Flat tints

If you are using a few flat tints behind text or in a simple diagram then you may not need more than a
dozen gray levels. Do not enable extra grays in the RIP solely to reproduce flat tints.

6.8.3.2 Contone scans

If you are using a small desktop flat-bed scanner that is producing contone images for output then you
are usually able to work with output producing as few as 64 gray levels. A few scans may benefit from
up to 128 gray levels‚ and the distinction is usually as much to do with which desktop scanner you are
using as with the image content. In general, images with very gentle tonal or color graduations (for
example: a cloudy, but not stormy, sky) need the most gray levels, but even in these cases the best 6-
bit (64 gray levels) scanner can produce better output than many 8-bit (256 gray levels) competitors.
For scans made on a drum scanner or a high-quality flat-bed scanner, you can usually obtain adequate
output with this low number of gray levels, but the quality of the output normally increases with up to
256 gray levels. Several scanners are available which produce 10, 12, or even 16-bits-per-channel
image data, and it is possible that you can increase the output quality of these images by allowing
more gray levels on output‚PostScript LanguageLevel 3 includes the facility for 12-bit-per-channel
images to be output (4096 gray levels), and this is supported in the Harlequin RIP. The increased num-
ber of gray levels from the scanner is intended more to allow input noise to be removed, and to reduce
the information loss inherent in tonal adjustment, than for passing on to the final output device.
Finally, any image manipulation software that produces some of its tonal alteration effects by means
of the PostScript language operator settransfer (or any similar mechanism) and which therefore
ends up requesting a nonlinear gray scale from the RIP may require an increased number of grays to
reflect these changes adequately. Although applications such as Adobe Photoshop allow transfer func-
tions to be saved in EPS files, they apparently intend this for device linearization rather than for tone
curve control.
Note: Adjusting tonal data in image manipulation software often benefits from an original scan with
as many levels of gray as possible to reduce quantization effects when changing brightness or contrast,
but this does not directly affect the number of gray levels that are required from the output device.

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6.8.3.3 Graduated tints and blends

It is in these areas that the requirement for extra gray levels really shows. To avoid confusion, the
word vignettes is used here to cover both graduated tints and blends.
The minimum number of gray levels required is 256, but some long vignettes, or those over a rela-
tively short range of tints, may require more. The rule of thumb is that no single step in a vignette
should be more than 0.03 inches (0.75 mm) wide.
Thus a vignette from 20% to 70% tint that is 6 inches long requires at least 400 gray levels:

100 6
---------------------- × ---------- = 400
( 70 – 20 ) 0.03
This rule varies with the screen frequency that you are using, with the particular tint range (because
steps are most obvious in dark graduations), with the hardness of the dots produced by the output
device and with the size of the difference in gray levels between steps, but it serves very well as a
basic starting point. Because of the variation with the size of the difference in gray levels between
steps it is very unlikely that you should ever require more than 1024 gray levels, and in many
instances 512 or 256 levels are sufficient.
If you are producing blends in applications such as Adobe Illustrator or FreeHand (formerly from
Aldus, now Macromedia) then you should make sure that you create blends with enough steps‚ the
RIP cannot add more steps into the blend. You may also need to switch on extra grays and use Harle-
quin Precision Screening with its ability to exceed the conventional limit of gray levels in order to dis-
play all the requested gray levels.
Graduated tints from many older applications do not produce more than 256 gray levels:
• Some applications always produce 256 grays for a 0 to 100% graduation. Examples are Free-
Hand and QuarkXPress (version 3.11 and later) when printing to a PostScript LanguageLevel 2
compatible device.
• Some always produce 256 gray levels in a single blend, even a short one such as 10% to 30%.
An example is QuarkXPress version 3.1.
• Some calculate the number of gray levels which the current resolution and screen frequency
could produce on a RIP that does not support extra gray level functionality and use that. Exam-
ples are FreeHand and QuarkXPress (version 3.11 and later) when printing to a PostScript
LanguageLevel 1 compatible device.
In the first two cases it may be worth switching on extra gray levels in the RIP if you are using a low
resolution or a fine (high frequency) screen. In the last case you gain no benefit by switching on extra
grays.

6.8.4 Gray level controls

There are two screening options in the Edit Style dialog box shown in Figure 6.2, on page 157, that
affect the number of gray levels.
These options are applicable to any screen, especially HDS, to limit the number of available gray lev-
els. (For HPS only, the number of levels can also be increased to more than the natural number of lev-
els for the screen.)

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Limit number of distinct gray levels

When you have selected the accompanying check box Generate extra gray levels, described next,
you can choose an entry from list to control the number of gray levels that the RIP produces.
There are several different cases.
With this menu enabled:
• When using HPS, the RIP produces the exact number of gray levels set here.
• When not using HPS, the RIP treats the value chosen here as an absolute upper limit and
uses the natural value of the screen or this limit, whichever is lower.
This menu is disabled when Generate extra gray levels is not selected. With this menu disabled:
• When using HPS, the RIP produces the number of gray levels required to attain the speci-
fied accuracy of screening, as set in the HPS Options dialog box, shown in Figure 6.6, on
page 174.
• When not using HPS, the RIP produces the natural number of gray levels for the screen.
(For HDS, the natural number can be very large and using HDS unlimited can have a per-
formance penalty.)
Generate extra gray levels
There are two possible reasons for selecting this box:
• With all Harlequin RIP screening options, it enables the use of the Limit number of distinct
gray levels to restrict the number of gray levels produced on the output page.

• With HPS only, it enables the use of more screening levels than needed to get the required
accuracy of screen angle and frequency. Generating a large number of screening levels can
reduce undesired patterning, even if the number of levels actually used is restricted by the
value chosen for Limit number of distinct gray levels. See Controlling extra grays in HPS on
page 174 for the control of extra screening levels in HPS.

6.9 Job settings and Harlequin RIP settings

The details of how you can choose settings for dot shape, frequency, and angle are given in, respec-
tively, Dot shapes on page 164, Halftone frequency on page 168, and Screen angles on page 163.
These sections also describe how to override any conflicting settings made in a job.
The following summary of what happens when the Harlequin RIP processes a job may be useful.
The RIP determines the screen or screens it will use for a job using the values in the Edit Style dialog
box, and the color of the pages being processed:
• Monochrome jobs use the gray settings.
• The color of pages in preseparated jobs is deduced by a variety of means, as described in Auto-
matic detection of color separations on page 186.
Note: Some jobs which have preseparated spot color pages do not contain any information
about the name of the spot color they represent. In these circumstances, the RIP uses the screen-
ing angle that corresponds to the (Other colors in job) entry.

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• Colors of pages are determined from settings in the Edit Style dialog box.
When a job supplies any screens of its own (using the setscreen, setcolorscreen, or sethalf-
tone operators) then if the override check boxes in the Edit Style dialog box are all cleared, the RIP
uses the frequency, angle, and dot shape of the supplied screen until the job provides another screen or
cancels any screens it has supplied.
However, if the Override frequency in job check box is selected in the Edit Style dialog box the RIP
continues to use the frequency given in the dialog box instead of the one supplied by the job. Simi-
larly, if Override dot shape in job is selected, the RIP ignores the dot shape supplied by the job and uses
the one given in the dialog box instead, and if Override angles in job is selected, the RIP ignores any
angles given by the job in favor of those in the dialog box.
If all three boxes are selected, all screens given by the job are effectively ignored.
If you are using HPS, the frequency and angle values are also subject to slight adjustment to achieve
accurate screening. See Using the HPS controls on page 174 for details of how to limit any adjust-
ment.
Note: HDS screens do not have a conventional screening frequency or angle and ignore the frequency
and angle settings. HCS uses a fixed set of angles, so it also ignores the angle setting.

6.10 Harlequin Precision Screening

When placing color separations on top of one another, the angles and frequencies at which those sepa-
rations are produced should be calculated very accurately so as to reduce moire patterns. Historically,
this required the use of specially selected screens that minimize the patterning effect.
Harlequin Precision Screening (HPS) is a color screening technology that ensures high-quality repro-
duction with any screening option in the RIP (defined using a spot function). You can enable HPS for
a separations style by selecting the Use Harlequin Precision Screening check box in the Edit Style dialog
box. Once enabled, HPS is a property of the Page Setup which uses this separations style, and the RIP
uses HPS for all pages printed with that Page Setup.
HPS allows you to select any screen frequency and to use the usual CMYK screen angles of 0¬×,
15¬×, 45¬×, and 75¬× (plus multiples of 90¬×). To reduce moirЩ patterning, HPS uses an adaptive
screening technique that can adjust each halftone dot so that it is placed within one half pixel of its
ideal location.
HPS also allows you to choose how rosettes are formed in the image, and to generate extra gray levels,
allowing the use of higher screen frequencies than the resolution would normally allow.
The default HPS settings supplied with the RIP have been carefully chosen to provide good output on
most, if not all, output devices. We strongly recommend that you test output using the default settings
(in the HPS Options dialog box) before adjusting anything at all. The information in Possible prob-
lems with output on page 177, is intended to help in adjusting values if you think that it is necessary.

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6.10.1 Controlling extra grays in HPS

The ability to generate extra gray levels is a very powerful feature of HPS. It allows you to use more
gray levels in your job than are normally available with conventional screening. This has particular
benefits in eliminating stepping in vignettes and avoiding posterizing.
Gray level controls on page 171 describes the use of the gray level controls in the Edit Style dialog
box, including the effect of switching on or off HPS.
There is one extra option within HPS.
The extra option, Limit screen levels, in the HPS Options dialog box allows you to separate pattern-
reduction adjustments from extra gray generation‚ set the Limit screen levels value to a high value and
Limit number of distinct gray levels, in the Edit Style dialog box, to the number of gray levels that you
actually require. If you see patterning on individual films, try increasing the Limit screen levels value: if
you believe that there is a shortage of memory, then reduce the value.

6.10.2 Using the HPS controls

Figure 6.6 Harlequin Precision Screening Options dialog box

Job settings and Harlequin RIP settings on page 172 describes how the RIP arrives at a set of screen-
ing values for a job.
When using HPS, for each screen in a job, the RIP calculates the best set of screen angles and frequen-
cies to use for the set requested. The process starts with the requested frequency‚ the frequency set in
the job or, when Override frequency in job is selected, the value in the Edit Style dialog box. The Edit
Style dialog box contains a list of halftone frequencies: one for each device resolution. The requested
frequency is the one that corresponds to the resolution selected in the Edit Page Setup dialog box.
Some requested frequencies may require a lot of memory or make it difficult to achieve the desired
angle accuracy, while a nearby frequency does not have these problems. If there is a problem with the
requested frequency, the RIP can select one of these nearby frequencies as the deviated frequency.
The Maximum frequency deviation specifies the greatest deviation from the requested frequency that is
allowed. The RIP selects the individual frequencies for the Cyan, Magenta, and Black screens such
that they are within the specified Frequency accuracy away from the deviated frequency.
The angle is snapped to the nearest 7.5° if you select Snap angles to nearest 7.5 degrees.

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The angles of the selected screen set are then within the specified angle accuracy of the requested
angles.
The following subsections describe some individual options in more detail.

6.10.2.1 Zero degrees frequency adjustment

Once the RIP has calculated a screen set for the Cyan, Magenta, and Black plates (as separations or
composite channels within the RIP), it determines the frequency of the Yellow plate using the value
specified for Zero degrees frequency adjustment. The identity of the Yellow angle is determined either
from the color halftone dictionary supplied to the setscreen or sethalftone PostScript language
operator, or is taken as the third entry in Optimize for angle set.
The default value of 7% means that the frequency of the Yellow plate is 107% (100% + 7%) of the
deviated frequency used for Cyan, Magenta, and Black plates.
A number of printers have discovered that increasing the frequency of the Yellow plate can reduce the
residual moirЩ that is inevitable when using four process plates with halftoning systems. Values typ-
ically used are 5% to 11% greater than the frequency of the other plates. The effect is very similar if
the frequency of the Yellow plate is reduced rather than increased, and that this allows the more
noticeable Cyan, Magenta, and Black plates to be imaged at a higher frequency when the capability of
the plate-maker/paper/ink/press combination is the limiting factor on halftones.
Enter a negative number to reduce the frequency used for the Yellow plate.

6.10.2.2 Maximum frequency deviation

Increasing the value in the Maximum frequency deviation box gives the RIP more freedom in finding an
optimal screen set and can reduce patterning or moirЩ, at the expense of possibly giving final output
at a screen frequency further from that originally requested. A value of between 5% and 10% is nor-
mally acceptable.
Increasing the Angle accuracy or Frequency accuracy settings (that is, increasing allowable variations
from the deviated frequency and angle) also gives the RIP more freedom in selecting a screen, and
may reduce patterning on individual films, but this may also increase the likelihood of moirЩ effects
between plates. If you are using HPS to produce extra grays on mono or non-overlapping spot color
work then you can safely increase these numbers and may obtain slightly better output. If you are pro-
ducing process separated work then you should probably not change the default numbers.
If Abort job if accuracy not achieved is selected and it is not possible to determine a screening set within
the angle accuracy or frequency accuracy requested, then the RIP cancels the job currently being out-
put.

6.10.2.3 Enable HPS 2.0

Select the Enable HPS 2.0 box to use features added to HPS. These features can improve the quality of
output when using the Generate extra gray levels option. Flat tints and vignettes are smoother, particu-
larly in highlights and shadows, because the mottling effects which can be caused by generating the
extra gray levels are reduced. (Even without HPS 2.0, these effects are unlikely to be significant until

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the ratio of resolution to screen frequency is less than 12: for example, you might see mottling with a
resolution of 1270 dpi and a screen frequency of 150 lpi, where the ratio is about 8.5.)

6.10.2.4 Generate clear centered rosettes

Figure 6.7 Clear-centered and spot-centered rosettes

Generate clear centered rosettes is one of the few controls which you might expect to change in the HPS
Options dialog box. When color separations are combined, the dots form one of two rosette patterns as
shown in Figure 6.7. Clear-centered rosettes are less likely than spot-centered rosettes to show a sig-
nificant color shift if separations are printed slightly out of register, but the output produced is nor-
mally less saturated, lighter, and has a more noticeable rosette structure. In general, output at high
frequencies, or where the output may be run on presses with poor registration, should use clear-cen-
tered rosettes, while output at low screen frequencies or on well registered devices (including most
color printers) should use spot-centered rosettes.
If you find that you are not getting consistent clear-centered or spot-centered rosettes across the full
width of a page: try varying the requested frequency slightly; or increase Maximum frequency deviation,
to allow the RIP to find a screen set with better angle and frequency accuracies.

6.10.2.5 Optimize for angle set

It is possible to reduce the amount of memory required by HPS if you can give some guidance to the
software about which screen angle sets are to be used in PostScript language jobs, in the Optimize for
angle set text box. The default set (15, 75, 0, 45) is used for most offset litho work, while settings are
also provided for other screening systems.
To decide which entry you should use:
1. Convert all the screen angles your job uses to numbers in the range 0¬× through 90¬×. Do this
by repeatedly adding 90¬× to any values less than 0¬× or subtracting 90¬× from any values of
90¬× or greater.
2. Compare the converted numbers with angles in the menu entries. There are three possibilities:
• If you reach a set of values where all of the numbers are in a single entry in the menu then
use that entry.
• If the values do not match an entry exactly then select the closest match.
• If there is no close match then select the default (15, 75, 0, 45).

6.10.3 Possible problems with output

There are two main kinds of problem to avoid with HPS output:
• Patterning on individual films.

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• Patterning caused by the interaction of two or more films from separated output (often called
moire).
In addition there are practical considerations. You usually want your output to be produced as rapidly
as possible, and you do not want to have to install excessively large amounts of RAM in the computer
running the RIP.
The following subsections describe how to address these problems.

6.10.3.1 Patterning on individual screens

This can be caused either by the hardware or the software. If you see stripes or bands parallel to the
output engine scan lines (across the film on a capstan device, along it in a drum device), then try these
cures:
• Rotate the page by 90 degrees.
• Select the check box Rotate screens according to page rotation in the Edit Style dialog box. (This
check box does not affect HDS.)
• Output the page again.
If the bands rotate with the page, the problem can probably be corrected by adjusting settings in the
RIP; if they do not, your hardware may be at fault.
If you are seeing patterning on individual films there are two techniques that you can try which may
help to reduce the effect:
• Increase the number of screen levels generated. In the HPS Options dialog box, set a high
number for Limit screen levels. The default value is 65536, which is the maximum value.
• Try slightly different screen frequencies; often a change of only a couple of lines per inch can
make a considerable difference to the patterning.

6.10.3.2 Moire between two or more films

Many people make the mistake of placing four process separated films on top of each other on a light
table, and being horrified by the moire displayed. Moire is always visible if you view all four plates in
this way. If you want a quick assessment of the moire on a final print job, view just the Cyan,
Magenta, and Black films. Adding the Yellow film as well can be useful in assessing variations in the
marginal moire added by the Yellow plate, but should not be included in your standard viewing.
Eliminate two other sources of moire before attempting to tune HPS:
• If you are using a dot shape which is not symmetrical when rotated in 90ℜ° steps (that is, virtu-
ally all dot shapes apart from square and round) then all the screen angles used for cyan,
magenta and black plates may need to be 60° apart rather than the traditional 30° apart. Yellow
should then be at 30° from two of the screens. Suggested angles are 15°, 75°, 0°, and 135° for
cyan, magenta, yellow, and black respectively. Whether you need to follow this suggestion or
not depends on the content of the image (because flat tints in certain colors show moire most
clearly) and on how extreme the asymmetry of the dot shape is.

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• Many older process separating applications (and newer ones using PPDs, PDFs, and so on to
optimize for older imagers) include individual screen frequencies and angles for the four pro-
cess colors which are designed to optimize output on older PostScript language compatible
RIPs that are not capable of producing halftone screens at accurate angles and frequencies.
Using these frequencies and angles means that the output from the RIP with HPS is no better
than without HPS, and indeed may be far more prone to moire.
The best route is to switch off such features in the sending application if possible, or to set up a
PPD (or other configuration file) which uses the same screen frequency for all separations, and
a standard set of angles: for example, 0°, 15°, 45°, and 7°.
If modifying the input file is not possible then, in the HPS Options dialog box, select Snap angles
to nearest 7.5 degrees and, in the Edit Style dialog box, select Override frequency in job. You
cannot use this second method if you want several different screen frequencies on a page: for
example, for special effects.

6.10.4 HPS and pattern screens

Some applications use the PostScript language halftoning mechanism to produce patterns rather than
halftones. However, devices which do not require screens would then reproduce the pattern as a shade
of gray. Some applications which do this produce poor PostScript language files, in such a way that
they only produce the desired result at resolutions which are multiples of 75 dpi, presumably because
they were designed for output at 300 dpi on a laser printer and not for high-resolution imagesetters.
To avoid these problems, the RIP detects such screens and replaces them either with a special screen
which does not suffer from resolution problems, or with an equivalent PostScript language pattern,
depending on whether the output is halftone or continuous tone.
HPS does not alter these pattern screens in any way; angles, frequencies, and dot shapes are left
unchanged and no extra gray technology is used with them.

6.10.5 Increasing HPS performance

The first time a RIP installation uses a particular HPS screen, the RIP must generate it. This can take a
few minutes. However, HPS screen sets are cached to disk, which means that there is very little per-
formance difference from using HPS if the RIP has a large enough memory allocation (and apart from
the first time that a particular screen set is used, which is when the RIP builds the disk cache). There
may be some performance increase when using screen caches generated during previous jobs.
The RIP caches screen sets with PostScript defined spot functions as well as those with recognized
functions. These spot functions are not processed quite as rapidly as the built-in functions the first
time that they are used but when previously cached screens are used there is no difference in perfor-
mance between built-in screen functions and spot functions supplied in PostScript.
High performance screening with HPS in the RIP requires a reasonably large amount of RAM. As a
guide, you should assume that extra memory in the range 8 through 12 MB RAM is required to use
HPS effectively.

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If messages are produced in the RIP Monitorwindow saying that insufficient memory is available and
that performance is being affected then you should increase the amount of RAM available to the RIP
to obtain significant speed increases.
If you are not using extra grays then increasing the freedom of HPS to select from a wider range of
screen sets by increasing the Maximum frequency deviation, Angle accuracy, or Frequency accuracy set-
tings reduces the memory requirement. If extra grays are switched on, you can also reduce memory
usage by using lower values for Limit number of distinct gray levels and Limit screen levels.
Ensure that the Optimize for angle set value defined in the HPS Options dialog box is correct for the
angles that you are using. If the value is set incorrectly then processing a job may require significantly
more memory.
If you are imposing several separations onto one output film, the relative positions of the plates which
do not use 0 and 45 degree angles (usually Cyan and Magenta) can make significant differences to
memory requirements and rendering times. If at all possible, ensure that these two plates do not occur
side by side: that is, avoid the case where a single fast scan line on the final film can pass through both
a Cyan plate and a Magenta plate. If all four CMYK separations are to be produced on a single film
then the best default configuration is a two by two square with Cyan and Magenta in diagonally oppo-
site corners, because film rotation cannot then cause these plates to appear on the same scan line.

6.11 Harlequin Screening Library

Several other screen sets can be supplied for use in the Harlequin RIP. They comprise the Harlequin
Screening Library (HSL).
The code to handle all of the screen sets is present in all shipped copies of the RIP, but individual
screen sets must be enabled using key numbers (passwords). Each password is tied to both a specific
screening style and to the serial number of the RIP for which the option is required. Please contact
your supplier for details of pricing on each screen set or bundle of sets (and other options enabled by
passwords).
Where the RIP itself is secured with a hardware security dongle the security number of the dongle is
used as the Harlequin RIP serial number. Please note: the number printed on the dongle itself and
marked as serial number is the dongle hardware serial number and not the same as the Harlequin RIP
serial number.
While the RIP is starting up, it reports the serial number and its checksum (a check to reveal errors in
copying the digits of the serial number) in the RIP Monitorwindow. This example report is for a ficti-
tious serial number:
Serial number: 1234-56

6.11.1 Switching on HSL

You enter the passwords in a dialog box accessed from the Configure RIP dialog box. Click Extras in
the Configure RIP dialog box to display the Configure RIP Extras dialog box.
There is one entry in the list within the Configure RIP Extras dialog box for each of the HSL screen
sets. (There is a second entry for HDS, titled HDS-Light: this entry provides a limited use of HDS,
restricted to lower resolution output devices such as proofing printers.)

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There may also be entries which refer to options in other areas of the RIP: for example, ColorPro for
the Harlequin RIP color management system. These entries are described elsewhere in this manual:
see Extras on page 194 for a summary of other entries.
The word Yes after a name indicates that the screen set or option is enabled. To enable a new set or
option, select it in the list and click Add. In the Enable Feature dialog box that appears, enter the pass-
word supplied to you for that set, then click on OK to return to the Configure RIP Extras dialog box
and OK again to return to the Configure RIP dialog box.
You can change a password already entered by selecting the appropriate entry in the list on the Config-
ure RIP Extras dialog box and clicking on Add.
Note: To disable a feature that you have already enabled with a valid password, enter a password of 0
(zero).
The RIP may reject a password when you type it into the Enable Feature dialog box. The main reasons
for rejection are:
• The password is wrong, probably because of incorrect transmission or a typing mistake.
• The password is for the wrong option. For example, if you enter an HDS password after select-
ing HCS then the password is not accepted.
The fact that the Enable Feature dialog box accepts a password does not necessarily imply that the
password is correct for that particular screen set on that particular copy of the RIP. (Remember that the
serial number of the Harlequin RIP is set by the dongle.) If you get errors when using an HSL screen,
please check that the entered password is correct.

6.11.2 Selecting an HSL screen set

Once enabled, each screen set adds one or more entries to the Dot shape pop-up menu in the Edit Style
dialog box. Select the entry for the screen you want to use.
Note: You can select a screen set in the Edit Style dialog box so long as the RIP has accepted a non-
zero password entered in the Password dialog box. All attempts to use the screen will fail if the pass-
word entered is invalid for the the Harlequin RIP serial number currently in use.

6.11.3 Harlequin Chain Screening (HCS)

Harlequin Chain Screening uses a long ratio elliptical dot. When used for process color separations the
angles used are 60¬× apart, rather than the more common 30¬× apart used for most offset litho work.
This gives an overall triangular pattern and produces a very fine rosette structure. The angles used are
-45¬×, 45¬×, -15¬×, and -75¬× for yellow, magenta, cyan, and black respectively.

When used at high frequencies, this screening set is extremely good at holding detail in continuous
tone areas (for example, scanned images), but can suffer from worse object moirЩ than, for exam-
ple, Euclidean dots if the subject of the image contains fine patterns.

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HCS is also very good at creating smooth, flat looking tints in process color work even at low screen
rulings, although you must take care at the edges of such tints, where patterns can occur unless the
tints are bounded: for example, edged with a black rule.
For HCS screens, the RIP uses the screen frequency entered into the Edit Style dialog box, but ignores
the entered angle. Instead, the RIP selects an angle automatically based on the color separation being
processed, from the set (-45¬×, 45¬×, -15¬×, and -75¬×).
We recommend that you turn on Harlequin Precision Screening while using HCS; at higher frequen-
cies, also use the extra grays functionality of HPS.

6.11.4 Harlequin Dispersed Screening (HDS)

Harlequin Dispersed Screening is the Harlequin RIP Frequency Modulation (FM) screening technol-
ogy. The main advantages of using HDS are that it produces no moire, it has better definition than con-
ventional screening, and registration is less critical. HDS also has a visually pleasing screen structure
and is generally more printable than other FM screens. Finally, it should be noted that HDS is intended
for use with a wide range of printing processes.
Instead of using a fixed shaped dot structure, HDS uses irregular clusters of pixels to form an irregular
HDS dot. The distribution of these dots or clusters through the screen is what gives HDS its character-
istics.
Five varieties of HDS are supplied with HSL, called HDS Super Fine, HDS Fine, HDS Medium, HDS
Coarse, and HDS Super Coarse. (There are also closely related HDS screens for use with output
devices supporting the alternative process color systems discussed in Alternative process color sys-
tems on page 344. For example, you may see Hex HDS Super F as well as HDS Super F in the Dot
shape menu of the Edit Style dialog box.)

Warning: Do not use Hex HDS Super F or other screens whose names start with Hex when your
output device is operating in a conventional (CMYK or RGB) output space. Several output plugins
remove the names of inappropriate dot shapes from the Dot shape list to help prevent mistaken choices.
These varieties differ in the size and distribution of the HDS dots (clusters) used to create tints. The
selection of which to use should be based on the physical characteristics of the imagesetter being used,
together with details of the plate making, press, ink, paper, and press environment.
In general, the higher the quality of the entire printing process the smaller the HDS dot that can be
used. The finer HDS screens are best used with high quality imagesetters capable of holding single
laser spots. The coarser HDS screens are best selected on presses which cannot hold very fine detail,
such as high speed web-offset presses. The physical size of the HDS dot created with each of these
options varies both with the imagesetter laser spot size, and with the resolution at which it is driven.
HDS Super Coarse (HDS Super C) is designed to be suitable for use in newsprint applications on
imagesetters at mid-range resolutions, that is 1000 through 1600 dots per inch (dpi). HDS Super Fine
(HDS Super F) is designed for output devices where final copy is produced directly: for example,
laser or inkjet printers.

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HDS Super Fine:

HDS Fine:

HDS Medium:

HDS Coarse:

HDS Super Coarse:

Below is a table with the spot sizes in microns for the different HDS models and different output reso-
lutions for 20% HDS screen.

Imagesetter/platesetter 1016 1200 1800 2400 3600

resolutions dpi

HDS Super Fine 1x1 pixel 25 21 14 11 7

HDS Fine 2x1 pixels 35 30 20 15 10

HDS Medium 2x2 pixels 50 42 28 21 14

HDS Coarse 2x3 pixels 61 51 34 26 17

HDS Super Coarse 4x4 pixels 100 84 56 42 28

Table 6.1 Spot sizes in microns of a 20% HDS screen

Both the frequency and the angle supplied in the Edit Style dialog box are ignored when using HDS
screens, except for calibration.
As with any high definition screening technology, accurate calibration is important for good quality
output using HDS, and it may be necessary to create several calibration sets for use with different
presses or different paper stocks on a given press. In most circumstances however, a single calibration
set is sufficient and you should therefore specify a range of frequencies likely to cover any line fre-
quency which might be set in the screening dialog boxes or requested by a PostScript language job.

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The HDS screens are symmetric, that is, you may use a single calibration set for both positive and
negative output.
Though HDS screens do not have the same lines per inch (lpi) characteristic as conventional screening
the following rough comparisons may be useful. If we take the case of an imagesetter working at
1524 dpi with a relatively small dot size (less than 20 µm), then HDS Coarse has a dot gain on film
only slightly higher than a conventional 150 lpi screen in the midtones, and holds up better than the
conventional screen in the highlights and the shadows. HDS Medium has a similar correspondence to
a 200 lpi screen at 1524 dpi. Finally, HDS Fine has characteristics similar to a 300 lpi screen, and
needs similar careful handling to obtain good results. It should be noted that the lpi correspondence
changes more or less in proportion to changes in the imagesetter resolution. For example, a rough cor-
respondence to a 100 lpi screen is given by HDS Coarse at 1016 dpi, though if the final press has high
dot gain this still has to be taken into account in the calibration.
As can be seen from the above comparison with conventional screening, many people using HDS
screens may become aware of the issues required to print very fine detail on film for the first time. The
following hints and suggestions are useful when working with HDS screens, particularly HDS Fine,
and also apply to conventional and other screens at very high line frequencies. These hints are not a
definitive guide, but do provide a starting point for producing good HDS output.
Consider every stage of the process, including:
• While scanning, choose an appropriate unsharp masking setting. You may need to use unsharp
masking settings different from those used for conventionally screened output.
• When producing film positives, try using different laser spot sizes. We have found that the best
results are produced if a relatively small laser spot size is used in conjunction with exposures
sufficient to give solids with densities in the range 3.5 through 4.0. However, this may not be
applicable to every imagesetter.
• When making plates and proofs, take great care to ensure that the film is clean and dust free
and make any other adjustments that help to ensure intimate contact between the film and the
proof or plate medium. For example, increase the vacuum pump-down time from, say, 20 sec-
onds to 60 seconds or more.
• When printing on a press with relatively high dot gain, consider compensating for this gain. On
such presses, particularly on web-offset, you may have to make an adjustment for the higher
dot gain in the highlights and midtones due to the finer detail in the screen. Various schemes
are possible and have been used for this; one approach is to calibrate the screen for the press
directly, but be aware that images are normally scanned with a modest press compensation
already in place and take this into account.
HDS screens have no angle as such, but are rotationally isotropic (they have the same characteristics
in every direction). Even though the screen angle is ignored, different patterns are used for each pro-
cess separation. This does not depend on the screen angle originally selected, but uses the automatic
color separation detection, described in Automatic detection of color separations on page 186.
The screen caches used by HDS mean that HDS output is produced at virtually identical rates to that
using other screening systems within the RIP. The caches are reasonably large, although not signifi-
cantly greater than those used for many combinations of screen frequency, resolution, and angle. Do

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not select very large values for Limit screen levels in the HPS Options dialog box, unless you have very
large amounts of RAM available to your copy of the RIP.
Unlike HPS, HCS, or HMS, the screen caches used by HDS cannot be created by the RIP if they are
not present when a screen is selected. Each of the variants of HDS requires cache files to be installed
into the Screens subfolder of the SW folder. These are saved in folders named in the pattern
HDS-<set>-gen, where <set> is replaced by particular values. The <set> part of the name is a for
super fine, b for fine, c for medium, d for coarse, or e for super coarse. Each folder has subfolders,
named: A, Ai, B, Bi, C, D, Default, E, and F. These folders allow for up to six independent output
colorants, including light and dark versions of two inks, and spot colors. For example, with a conven-
tional four-color device, the mapping is that Cyan uses A, Magenta uses B, Yellow uses C, and Black
uses D. Installer applications supplied by Global Graphics for use with the RIP automatically install all
appropriate cache files.
The RIP ignores the value set for Rotate screens according to page rotation (in the Edit Style dialog box)
when screening with HDS.
Compression of page buffers is less efficient with HDS than other screening techniques. (It is a gen-
eral rule of compression that increased randomness in data reduces the amount by which it can be
compressed.) You can expect compressed page buffers to be larger when using HDS, and disk perfor-
mance to become marginally more important to total throughput. It is usually possible to maintain or
improve throughput with the same output quality, by exploiting the ability to process jobs at lower res-
olution.
HDS screens cannot be used if the horizontal and vertical output resolutions selected are not equal.

6.11.5 Harlequin Micro Screening (HMS)

Harlequin Micro Screening uses a Respi screen structure to allow greater highlight gradation even at
high screen rulings. It does this by using half the nominal screen between 0% and 5% dot area and
between 95% and 100% and the nominal screen ruling between 20% and 80% dot area. Between 5%
and 20%, and between 80% and 95%, HMS goes through transition zones.
Two variants of HMS are included in HSL; one where the dot shapes in the 20% to 80% tints are very
similar to the standard Euclidean dot shape, and one where they closely resemble the standard Ellipti-
cal shape.
HMS Euclidean:

HMS Elliptical1:

If you have been limiting the screen frequencies that you use because you cannot be certain of holding
the small highlight and shadow dots with finer screens then HMS should allow you to output at signif-

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icantly higher frequencies. However, it does not assist you if you need to limit your screen frequencies
because of press registration problems.
HMS may be used to extend the length of print runs in situations where this is normally limited by
drop-out increasing as the print run progresses.
HMS acts on both the screen frequency and angle as defined in the Edit Style dialog box in the RIP.
Careful calibration can improve output quality when using HMS. The Euclidean variant of HMS is
symmetrical, but you should normally produce separate calibration sets for positive and negative out-
put of the Elliptical HMS form.

6.11.6 Troubleshooting HSL

An undefinedresult error from setscreen, setcolorscreen, or sethalftone is probably
due to one of the following:
• An attempt has been made to use a screen set which has not been enabled, or where the pass-
word entered for that screen set is incorrect for the current security number. This can occur if
an incorrect password has been entered accidentally or if the dongle has been changed from
that for which the password was originally created.
Note: Selection of HSL screens in the Screening dialog box is enabled when any nonzero
number is entered in the Enable Feature dialog box for that screen set‚ the ability to select a
HSL screen does not necessarily imply that the number entered is correct for use with the spe-
cific dongle connected.
• An attempt has been made to use an HDS screen when HDS has been correctly enabled, but
one or more of the appropriate HDS screen caches is not present.

6.12 Automatic detection of color separations

There are several procedures in process separated work where the RIP must know which color is
being interpreted:
• Using HCS and HDS correctly.
• Overriding screen angles.
• Recombining preseparated jobs.
• Warning of an attempt to separate a preseparated job.
Identifying the color in auto-separated jobs is simple, but all versions of the RIP supporting HSL are
also capable of detecting which color is being interpreted in preseparated PostScript from a very wide
variety of applications.
While the detection methods used have a very high success rate they are not guaranteed to function
with all PostScript language files generated by applications. See Other options on page 359 for details
about the Recombine preseparated jobs option.

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 7

Configuring the RIP

Chapter through Chapter describe how you can use the Harlequin RIP to configure the appearance of
any page of output sent to a printer or the screen.
This chapter shows how you can also configure the way in which the RIP works, allowing you to get
the best performance from the RIP working with your particular computer, network, and output
devices; together with system software and any other applications running on the computer.
You have control over a variety of settings, including the following:
• The folders in which certain files are placed by the RIP.
• The page buffer mode that the RIP uses.
• The use of buffers in memory.
• Job timeouts.
• Memory allocation.
All of the options described here are available from the Configure RIP dialog box or subsidiary dialog
boxes.
You can also reset the RIP to its factory settings, as described in Resetting the Harlequin RIP to
default values on page 198, or choose a different language to be used in dialog boxes, menus, and
messages, as described in Choosing the user interface language on page 198.

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7.1 Configure RIP dialog box

The Configure RIP dialog box is displayed when you choose Configure RIP from the Harlequin RIPFile
menu or type Command-R. (If there is an Input Queue menu, you must stop the input queues before
you can choose Configure RIP: choose Stop Input Queue from the Input Queue menu.)

Figure 7.1 Configure RIP dialog box

Section 7.2 through Section 7.6 describe the use of items in this dialog box. Extras on page 194
describes the use of the dialog box displayed when you click the Extras button. The Options button
leads to another subsidiary dialog box: described in Control of page buffering modes on page 189; and
from Specifying prep files on page 196 through to Disable sounds on page 198.
To view the current memory configuration select Harlequin RIPFile > Memory Statistics. A message of
the following type appears in the RIP Monitor window:
Total Memory Available: 3616668 kB
Memory Left For System - Requested: 250873 kB, Actual: 250873 kB
Network Buffer - Requested: 64 kB, Actual: 64 kB
Printer Buffer - Requested: 20480 kB, Actual: 20480 kB
Memory available for RIP: 1887104 kB

7.2 How the Harlequin RIP controls files

You can configure the RIP so that certain files are always kept in particular folders on your machine.
You can specify the following:
• Workspace folder.
• Page buffer folder.

7.2.1 Workspace folder

This folder is used as general disk workspace. If there is not enough RAM available, the RIP will cre-
ate temporary files in this folder to use as workspace. This might occur if you are processing jobs that
contain very large images.

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By default, the workspace folder is called WorkSpace, and is found in the SW folder. You can specify
another location for the workspace by clicking the Change button in the Configure RIP dialog box and
specifying a folder of your choice.
The amount of disk space required for workspace will vary a lot from job to job. It is worth remember-
ing that jobs containing large images scanned at high resolution will often produce very large work-
space files, amounting even to many megabytes. Simple jobs, however, may require none at all.

7.2.2 Page buffer folder

When the RIP buffers pages to disk, they are placed in the page buffer folder. By default, this is called
PageBuffers, and is found in the SW folder. If you want to choose somewhere else, click the Change
button in the Configure RIP dialog box.
Note: From Eclipse Release SP1 the MediaSavingDir is located as a subfolder to the PageBuffers
folder. Do not select the MediaSavingDir as the location for page buffers.
Pages are normally compressed when they are buffered to disk, so it is hard to estimate how much
space will be needed for the page buffer folder, because compression ratios can vary.
When the RIP is in either of the single modes, any stored page buffer is deleted once the page has been
printed.
In one of the multiple modes, old pages can be kept if enough space is available. These pages can be
deleted automatically as required, by selecting the appropriate Delete option in the Output Controller.
(See Chapter 4, Harlequin RIP Output Methods.)
Note: The choice you make for the Delete option is remembered between RIP sessions, by recording it
in the page buffer folder. Thus, the choice is lost if you choose a new page buffer folder, but is found
again if you return to using the original folder.
The page buffer folder should be held on a local disk, rather than on a server. In addition, if you are
using an output device with a very high data rate, this disk must be fast enough to keep up with the
printer.

7.3 Control of page buffering modes

The options in the Configure RIP dialog box allow you to decide whether or not pages will be buff-
ered on disk, and if they are, whether they will be compressed automatically.
Chapter 4, Harlequin RIP Output Methods, gives full details of what happens when you use the vari-
ous page buffering modes. The following text tells you how and why to choose a particular mode.

7.3.1 How to choose the page buffering mode

You can choose which mode to run the RIP in by selecting one of the items in the Page buffering of the
Configure RIP dialog box.

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7.3.2 Using a printer that can stop / start

Some background information may help you understand this feature. Several output devices supported
by the RIP require a continuous high-speed flow of data when they are imaging while others can stop
and restart (stop / start) when there is a pause in incoming data, with little or no effect on the produced
image. In many of the printers supported by the Harlequin RIP, stopping has no bad effect and may
pass unreported. However, in many imagesetters, stopping can produce some visible difference in the
produced image so these imagesetters report to the RIP the fact that they have stopped / started.
Normally when outputting, if the printer reports a stop / start, the page will not be output. However,
when using Single, Multiple, or Multiple Parallel mode, the RIP will always make page buffers on
disk, and if your system is configured with a sufficiently fast disk, the printer will never stop / start. If
the disk may not be fast enough, then you can set the Allow stop / start option in the Configure RIP
Options dialog box to allow the page to output.
When using Single (if required) mode, if the printer runs so fast that it catches up with the data being
supplied by the RIP, the RIP will create a page buffer containing the data for the current page.The RIP
will then reprint that page before carrying on with the next page.
However, if your printer can stop / start, you have two options:
• Allow a page buffer to be created and output again. If the page buffer still cannot be output fast
enough to keep up with the printer, the job will be aborted.
• Stop the printer until enough image has been processed, and then start the printer again.
You can choose which of these should be done from the Configure RIP Options dialog box, as shown
in Figure 7.2. Display this dialog box by clicking on the Options button on the main Configure RIP
dialog box.
Figure 7.2 Configure RIP Options dialog box

• If you select the box labeled Allow stop / start, the second option will be used. If the box is not
selected, a page buffer will be created and the page output again. By default, the box is not
selected.
Even if your printer allows stop / starting, you may not necessarily want to use this feature. Stopping
and starting some printers will cause a degradation in the image.

7.3.3 Compressing page buffers

The box labeled Compress page buffer in the Configure RIP dialog box controls whether or not page
buffers are compressed as they are created. By default, page buffers will be compressed. The advan-
tages of this are:
• It saves disk space - the compressed page buffers are smaller.
• It is likely to be fast - the computer running the RIP is likely to be able to produce image data
faster than the disk can receive it. Writing smaller files to disk for compressed buffers will save
time.

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• It reduces the possibility of banding in printers that require a very high data rate. Compressed
page buffers allow the RIP to send data to the printer more quickly and prevent banding in the
output.
The data rate of a printer is the speed at which it accepts data for printing. Many printers require a data
rate in the range 1 through 2 MB per second. On some platforms, this is only possible with com-
pressed page buffers.
For some combinations of processor speed, disk capacity, and disk speed, you may wish to limit the
use of compression. You can do this using the Minimum compression ratio option in the Configure RIP
Options dialog box, as described in Minimum compression ratio on page 191.
There are very few cases where you will always want to use uncompressed page buffers. If you do
want this choice, clear the Compress page buffer box.

7.3.4 Minimum compression ratio

This option in the Configure RIP Options dialog box has an effect only when you have selected the
check box Compress page buffer in the Configure RIP dialog box. It allows you to limit the use of com-
pression to cases where there is a significant saving of disk space. For example: if the value you enter
here is 60%, the RIP compresses only bands in page buffers that compress to a size smaller than 60%
of their uncompressed size.
The value you should enter depends on the details of your system and the relative importance you
attach to minimizing disk usage or processing time. Typically, useful values are in the range 50%
through 100%. Enter a value of 100% to have all bands compressed. You may want to choose a much
lower figure where there is a large amount of fast-access storage and compression is slow in compari-
son to disk access.

7.4 Job timeout

The job timeout allows you to control when the RIP will stop trying to process a job. This is useful for
various reasons:
• It can protect against infinite loops in PostScript language code. If there is an infinite loop in a
job, it will never finish processing. Using a timeout ensures that, after a set period of time, the
RIP will stop processing such jobs.
• By altering the timeouts available in the RIP, you can to some extent prevent loss of productiv-
ity by timing out complex, but correct, jobs before they consume too much machine time.
(Subsequently, you can rerun such jobs under operator control and supervision: for example,
with more resources temporarily devoted to the RIP.)

7.5 Threads and parallel processing

Parallel processing is enabled in all RIPs running on a suitable hardware platform. The Threads option
in the Configure RIP dialog box allows manual configuration of this option.

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7.5.1 Multi-threading
The form of multi-processing used by previous SMP versions of the RIP had a number of disadvan-
tages compared to the threaded model in terms of memory usage and communication between pro-
cesses. As a result, a more suitable multi-processor, multi-threaded model has been developed.
Multi-threading enables the RIP to take advantage of hyperthreading and multi-core CPU architec-
tures as well as multiple processors.Only rendering is multi-threaded: interpretation is not.
A selector has been added to the Configure RIP dialog to allow automatic configuration (using one
thread per processor core) or manual configuration of the number of threads. The default for a multi-
threaded RIP is automatic selection indicated by a configuration file value of 0 (zero). If required, you
can manually override the automatic setting. You should set this value equal to the number of proces-
sors available in your system: this will produce the fastest rendering. Other, smaller, values may be
useful in testing or troubleshooting.
Values of threads up to 160 may be entered.
Note: The Watermark RIP is available as a single threaded version only.

Figure 7.3 Threads option

Alternatively, you can select Per processor core, in which case the RIP will calculate the optimum num-
ber of threads for the processors cores on your machine.

7.5.1.1 Memory per renderer thread

The Memory per renderer thread option in the Configure RIP Options dialog allows you to assign a
specific amount of memory to each renderer. This defaults to 2 MB per renderer, is set in an ExtraStart
file called SetMaxBandMemory, and can be overridden using HqnOEM.

7.5.2 Network buffer size

This buffer lets the RIP read data from the input source before actually needing to process it. Having
this ability has two advantages:
• It increases throughput.

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• The application that is sending the data to the RIP becomes free sooner.

7.5.3 Increasing throughput

With many jobs, there are large amounts of data to be read, often across slow networks, so it is desir-
able to use any available time reading in the data, rather than waiting for the RIP.
For example, when printing the Seybold Musicians test job (approximately 32 MB of PostScript lan-
guage code, in four separation pages of 8 MB), a network buffer of 8 MB is desirable, since this
means that while one separation is being processed, the next one can already have been read in, ready
for processing when the previous one is finished. Without a network buffer, when one page is finished,
the RIP would have to wait for 8 MB to be read slowly from the input before it could be processed.

7.5.4 Freeing the sending application

The network buffer also increases productivity in the workplace, by freeing the applications sending
jobs sooner. You will be able to work with the application again as soon as the job has been read into
the network buffer, even though the RIP may only have processed a small portion of it.
For example, when printing the Seybold Musicians test job, your sending application can be freed in
about three minutes if a 32 MB network buffer is used, even though the job might take 10 minutes to
output overall. On smaller jobs, such as the Seybold Trout test (approximately 200 KB of PostScript
language code), it is possible to free your application in about 30 seconds, even though the job will
take up to five minutes to output overall.
To change the size of the network buffer, enter the number of KB you require in the text box labeled
Network buffer in the Configure RIP dialog box. It is 64 KB by default. If there is not enough memory
for the requested network buffer, its size will be reduced automatically.

7.6 Printer buffer size

The printer buffer is used to store processed raster data that is ready to be sent to the printer.
When outputting, data is always placed in the printer buffer before being copied out to the printer as
required. In most cases, if the printer is not continuously fed data, one of the following may happen:
• Banding (gaps) may appear in the output.
• Pages may be aborted (for example, in a laser printer).
• The printer may stop / start.
This is known as data underrun.
To avoid data underrun, the RIP must ensure that the printer buffer never becomes empty. However at
any given time, you cannot guarantee that the RIP is sending data to the buffer‚ it may be processing
the next page of data if you are running in Multiple (Parallel) mode, or there may be other applications
running that the RIP has to wait for. If the printer buffer empties and you get data underrun, try mak-
ing the printer buffer larger.
For example, assume you are sending output to a fast 900 KB/second printer, while using another
application at the same time, and that application does a screen update that takes 3 seconds (during

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which time the RIP is locked out). In that time, the printer could consume 3 ℜ× 900 = 2700 KB
(2.7 MB) of data. To prevent data underrun, you must ensure that you have a printer buffer at least this
big.
In practice, a printer buffer in the range 4 MB through 12 MB is usually adequate. This total includes
any buffering memory on interface cards or in the output device, but if there is such memory it needs
separate installation or configuration. From the memory that the RIP controls, it allocates a minimum
of 20480 KB buffer space by default.
To find the best setting for your system, try starting with the default buffer size, and if you have prob-
lems with data underrun, increase the buffer size until the problem goes away. If this fails, you may
need a faster disk or more memory. The ability to roam large or multiple page buffers is related to the
printer buffer size.
To change the size of the printer buffer, enter the number of kilobytes (KB) you require in the text box
labeled Printer buffer in the Configure RIP dialog box. If there is not enough memory for the requested
printer buffer, its size will be reduced automatically.
The figure you enter is the minimum amount of memory that the RIP will use for buffering output.
Sometimes, especially in Single (if required) mode, the RIP will use a much larger amount of memory.
Note: The amount of printer buffer memory needed varies according to job and device resolution, out-
put device speed, computer speed, disk speed, and so on. Experiment with a larger buffer if necessary.

7.7 Extras
The Configure RIP Extras dialog box, available from the Configure RIP dialog box, is used to switch
on screening strategies and layered options by entering passwords.

Figure 7.4 Configure RIP Extras dialog

Note: There are other places where you may need to enter a password. Some plugins require you to
enter a password elsewhere; read the documentation for the plugin carefully to find out where. Also,
some language options for the user interface can require you to enable the language before you can
use it‚ see Choosing the user interface language on page 198 for details.

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See Harlequin Screening Library on page 180 for details of how to use the screening options and how
to obtain and enter passwords for all options requiring passwords to be entered in the Configure RIP
Extras dialog box.
The other entries in the list can include:
• ColorPro, to enable the color management options within the Harlequin RIP. Harlequin Col-
orPro is described in the separate Harlequin ColorPro User’s Guide.
• TrapPro to enable the TrapPro trapping options within the RIP. See the separate TrapPro
User Manual for full details.
• HDLT, to enable Harlequin display list technology.

• PostScript, to enable PostScript language input.

• PDF, to enable PDF input.

• XPS, to enable XPS input.

• Simple imposition. See Chapter 10, Simple Imposition for full details.
• TIFF/IT, to enable TIFF/IT-P1 input.
Note: There is an optional TIFF/IT-P1 output plugin. If this plugin is present, it shows the entry:
TIFF/IT-P1, TIFF/IT-P1. Be careful to select the correct entry for input or output before
entering a password.
• Media Saving to enable the Media saving facilities.

There may also be entries for plugins that require a password. These entries can be the result of:
• Security dongles that require a password before allowing use of plugins.
• Plugins that require a password for each device type that they provide.
• Multiple device plugins that require a password but group several device types so that they can
be enabled with a single password.
You should receive appropriate instructions and passwords when receiving these plugins and security
dongles.

7.8 Specifying prep files

Prep files are libraries of PostScript language routines that can be downloaded into a RIP and used
whenever necessary. Many LaserWriter drivers require certain libraries to be loaded before they can
be used.
You can select the following options in the Configure RIP Options dialog box.

7.8.1 Automatic prep loading

This is a built-in mechanism that, if the option is selected, automatically loads the correct prep file
whenever it is needed. This can save a lot of time for applications printing over networks, especially
when these applications require different prep files. For example, different prep files are used by dif-
ferent LaserWriter drivers on different machines by different applications.

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Automatic prep loading is selected by default.

7.8.2 Startup prep

If this box is selected, the prep file selected in the pop-up menu is pre-loaded when you start up the
RIP. Select the prep file that is used most often by the jobs sent to the RIP.
You do not have to use this option if automatic prep loading is already switched on, but it can be a use-
ful option if a number of people on the network are using the same LaserWriter driver. If the correct
startup prep is already loaded, it can save a few (2 to 5) seconds on each job.
You can use automatic prep loading at the same time as a startup prep.

7.9 Harlequin RIP memory allocation

The options in the Configure RIP Options dialog box, allow you to specify the memory allocation for
the RIP, seeConfigure RIP Options dialog box on page 190.
The RIP is allocated the amount of memory set in the Info dialog box from the Finder, less the amount
specified in the Minimum memory left for system field. At present the default values are 24 MB mini-
mum and 27 MB preferred.
Note: When using media saving features and outputting large high resolution flats, you should allo-
cate substantially more than the default memory to the RIP. For information on media saving see
Advanced Media Saving on page 119.
By default, 5120 KB of system space will be reserved after the RIP has started up.
If the Memory for RIP option is not selected, the RIP is allocated all the available physical memory,
less the amount specified in the Minimum memory left for system field.
If you want to reduce the amount of memory allocated to the RIP, select the Memory for RIP option
and enter the value in the text box. The RIP is allocated this amount of memory, less the amount spec-
ified in the Minimum memory left for system field.
The Minimum memory left for system field lets you reduce the allocation for the RIP so that memory is
left for the operating system and any other running applications. If this value is too small, the operat-
ing system will start paging, which will degrade performance.
Note: If the Minimum memory left for system value is higher than the Memory for RIP setting, the fol-
lowing warning is issued:
"Warning: The combination of "Minimum memory left for system" and "Memory for
Rip" settings will force the Rip to run with x Kb of memory. This can result in
unexpected behaviour. Please consult the "Harlequin RIP memory allocation"
section of the documentation."

where x is a number.
If a particular job is so large that it cannot all be fitted into memory at once, the RIP starts to paint par-
tial page buffers to disk. To try and avoid this, you can allocate extra temporary memory for the RIP,
using the Memory reserve for RIP option. This option allows the RIP to use additional physical and vir-
tual memory while completing the job.

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Note: If you allocate a large amount of extra temporary memory, the operating system may start pag-
ing. Paging would slow the system down more than painting partial page buffers to disk. We recom-
mend that you allocate less than 4 MB of extra temporary memory.
There are some instances when the RIP cannot paint partial page buffers to disk: for example, when
recombining preseparated jobs or using TrapPro. The RIP cannot complete the job if it does not have
enough memory. In such instances, select the Allow use of all available memory option. The RIP will use
all the available physical and virtual memory to try and complete the job. Using all the memory may
severely degrade performance until the job has finished.
From the total memory allocated to it at startup, the RIP allocates the printer and network buffers. All
memory not used for these buffers is used by the RIP for processing jobs.
The final allocations used are reported in the RIP Monitorwindow when the RIP starts up.
If there is insufficient memory to allocate the buffers requested, the RIP tries the following methods of
automatic recovery, in the order shown:
• Reducing the network buffer to a minimum of 64 KB.
• Reducing the printer buffer to a minimum of 512 KB.
• Reducing the Minimum memory left for system to a minimum of 512 KB
If there is still not enough memory to give the RIP at least 4096 KB, the RIP will display a warning
and quit.

7.10 Minimum free disk space

The Harlequin RIP allows you to ensure that it leaves free a minimum amount of disk space, which is
good practice and allows for use by other applications. Specifying this reserved disk space is impor-
tant for use with the two RIP modes - Multiple and Multiple (Parallel) - that can produce multiple
buffers, where it ensures that the disk is not completely filled up with an unlimited number of page
buffers.
The default value of the Disk space left for system option is 50 MB. You may want to increase it to
reserve disk space for other applications running on the same machine, such as spooling programs. A
reasonable value should be near the size of the largest files regularly created or copied on the relevant
disk.

7.11 Disable sounds

Select this box in the Configure RIP Options dialog box to suppress the system beep normally gener-
ated when the RIP encounters an error.

7.12 Resetting the Harlequin RIP to default values

If you decide that you want to revert to the default values that the RIP is supplied with, double-click
the Harlequin RIP icon while holding down the Option key.
A dialog box appears, asking if you wish to return to the factory defaults.

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• Click Yes if you wish to reset any part of the current configuration.
• Click No if you wish to keep all of the current configuration. (the RIP starts up normally.)
If you click Yes, the RIP displays several dialog boxes that allow you to reset specific parts of the con-
figuration, one after the other. For each dialog box, click the Yes button to reset all the configuration
information described in that dialog box. Click No to keep that part of your configuration.
The RIP allows you to reset most parts of the configuration in this manner, including Page Setups, RIP
configuration, media management information, and window positions.
After the last dialog box, the RIP starts up normally.

7.13 Choosing the user interface language

You are asked to make a choice of the language to be used in dialog boxes, menus, and messages when
you start up the RIP for the first time. Later, you can check the exact language in use or change the
language, for most combinations of languages.

7.13.1 Requirements and limitations

There is no problem in changing language if both languages are chosen from English and most West-
ern European languages; technically described, those languages that use encodings of the ISO-Latin
character set. There is also little risk in switching from ISO-Latin to a language that uses a two-byte
character encodings: for example, Japanese, Traditional Chinese, and Simplified Chinese. There is a
higher risk of problems if you attempt to switch between two languages that use different two-byte
character encodings.
The operating system of your computer must support the language you wish to use. You are also likely
to require the RIP localization files and a password from your supplier before you can change the lan-
guage used by the RIP. If you have to install any files, restart the operating system and the RIP before
proceeding.

7.13.2 Procedure
To check which languages are available or to switch to another available language, choose the Harle-
quin RIPFile > Language menu option. The Select User Interface Language dialog box appears, as
shown in Figure 7.5.

Figure 7.5 Select User Interface Language dialog box

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The dialog box shows you which languages are available in a multi-column list. A language is avail-
able for immediate use if the entries after its name or code (in the Language column) are all Present
or Yes.
The columns have these meanings
• The Messages and Resources columns show if parts of the RIP localization are present.
• The Script column shows if the operating system supports the language.
• The Enabled column shows if the RIP localization is enabled, when the entry is Yes; or dis-
abled, when the entry is No.
Click Cancel if you do not wish to make a change.
You can supply a password to enable a language if the only thing making that language unavailable is
a No entry in the Enabled column. Select the row for your chosen language and click Enable. In the
password entry dialog box, enter your password and click OK. You should now see that the language
is enabled. Check the password if the language is not enabled. (If you still have problems, click Cancel
to continue using your previous user interface language while you obtain support from your supplier.)
To use an enabled language, select your chosen language and click OK. The RIP displays a dialog box
asking if you wish to confirm your choice and quit the RIP. Click Yes if you are sure, and then click
OK to dismiss the second confirmation dialog box.

When you restart the RIP, you should see that it is using your chosen user interface language.
Note: You may still see a small number of options in lists or messages appearing in English or another
language. This is normal. For example, the Feature and Calibration lists in the Edit Page Setup dialog
box display the names of files, which remain unchanged as the user interface language changes. Simi-
larly, the RIP Monitor window displays messages if they are produced directly by PostScript language
jobs and, if needed, some very rare and technical error messages.

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Configuring Input

This chapter describes the different ways in which the Harlequin RIP can accept its input, and how to
configure the RIP to use each type of input. Chapter 5, Configuring Output Formats, describes the dif-
ferent ways in which you can control output from the RIP, using Page Setups.
There are several ways of providing input to the Harlequin RIP:
• Using one or more managed inputs, as described in Input management on page 202, and the
following sections. This is the preferred method for routine use because, in general, the man-
aged inputs allow users on many machines to submit jobs to the RIP.
• Using the Print File menu command, as described in Using the Print File command on page
218. This command allows a user on the machine running the RIP to print all of the job types
possible on that installation of the RIP. You can use Print File while managed inputs are active.
• Entering PostScript language code interactively by typing at a prompt on the machine, as
described in Entering PostScript language code by hand on page 244. You must disable other
inputs for the duration of your interactive sessions in order to do this.
When you use managed inputs or the Print File menu command, you can print several types of job.
The available types depend on the details of your installation of the RIP. Some types have associated
settings in Page Setups, may require enabling with passwords, or require other care in use. The possi-
ble types, with references to full descriptions of their use, are:
• PostScript language files (PS) and Encapsulated PostScript files (EPS), both described in Print-
ing PostScript language files on page 220.
• Portable Document Format (PDF) files, described in Printing PDF files on page 221.
• XML Paper Specification files (XPS) files, described in Printing XPS Documents on page 235.
• JPEG and JFIF files, described in Printing JPEG and JFIF files on page 235.
• TIFF/IT-P1 files, described in Printing TIFF/IT files on page 236.
• TIFF 6.0 files, described in Printing TIFF 6.0 files on page 240.
• Harlequin RIP page buffer files, described in Printing page buffer files on page 242.

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8.1 Input management

In the same way that the RIP uses output plugins to provide output sources, it uses input plugins to
provide input sources.
Global Graphics and OEM programmers can create input plugins, each of which may be used as one
of the following:
• Input to the RIP, for example, as a source of jobs. (When installed, these plugins are obvious
parts of the RIP: the description of these plugins and their configuration forms the bulk of this
chapter.)
• A PostScript language device on which you can open a file and read or write from a PostScript
language job. (This is not seen by the end user.)
• A filter to manipulate data. (This is not seen by the end user.)
• A source of asynchronous actions. (Most of these actions are small, specialized tasks and not
directly related to output of a user job. For example, one such action enables the RIP to provide
a list of installed fonts while busy with a job for output.)
There are a number of input plugins supplied with the RIP, each providing users with the ability to
submit jobs. Managing input plugins on page 203 describes the way in which you can manage these
plugins and the inputs they provide. The supplied inputs are:
• AppleTalk. This lets the RIP accept input from any AppleTalk network connected to the
machine running the RIP.
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.
See Using the AppleTalk input plugin on page 206 for more details.
• Spool Folder. This lets you specify multiple independent folders into which users or applica-
tions can place jobs to be printed. The RIP checks for the presence of files in these folders and
prints each one automatically.
See Using the Spool Folder input folder on page 207 for more details.
• Socket plugin. This allows input to arrive over a network, which can contain different types of
computer, using a TCP/IP socket.
See Using the Spool Folder input folder on page 207 for more details.
• Asynchronous socket plugin
This is similar to the socket plugin but is only suitable for a limited number of jobs. Typically,
these are small jobs performing control or monitoring functions, rather than imaging.
See Using the Spool Folder input folder on page 207 for more details.
• Asynchronous socket quit plugin
This is similar to the asynchronous socket plugin but has the single purpose of causing the RIP
to quit. It does not receive any jobs.
See Using the Print File command on page 218 for more details.

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Each of these plugins can be thought of as analogous to a multiple device output plugin, except that
they provide inputs, rather than outputs.

8.2 Managing input plugins

You control input plugins using the Input Controller. Before creating new inputs or changing existing
ones, check that you have an appropriate Page Setup to associate with each input. (While creating
Page Setups, you can keep the Input Controller displayed, but not the subsidiary dialog boxes.)
Display the Input Controller dialog box by choosing the File > Input Controller menu option, or click-
ing the tool bar button. Figure 8.1 shows the Input Controller dialog box.

Figure 8.1 Input Controller window

The Input Controller is similar to the Device Manager, described in Section 5.12 Multiple device out-
put plugins. The main list shows the input sources currently available. Each input source can be turned
on or off individually using the buttons‚ the state is displayed in the Status column.
Each row in the list represents one particular source, and contains:
• The Name for the input source. This is used to identify the source within the RIP. It may also be
used by the input plugin itself.
• The Type of input. This determines which input plugin the RIP uses.
• The Page Setup. This is the Page Setup used by all jobs arriving through this source.
• The Enabled state. This should be On to make the source available when you start the RIP or
start inputs.
• The Status. This can be Stopped, Idle, or Busy.
An input is stopped either because all inputs are stopped, because you have disabled this input
in the Input Controller (using Off), or because of a problem when trying to start that input. An
idle input is ready to receive a job but none is arriving. A busy input is actually receiving a job.

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You can also choose to see the same information about items that are not controllable from the Input
Controller. The check box below the list gives you this ability:

Show protected channels

Select this box if you wish to see, but not control, the status of protected
channels. This box is grayed out if there are no protected channels.
Protected channels are channels that have been created outside the Input Con-
troller‚ possibly by executing PostScript language commands in configura-
tion files that the RIP used when starting up‚ and marked as being outside
routine user control. Typically, a protected channel is not an input source for
imaging jobs: instead, it performs one of the other functions described in
Input management on page 202.
Below the list of sources are several buttons that allow you to perform the various actions described in
sections 8.2.2 through 8.2.7.
When you have finished making changes in the Input Controller, you can keep it visible as a way of
monitoring which inputs are submitting jobs or close it using the File > Input Controller menu option or
the tool bar button.

8.2.1 Turning on the input system

To start receiving jobs from the configured and enabled inputs, choose Start Inputs from the File menu,
or type Command-I. When you do this, there is a delay of a few seconds as the various defined input
sources are initialized, and then the RIP starts to accept jobs from those sources.
The status area of the tool bar shows the searching for input symbol (a torch or flashlight shining on an
arrow).
A new menu appears in the menu bar, called Input Queue. This menu has these options:
• Kill Current Job. This causes the job currently processing to be aborted. It may take a few sec-
onds.
• Stop Input Queue. This turns off the input system when the job currently processing has fin-
ished.
• Abort Input Queue. This aborts the job currently processing and then turns off the input system.

8.2.2 Adding a new input source to the list

You can create many different input sources for each input plugin. For example, you could create 5
spool folder input sources and 10 socket and AppleTalk input sources.
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.

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To add a new input source to the list:

1. Click the New button in the Input Controller. The RIP displays an Input Channel Edit dialog
box, similar to that shown in Figure 8.2, allowing you to fill in the details for this source.

Figure 8.2 Input Channel Edit dialog box

2. Type a name for the plugin device in the Name text box.
The name is used to identify the source within the RIP. It may also be used by the input plugin
itself.If you create an AppleTalk input device, when you start the inputs a printer of this name
becomes available on the AppleTalk network.
3. Choose the plugin type from the Type pop-up menu.
4. Choose a saved Page Setup from the Page Setup pop-up menu: the RIP applies this Page Setup to
each job arriving at the source.
5. If the plugin is to be initially turned on, select the Enabled check box.
6. Click the Configure button to display an input plugin Configuration dialog box, allowing you to
specify details relevant to the plugin you have chosen.
The Configuration dialog box varies according to the type of plugin chosen. It is used to give
details about how the input is to be handled, and to set up any hardware associated with the
source. See Input management on page 202 for a list of input types and page references to their
configuration and use.
7. When you have specified all the details for the new source, click OK.

8.2.3 Copying an input plugin

When you have created an input plugin, you can copy it to create other inputs of a similar type. This
can save you some effort, depending on the complexity of the Configuration dialog box.
To copy an existing input, select the entry in the Input Controller and click the Copy button.
You must give the copied input a new name and you will probably need to alter some details in the
Configuration dialog box. For example, only one active input can use a particular spool folder or net-
work input at one time‚ but you can have two or more inputs using the same source, provided that you
enable only one at a time.

8.2.4 Editing the details for an input source

To edit the details for an existing input source, do one of the following:
• Select the entry in the Input Controller and click the Edit button.

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• Double-click the entry in the Input Controller.

The RIP displays an Input Channel Edit dialog box, allowing you to edit the details for the selected
plugin. For full details of using this dialog box, see Adding a new input source to the list on page 204.

8.2.5 Configuring an input plugin

Configuring an input means giving details about how the input is to be handled, and setting up any
hardware or software associated with the source.
To configure an existing input plugin, select it in the Input Controller and click Edit. The RIP displays
the Input Channel Edit dialog box. Click Configure to see the Configuration dialog box for the selected
input. See Input management on page 202 for a list of input types and page references to their config-
uration and use.

8.2.6 Deleting an input source

To delete an input source from the RIP, select it in the Input Controller and click the Delete button.
(You can select multiple inputs and delete them in one action.)

8.2.7 Enabling and disabling input sources

To enable an input source, select it in the Input Controller and click the On button. To disable a source,
select it and click the Off button. Using these buttons has the same effect as selecting or clearing the
Enabled check box in the relevant Input Channel Edit dialog box.

When the selected input source is enabled then the On button is disabled, and when it is not enabled
then the Off button is disabled.
You can select several input sources and then turn them on or off together.
When an input plugin is enabled, the RIP automatically publishes it when starting input queues, mean-
ing that the input plugin can be used to send jobs to the RIP.
To make enabled inputs active, choose File > Start Inputs or click the tool bar button that has a picture
of a green arrow and traffic light. (See Section 8.2.1 Turning on the input system.)
To stop all enabled inputs, choose File > Start Inputs again or click the tool bar button that has a picture
of a red arrow and traffic light.

8.3 Using the AppleTalk input plugin

An AppleTalk input source publishes a name over the network. This name appears in the Chooser on
Macintosh computers running Mac OS 8/9 and Mac OS X when they are connected to the network,
making the RIP available just like a LaserWriter. Other, non-Macintosh, computers connected to the
network and able to use AppleTalk can also use the RIP as an AppleTalk printer. In complex networks,
there may be a need for extra actions before all computers can use a new printer.
Note: Mac OS X 10.6.x (Snow Leopard) (and later) does not support the AppleTalk protocol.

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8.3.1 Configuring an AppleTalk input source

To configure an existing AppleTalk input source, select the source in the Input Controller and click
Edit. The RIP displays the Input Channel Edit dialog box. Click the Configure button. The AppleTalk
configuration dialog box appears, as shown in Figure 8.3.

Figure 8.3 AppleTalk Configuration dialog box

Wait timeout This value sets the length of time, in minutes, that the input source waits for
data. If no data is sent for that length of time and the RIP is waiting for data,
the job is aborted.

Abort on error This control sets the behavior of the input plugin on detecting an error. By
default, this box is selected, which means that an error causes an immediate
abort. This is not the typical behavior of a PostScript language compatible
interpreter but it may save considerable time spent in transferring data which
is merely flushed (ignored) by the interpreter.
Clear this box if you encounter problems with network software or wish to
ensure full compatibility with other PostScript language compatible interpret-
ers.

8.4 Using the Spool Folder input folder

A spool folder input source regularly scans a specified disk folder (directory), and processes any Post-
Script language files (and other suitable files) that are placed there. Normally these files are deleted
after successful processing. The spool folder can be on a network file server, or the local machine.
Users create files from their applications. These applications can create the files directly in the spool
folder, or can create them elsewhere (for example, on the local system) for later transfer into the spool
folder.
The RIP can process some or all of the following file types using a spool folder: PostScript language
(PS), Encapsulated PostScript (EPS), Portable Document Format (PDF), TIFF 6.0, single TIFF/IT-P1
subfiles or TIFF/IT-P1 file groups if supplied in order, JPEG and JFIF files. With some preparation
you can also process page buffers from a similar version of the Harlequin RIP. The available options
depend on your installation and configuration of the RIP.
Note: You cannot use a spool folder for printing FP TIFF/IT-P1 files without special care, because FP
files reference subfiles and the RIP must image the data in these files in a set order. If, in a spool folder
any of the CT, HC, LW, or FP files may arrive first, then the result may be partial images. The spool
folder can accept TIFF/IT-P1 files if the order of arrival and file naming can be controlled so that all
subfiles arrive before the FP file and you select the TIFF/IT-P1 option described on page 210. If the

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order of arrival or naming is unsuitable or unpredictable, using Print File from the File menu is the sim-
plest reliable method of ensuring that the RIP images the intended file or combination of files.
The RIP ignores types of files that it cannot print, and any files that you exclude intentionally by con-
figuring the spool folder input.
You can exclude files based on their names. You may want to exclude files that resemble real jobs, but
that actually contain accounting or housekeeping information for the software that delivers files into
the spool folder. You may also want to exclude, or at least delay, real jobs with particular origins or
qualities. All this is possible so long as the file names have a recognizable prefix.
You specify which folder the RIP uses in the input plugin Configure dialog box, available from the
Input Controller. By default, this folder is called Spool and exists in the SW folder. If needed, you can
create several spooled inputs, each with its own folder, Page Setup, and exclusion list.
When you specify a folder accessed over a network, make sure that the folder automatically becomes
available to the computer running the RIP when that computer is restarted.
Because files are normally deleted as soon as they are printed, it is important to ensure that the RIP has
permission to delete files in the spool folder, particularly if the spool folder is on a network file server.
See Appendix A, Troubleshooting, for more details.
The files in the spool folders are processed in the order in which they arrive. However, if there are jobs
already in a folder when the RIP is started, or if a very large number of files have been queued, the
RIP determines the order of those jobs by the date stamps on the files.
Note: Spool folder input does not work with setups using PostScript LanguageLevel 1 compatibility
mode.

8.4.1 Spool input issues

The way the Spool input plugin detects whether a job has failed can be disturbed by the use of page
features such as Error Handler - Long and Error Handler - Short. In such cases, even
though the RIP monitor may indicate that the job has failed, the Spool plugin may treat the file as
Completed instead.

The same issue may apply to custom error handling code.

If your workflow relies upon the correct error action taking place, you should avoid the use of error-
handlers and instead diagnose such problems using different Page Setups.
Closing the spool input channel while files are still open can prevent the plugin moving or deleting
those files.

8.4.2 Configuring a Spool Folder input source

To create and configure a new Spool folder source:
1. Click New in the Input Controller. The RIP displays the Input Channel Edit dialog box.
2. Choose SpoolFolder from the Type drop-down list. Give the input a suitable name and select
a Page Setup. Select the Enabled box.
3. Click the Configure button. The Spool Folder Configuration dialog box appears.

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Make the settings you wish, and click OK. Click OK again to close the Input Channel Edit dialog box.
The spool folder input becomes active, now or when you next start inputs. When the spool folder
becomes active, the RIP reports the number of exclusions, that is the number of prefixes that it will
ignore. See the description of the Filenames prefix list option on page 212 for details.

Figure 8.4 Spool Folder Configuration dialog box

This dialog box contains the following control items:

Spool Folder The current spool folder is shown in the text field alongside this button. This
location is where the RIP detects the arrival of files and considers them as
possible jobs, by looking at the type of file and any file names excluded in the
Filenames prefix list.
Note: Choose a folder that is dedicated to receiving jobs. In particular, avoid
using folders where other files are arriving or changing. (For example, the SW
folder is a bad choice, because the log file changes with every job.)
Click the Spool Folder button to change this folder using the standard file
browsing dialog box. Alternatively, you can type a full path name in the text
field but be aware that any typing errors can cause an error or the creation of
a new folder.

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Create Spool Folder if it does not exist

Select this box if you want the RIP to create the named spool folders if they
do not already exist.
The RIP creates the folders when the input channel becomes available for
use. This time can be immediately after you click OK in the Input Channel
Edit dialog box for an enabled channel, but you may need to choose File >
Start Inputs or enable the input channel before it becomes fully available.

Warn if Spool Folder does not exist

Select this box if you want the RIP to issue a warning if a folder named as a
spool, error, or completion folder does not exist.

Suppress startup warnings

If you have files present in the Spool Folder and then start the RIP, you will
be prompted with a warning that files already exist in this folder which you
must acknowledge before the RIP will start. If you would prefer to suppress
these startup warning messages and continue to start the RIP, select this
option. All files present in the folder will be processed.

HandleTIFF/IT files as one output group

Select this box if you want to process TIFF/IT-P1 files as a group, but only if
you can predict that both the file names and the order of arrival follow these
conditions.
All related files must have the same file name stem. For example, this is a
valid group of files: myfile.ct, myfile.lw, myfile.hw, and
myfile.fp.
All subfiles must be in the spool folder before the FP file arrives and is ready
to print.
After processing a TIFF/IT-P1 group, the RIP moves or deletes all the related
files together, with the action depending on success or failure and the settings
of other controls in this dialog box.
If you leave this box unselected, the RIP processes the individual files as they
become available.
Note: When producing TIFF/IT-P1 files as output using the optional TIFF/IT-
P1 output plugin, the RIP satisfies the rules for having the related files treated
as a group.

Scan spool folder every <n> seconds

The value in the text box specifies how often the RIP checks the Spool folder
for new files to be printed.

Time to wait for file to stabilize <n> seconds

The value in the text box specifies the number of seconds that the Spool
folder waits for the size of an arriving file to remain the same before assum-
ing that it has been fully written and is therefore ready to be printed.

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Complete Folder If a file successfully prints, the RIP moves it to the location specified in the
text field alongside this button unless the Delete on completion box is checked.
Click the Complete Folder button to change this location using the standard
file browsing dialog box.

Delete on completion
Select this box if you want the RIP to delete files that the Spool folder suc-
ceeds in printing. Otherwise the RIP moves these files to the Complete
Folder.

Error Folder If a file fails to print, the RIP moves it to the error folder specified unless the
Delete files on error box is selected. If a file prints successfully, the RIP moves
it to the Complete folder specified unless the Delete on completion box is
selected.

Delete on error
Select this box if you want the RIP to delete files that the Spool folder fails to
print. Leave this box clear if you want failed files to be moved to the Error
Folder. Note that a file is treated as an error if you abort it while it is being
processed.
Move/Delete All Files
With this option selected the spool plugin will either move to the error folder,
or delete any file which it does not recognize (such as badly formed PDF doc-
uments). The files are moved or deleted depending on the state of the Delete
on error check box.
Warning: If you decide to use this option and you inadvertently choose to
point the spool folder at a directory containing important files (such as
C:\windows... or your SW folder), you will remove all files therein, result-
ing in either a non-functional computer or non-functional applications. The
plugin deletes or moves all the files it cannot handle.
Move/Delete Valid Files
This option replicates the previous (pre Eclipse Release SP2), behavior of the
spool folder plugin. In this case, if a file is encountered which the spool plu-
gin does not recognize it will leave the file in the spool folder and ignore it.
Valid files which cause an error will be treated according to the setting of the
Delete on error check box.

List of prefixes
This text field specifies files to ignore when they arrive in the spool folder, if
you have also selected the Do not process filenames with the following prefixes
box. The specification is based on the first part or prefix of the file names.
Prefixes are case sensitive and separated by a comma.
For example, if you type in the prefix ab, the RIP ignores all the arriving files
whose names begin with ab. Examples of files that the Harlequin RIP would
ignore for this prefix are abacus.pdf, abandon.ps, and ab123. (The RIP

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would not ignore ABALONE.PS, 123ab.pdf, or _absence.) Ignoring means

that the RIP does not process the files and allows the files to remain in the
spool folder until removed by a user or other software.
Note: If you remove or disable a prefix while the spool folder is still active,
the RIP processes any files previously excluded by that prefix but still present
in the spool folder.
You can enter several prefixes. Separate multiple prefixes by commas with-
out surrounding spaces. (If you add spaces after a comma, the RIP treats the
spaces as part of the following string.) Each prefix can include alphanumeric
characters, the underscore character, the period character, and spaces.
For example, this is a valid list of three prefixes: aaab_c,BAC,4.4

Do not process filenames with the following prefixes

Select this box to make the prefix list active. Leave this box empty to disable
the prefix list without deleting the list of prefixes.

8.5 Using the Socket input plugin

A socket is a hardware-independent method of communicating across a network. The RIP Socket plu-
gin supports TCP/IP on Ethernet for job transfer between any combination of machines running the
UNIX and Windows operating systems. From socket version 2.1r1 the plugin is supported on
Mac OS X.
The RIP Socket plugin also supports a smaller set of features on Power Macintosh computers (but not
680x0 based Macintosh computers). This smaller set of features is supported between any combina-
tion of Power Macintosh computers and machines running the UNIX or appropriate Microsoft Win-
dows operating systems.
The benefits of using network sockets are:
• Transfer of jobs between different types of machines occurs at network speeds‚ which are typi-
cally much higher than those achieved with serial links.
• One server machine (the one running the Harlequin RIP) can receive input from as many send-
ing machines as can connect to the network. (The RIP must finish one job before starting
another, including jobs from other types of input plugin.)
• All sending machines are configured in the same way.
• Given an existing network, there is no requirement for extra hardware or shared file systems.
• A program or user on the sending machine can be informed of the job status as the job
progresses.
There are some potential, minor, difficulties with socket input:
• It requires a small amount of central network management, or user access to configuration
files, on the sending and receiving machines. This management or user access is required only
when setting up the links, not for routine use.

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• In general, the socket input plugin accepts only PostScript language and PDF input, sent with a
basic TCP/IP stream protocol. This protocol is simple to generate but prohibits the direct use of
any extra protocol such as that used by the UNIX lp program. (The Xinet PapConnect protocol
is an option if there is no Macintosh computer involved.)
Note: Prior to the release of the Socket plugin v2.1r3, jobs received on an input Socket were named by
the input channel, and not the job. A page feature was provided to overcome this. From the release of
the Socket plugin v2.1r3 the page feature is added to the plugin and thus will use the name within the
job.
Note: Most machines running sockets can support several independent types of communication and
there is usually ongoing communication for processes including mail, printing, and file transfer. The
different types of communications are kept separate by assigning each to a different port, usually iden-
tified by number. Port numbers below 1024 are listed in a services database and have registered uses
and protocols that enable computers at local and remote sites to communicate according to published
standards. Some numbers above 1024 also have agreed uses, but most are available for use in a way
specific to a single site, as allocated by the local network manager or system administrator.
Prior to release of the Socket plugin v2.1r3, jobs received on a Socket input were named by the input
channel, and not the job. A page feature was provided to overcome this. From the release of the Socket
plugin v2.1r3 (shipped with Harlequin RIP, Eclipse Release), the page feature is incorporated within
the Socket plugin and thus will use the name within the job.

8.5.1 Requirements
All machines need to support TCP/IP over Ethernet and to be linked by a network. This is the only
requirement for machines running the UNIX, Mac OS X, Windows Server 2003, Windows Server
2008, Windows Server 2008 (R2), Windows XP, Windows Vista and Windows 7 operating systems.

8.5.2 Configuration preliminaries

Before attempting to configure a socket you must decide what kind of connection you wish to make
and how to implement it. This subsection describes your options and what you need to know before
configuring the RIP socket input.
In the simplest case, applications on one or more machines send information to the machine running
the RIP and receive no messages about the progress of the jobs.
It is a simple extension to make the standard output from the PostScript language interpreter‚ progress
and other messages as displayed in the RIP Monitor Harlequin RIP window‚ available to the applica-
tion sending the job.

8.5.2.1 Server machine

To configure the machine running the RIP, you must know:
• The port on which the socket plugin is to listen for input.

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Optionally, you may need to know:

• A second port, if you wish to return the standard output to the sending application and that
application requires a separate port.
• Any protocol in use by the sending application. The options supported by the Harlequin RIP
are basic TCP/IP socket stream or Xinet PapConnect.
In general, you can ask your network administrator to allocate a port (or ports) and give you the num-
ber(s) or name(s) to enter in the RIP. Using a name rather than a number allows the flexibility of
changing only the services database if it becomes necessary to start using another port.
If you have no network administrator, you may need to look at the services database yourself in order
to find ports that are available for use. In the UNIX operating system, the services database is the file:
/etc/services

Under Windows XP and Windows 2000, the position of the services database can vary between differ-
ent installations of the operating system. The administrator can choose where to install the operating
system (with the chosen location recorded in the environment variable %Systemroot%) and the ser-
vices database is stored in a fixed relationship to this location. For example, if the operating system is
installed in \winnt then the services database is the file:
\winnt\system32\drivers\etc\services

On Macintosh computers, there is no services database. (This means that you must choose ports using
TCP by number on a Macintosh, but you may be able to inspect the services database on a computer of
another type if you are operating on a mixed network.)
Warning: Where used, the services database is an important part of a networked operating system.
Make a copy of the services database file before editing it in any way.

8.5.2.2 Sending machines

To configure the machines sending jobs to the RIP, you must know:
• The network address (IP address or hostname) of the machine running the Harlequin RIP.
• The port on which the machine running the RIP is listening for input.
Optionally, you may need to know:
• A second port, used to return the standard output to the sending application. (The RIP can
return this information on the server port: a second port is only needed if the sending applica-
tion requires a separate port.)
Your network manager should be able to supply these details.
All other settings are dependent on the software used to send the jobs, and must be compatible with
those you have made in the Socket Configuration dialog box. For example, you may need to configure
the sending software to receive the PostScript language status messages.

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We recommend that you configure each sending application to close its sending socket connection at
the end of each job, and pause before reopening it to send another job. The reasons are:
• You can configure the RIP to receive input on more than one socket input; for example, to
allow the use of different Page Setups. (Each socket must use a different address.) Closing the
connection allows the RIP to check for pending jobs on other input channels.
• Certain jobs may require that the server socket is closed before the RIP can start rendering. If
the socket is not closed, rendering starts when the next job starts to arrive, which could result in
a significant delay.

8.5.3 Configuring a Socket input plugin

To configure a new socket input, click New in the Input Controller. The RIP displays the Input Channel
Edit dialog box. Choose a name and Page Setup as normal, then choose SocketInput from the Type
pop-up menu drop-down list. Click the Configure button. The Socket Configuration dialog box
appears, as shown in Figure 8.5.

Figure 8.5 Socket Configuration dialog box

You must make settings for the server (input) socket. The other (output and protocol) settings are
optional but interrelated: you may need to make more than one choice to have a valid combination of
settings.

8.5.3.1 Server socket details

On some the RIP platforms, the Socket type control allows you to choose from TCP by number, TCP
by name, and Local. The only option available on all platforms is TCP by number.

The TCP by number and TCP by name options both offer full network access. The options are
equivalent in that both identify a numbered port. The only difference is that if you give a name, the
name is used to look up the number in the services database, a file which links numbers with names.
A Local socket works only with the UNIX operating system and only on the host machine: that is,
where the sending application and the Harlequin RIP both operate on the same machine. It is provided
only for compatibility with older systems.

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Server Socket type

Choose TCP by number or TCP by name for use across a network (includ-
ing from the host machine), and enter the corresponding port name or number
in the Address box.
Under the UNIX operating system, you can also choose Local but do so only
where absolutely required by the sending application and enter a socket file
name in the Address box.

Address There are up to three possible entries in this box, depending on the choice
made for Socket type, which itself may be limited by the platforms on which
the RIP and the sending applications operate.
When Socket Type is TCP by number, enter the number of the port.
The socket plugin listens on the chosen port.
When Socket Type is TCP by name, enter the name of the service.
The socket plugin gets the port number by looking up the name in the ser-
vices database (/etc/services or an equivalent file), and listens on the
chosen port.
When Socket Type is Local, the socket communication is made by using a
socket-style file on the file-system. Enter the file name in the Address field.

8.5.3.2 Bi-directional communications and protocol

These check boxes allow you to specify if and how the Harlequin RIP should return information to the
application sending a job.

Bi-directional comms
Select this box when you wish the RIP to pass responses back to the sending
application. The RIP passes these responses: on the server socket when Use
Separate Output Socket is not selected; or on the output socket when Use Sepa-
rate Output Socket is selected (in which case, you must also configure the Out-
put Socket Details).

Publish as printer
This option requires a Macintosh running at least Mac OS X v10.4 on the RIP
machine. With an input channel published as a printer a new printer named to
match the input channel name is listed in the Print Center on the RIP
machine. It can be chosen from the print dialog from any application. If
printer sharing is enabled (System Preferences -> Sharing -> Services tab), on the
RIP machine, the new printer is visible to other Macintosh computers running
Mac OS X v10.4 on the local subnet.

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text box. What happens is that the socket is published as normal but the Pub-
lish as Printer option adds some information to the socket to allow it be used
as a Mac OS X printer as well. In this case the socket is functioning as normal
and still functions as a standard socket input even if it is simultaneously pub-
lished as a printer.
Unless you are logged in as root, the port number you should enter into the
Address box must be 1024.

Use Separate Output Socket

Select this box to use a separate output socket for responses from the RIP to
the sending application. You must use a separate output socket if the sending
application(s) cannot accept responses on the channel used to send jobs.
This box is irrelevant if Bi-directional comms is not selected.
Note: When this option is selected and a port with the same address is used, a
Duplicate Socket Address: already in use error message will
appear and the input will not start.

Use Xinet protocol

Do not select this option unless you know that all the sending machines are
using the Xinet PapConnect protocol. In particular, Classic Macintosh com-
puters cannot use PapConnect. Also, we recommend that you use this option
only for downloading fonts; for general use, leaving this box unselected gives
faster transfer rates.

8.5.3.3 Output socket details

These details are only relevant when you have selected the Use Separate Output Socket box and the Bi-
directional comms box.

Choose these values in the same way as for the server socket, described in Server socket details on
page 216. You must choose a different Address from the one chosen for the Server socket. It is conve-
nient but not essential to use the same socket type to make it obvious whether or not the addresses are
different. For example, choose numbered addresses that differ by 1.
Note: The sending application can continue to listen on the RIP output socket after it has closed its
sending socket. (Sending machines on page 215 explained why it is advisable to close the sending
socket‚ the one connected to the RIP Server socket.)

8.6 Using more than one method

The RIP can use any combination of the above input types and listen on all active inputs. When sev-
eral inputs want to send data, only one job can reach the RIP at a time but the other inputs may be able
to receive and buffer data for later rendering.
To accept input from several sources, create and enable the sources you want in the Input Controller.
The RIP automatically monitors all enabled sources as soon as the input system is started with the
Start Inputs menu option.

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8.7 Using the Print File command

The RIP supports both the Print file menu option, and drag and drop printing from the Macintosh
Finder. For details of drag and drop printing, see Section 8.7.1 on page 220.
When you select Print File from the File menu, the dialog box shown in Figure 8.6 appears.

Figure 8.6 Print File dialog box

Choose an appropriate Page Setup for printing the files, from the Page Setup pop-up menu.
Note: If you do not choose a Page Setup, the RIP uses the one that you chose last time you printed a
file. If you have not printed a file in this RIP session, the first Page Setup in the pop-up menu is used.
To change the order of this listing, see Reordering Page Setups on page 81.
The Print File dialog box shows all files in the current folder.
If you want to choose a file that is not in the folder shown, use the dialog box to move to the correct
folder.
You can print a one or more files in a folder. To do this use the following instructions:
• To print any single file, select it in the list box and click Print. To enter a folder, select it and
click Open. (The button changes its label, depending on whether you have selected a file or a
folder.)
• To move to a folder higher up in the file structure, choose the folder you wish to move to from
the pop-up menu above the list box.
• To move to another drive, press the Hand icon button‚Äîthe list shows the contents of the desk-
top, including any other drives (such as floppy disk drives or external file servers).
While any file is being processed, an additional Print File menu appears on the menu bar.

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You can abort the current job by choosing Kill Current Job from this Print File menu or by typing Com-
mand–• (a period character).
When Kill Current Job is selected, the current job is stopped but subsequent jobs will be processed.
By selecting Stop Printing File, the current file will complete but any jobs queued after the current job
will not print.
Selecting Abort Printing File will stop the current job and also stop all subsequently queued jobs from
ripping.

8.7.1 Drag and drop printing

From the Macintosh Finder, you can drag a file and drop it onto the Harlequin RIP icon to print the
file. You can also drag a folder onto the Harlequin RIP icon to print all printable files in that folder.
When printing a dropped file, the RIP always uses the page setup at the top of the list in the Page
Setup Manager dialog box. You can reorder this list, so the top page setup is not necessarily the one
named Default Page Setup.
If the RIP is not running, it starts up automatically but requires you to dismiss the copyright and trade-
mark notices.
If the RIP is already running, it prints the file(s) as soon as possible, subject to finishing other jobs or
you closing any dialog boxes that prevent the RIP from producing output: the Page Setup Manager is
an example of such a dialog box.

8.7.2 Printing several files

To print out several files at once, select more than one file from the Print File dialog box before click-
ing Print. The following key makes this possible:

Shift
You can select as many files as you wish by selecting the first file, then selecting any other files while
holding down the Shift key.
Note: The list of files to print can include files other than PostScript language, PDF files, TIFF 6.0,
and TIFF/IT-P1. The RIP ignores types of files that it cannot print.

8.8 Printing PostScript language files

The RIP can print PostScript language files and Encapsulated PostScript (EPS) files using the Print
File command or managed inputs. You can also enter PostScript language code interactively using the
File > Executive command.

You can submit PostScript language jobs to the RIP using any of the managed input methods: Apple-
TalkSpool Folder, sockets, and serial input.
The Page Setup Options dialog box provides several options that tailor the way the RIP processes
jobs. Some options provide compatibility with jobs using PostScript LanguageLevel 2 or
LanguageLevel 1, or produced by specific applications. Other options deal with more general fault

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 Configuring Input

conditions or are convenience features. For example, some PostScript language file formats, such as
EPS, do not always include a showpage operator at the end of jobs. One of these options adds show-
page to the end of a job, if necessary. See Edit Page Setup dialog box on page 82 for details.

When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in an Encapsulated
PostScript file. See the Harlequin ColorPro User’s Guide for details.

8.9 Printing PDF files

The RIP can print Portable Document Format (PDF) files that conform to the PDF 1.7 specification or
earlier, or PDF/X versions listed below. The PDF Options dialog box allows you to set up strict or
flexible workflows using these versions of PDF jobs.
The Harlequin PLUS Server RIP supports the following PDF/X versions:
• PDF/X-1a:2001
• PDF/X-1a:2003
• PDF/X-3:2002
• PDF/X-3:2003
• PDF/X-4
• PDF/X-4p
• PDF/X-5g
• PDF/X-5pg
These are the only versions supported; any previous support for earlier versions has been dropped.
The PDF Options from the page set up manager allows the user to select from a range of PDF/X ver-
ification settings, see PDF Types on page 231.
The aim is to reproduce with high quality all the features of PDF files that can be rendered on paper or
film. You can also preview pages printed from PDF files, but the RIP does not provide a fully interac-
tive hypertext viewer or editor: there are no search, cross-reference, or annotation facilities.
Note: PDF/X is a standard defining a subset of PDF, designed for trouble-free use where the creator
sends the PDF file to an external printer or other prepress consumer.
Note: A PDF/X-3 file containing an OutputIntents dictionary will be color managed using the ICC
profile indicated by the OutputIntents dictionary as long as the job uses a device independent
color space and the Override color management in job option is not selected. For more information see
PDF/X Color management on page 223.

8.9.1 PDF/X standards

With the growth in the use of PDF for transferring graphic arts content files between sites and between
companies it is clear that the flexibility of the PDF format does not allow robust and predictable
exchanges of prepress data.

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To overcome this problem a family of standards has been developed to define restrictions on the con-
tent and use of PDF files to make PDF output more predictable.These standards are collectively called
PDF/X, each with a suffix to differentiate the specifications defined for different sets of market needs.
The PDF/X standards defines the elements that must be included in a PDF, and those that must not.
PDF/X-1a:2001 is designed to provide the most robust and, to some extent, least flexible delivery of
PDF content data. It requires that the color of all objects be expressed in CMYK or spot colors, pre-
pared for the intended printing conditions. Elements in RGB or Lab color spaces or tagged with ICC
profiles are prohibited. It also requires that all fonts used in the job be embedded in the supplied PDF
file.
PDF/X-3:2002 allows slightly more flexibility in that color managed workflows are also supported‚
elements in Lab, and with attached ICC source profiles may also be used.
PDF/X-4:2008 supports color-managed, CMYK, gray, RGB or spot color data, as well as optional
content and PDF transparency.
PDF/X-4p can be used with an externally supplied ICC Profile for the output intent.
PDF/X-5g is an extension of PDF/X-4 that allows the use of workflows similar to those used with
OPI. That is, the ability to reference externally supplied files.
PDF/X-5pg is an extension of PDF/X-4p that allows the use of workflows similar to those used with
OPI, together with a reference to an external supplied ICC Profile for the output intent.
Support for PDF/X-4p, PDF/X-5g, PDF/X-5pg requires the ability for the RIP to find external files
(ICC color profiles for PDF/X-4p and PDF/X-5pg and reference XObjects for PDF/X-5g and PDF/X-
5pg).
Support for PDF/X-4, PDF/X-4p, PDF/X-5g and PDF/X-5pg allows a digital front end to be con-
structed which is compliant with PDF/VT-1, PDF/VT-2 and PDF/VT-2s.
The specifications also set out how a PDF/X file should be processed by the receiver of the file. If dif-
ferent approaches to overprinting, for instance, are taken at different sites then it will not be possible
to predict the exact appearance of the final printed piece from a pre-transmission proof.
This section describes how a Harlequin RIP should be configured in order to produce PDF/X compli-
ant output.

8.9.1.1 PDF/X Color management

PDF/X files all include data describing the characterized printing conditions for which the job was
prepared. That data is collectively described as the output intent. It includes an identifier that may
refer to a characterization held in a registry maintained by the ICC (International Color Consortium).
In many cases the output intent will also include an embedded profile to support accurate color proof-
ing, both on screen and on hard copy.
The ColorPro‚Ñ¢ option can be used to perform in-RIP color management with the Harlequin RIP. It
can be used for many purposes, including color proofing, or for adjusting plates to enable a press to
better match a characterized printing condition such as SWOP. For more information see the Color-
Pro‚Ñ¢ documentation.

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With regard to the output of PDF/X files, the Harlequin RIP output will match the Altona test suite
and the GWG test suite output when auto-detecting PDF/X files.
You can adjust the behavior of the RIP to match other mainstream applications by turning off the auto-
detection of PDF/X and adjusting the RIP overprint settings. See PDF Types on page 231 and Color
managed overprints for DCS on page 370.

8.9.1.2 Trapping
The TrapPro options add in-RIP trapping functionality to the Harlequin RIP. If these have been
enabled, trapping parameters may be defined in the user interface and automatically applied to all jobs
submitted to the RIP. If a PDF or PDF/X file is labeled as having already been trapped (by setting the
Trapped flag to True), the in-RIP trapping will automatically be disabled while processing that file to
prevent traps being applied twice.
For more information see the TrapPro documentation.

8.9.1.3 Workflow notes

When processing PDF/X files it is important that your whole prepress workflow provides a result that
complies with the standard, including placement of partial-page submissions on a page and so on. You
should also test all routes by which an incoming file may pass through your complete workflow. Tools
such as the Kensington Suite and the Global Graphics PDF/X Overprint test strip can assist in this
testing. see the Global Graphics web site for more information.

8.9.2 Printing PDF version 1.4

One of the major features of this revision is the ability to mark objects as being partially transparent,
so that other objects in the background are visible through them. This feature aids the creation of many
special effects, including drop shadows, ghosting back of image areas behind text blocks and soft
edges to silhouetted pictures.

8.9.3 Printing PDF version 1.5

The Harlequin RIP Genesis Release will print PDF v1.5 files. Some of the features included are:
‚Ñ¢

• ICC profile handling.

• Support for JPEG 2000 and ability to decompress JPEG 2000 images
• 16 bit images.
• Annotation types.
New line end styles for Line annotations, fine positioning of Square and Circle annotations, new
annotation types, Polygon & Polyline, Caret annotations.
• Cross reference tables.

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 8.9 Printing PDF files

• Layers.
Used for versioning, as layers in, for example, a packaging workflow. Each group of optional
content may be flagged with separate settings to display on-screen in a PDF reader and to print.
The provision of layers within PDF 1.5 allows the support for different languages within a
single file.

8.9.4 Printing PDF version 1.6

The Harlequin RIP Genesis Release v7.1 will print PDF v1.6 files. Some of the features included are:
‚Ñ¢

• Encryption enhancements.
• Specification of the size of the unit in default user space.
• Support for NChannel color spaces.
• More flexible and locking of optional content groups.
Optional content is supported in the Harlequin RIP. However, optional content in nested PDF
documents is not supported.
• New facilities for embedding OpenType fonts in PDF files.
The Harlequin RIP supports embedded OpenType fonts, with either TrueType or PostScript lan-
guage glyphs.
• Grouping of markup annotations.
• The specification of objects, such as watermarks, that stay at a constant size regardless of the
page size.
• The ability to accurately specify relationships between the dimensions of objects on a page and
their real-world counterparts.
• PDF files can now display three-dimensional graphical data, using the U3D format, in a PDF
file.
Documents containing U3D Artwork annotations will be processed to completion by the Harle-
quin RIP. However, the resulting output will only display the 2D static representation that is
supposed to accompany the 3D graphic. If the 2D graphic is missing, that part of the document
will be blank.
Note: The Harlequin RIP does not support some types of JPEG 2000 files where a soft mask channel
is included in the image. A job of this type will fail.

8.9.5 Printing PDF version 1.7

The Harlequin RIP v8.0 Release and later will print PDF v1.7 files. Some of the features included are:
• Unicode string support.
Since the publication of the PDF v1.7 specification a number of extensions have been developed to
support various new features including those in Acrobat 9 and 9.1. These extensions are published as
Adobe Supplement to the ISO 32000, BaseVersion: 1.7. The Harlequin PLUS Server RIP v8.2 and
later supports ExtensionLevel: 3.

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8.9.5.1 PDF Check Warning

With PDF Check Warning enabled the following message appears at the start of every PDF job using
transparency:
%%[ WARNING - THIS JOB USES PDF TRANSPARENCY ]%%

This message indicates that the PDF 1.4 transparency checker procset has identified an element
marked as transparency in the job. The procset then switches the RIP from Normal mode into Back-
drop Rendering mode.
Normal mode means the RIP functions normally, and you should not notice any significant changes in
behavior in terms of performance, memory usage and so on.
In Backdrop Rendering mode there are significant changes. Interpretation time will be broadly similar
as in normal mode however rendering time will be increased. This is because the RIP does the com-
positing in the render phase and this process is computationally intensive. The compositing phase cur-
rently requires memory to be allocated and so vmerrors may occur. In terms of results, the objects
are composited at full device resolution, there is no downsampling like that produced by pre-flatten-
ers. Areas of the page which have only opaque objects are optimized to render faster and thus perfor-
mance depends on how much of the page is covered by objects which are transparent.

8.9.5.2 PDF Check Abort

With the PDF Check Abort switch enabled all jobs using transparency will be aborted and the follow-
ing message is displayed:
%%[ WARNING - THIS JOB USES PDF TRANSPARENCY - ABORTING JOB ]%%

8.9.5.3 PDF Page Alert

With the PDF Page Alert switch enabled the following alert appears when interpreting every page that
uses transparency.
%%[ THIS PAGE USES PDF TRANSPARENCY ]%%

Using the page-by-page check allows the RIP to switch between Normal and Backdrop Rendering
mode on a page by page basis. This improves performance because backdrop rendering a page con-
taining no transparency is much slower than normal rendering.
Note: When a PDF file references another PDF file via transparency the second PDF is now checked
while determining if the page containing the reference has any transparent object on it.
Also, not all applications that provide a user interface to define transparency do so using PDF struc-
tures. Macromedia FreeHand has support for transparency, but it is done in a different way. Also
Acrobat Distiller cannot make transparent objects.
®

For more information see the Harlequin RIP Extensions manual.

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8.9.6 AcroForms
A PDF file can contain information which is additional to the standard PDF format. When viewed
using an interactive application such as Adobe Acrobat, this additional information provides interac-
tive features making the page more like a form. These files are called AcroForms.
With features such as text input fields, multiple choice option lists and clickable buttons, a PDF file
that features an AcroForm is used to provide comprehensive electronic form filling functionality.
You interact with the form via the usual mouse and keyboard actions. The AcroForm can be pro-
grammed to respond to events (such as clicking on a button) to provide various levels of automation.

8.9.6.1 Print Ready PDF AcroForm files

An AcroForm is generally created for interactive use via an interactive program like Adobe Acrobat.
However, you may want to print these files. The Harlequin RIP is, of course, not interactive and is
only concerned with rendering the contents of the PDF file for printed output. This creates a number
of issues about exactly which of the essentially interactive features (such as, buttons and lists) should
be printed and how they should appear.
When the form is completed (that is, all the required text input fields are filled in) using Adobe Acro-
bat, the PDF file is re-saved by Acrobat to save the entered information. When this is done, Acrobat
creates additional content in the PDF file called Appearance Streams which render the filled-in text
input fields. It also marks the PDF file AcroForm as being complete (by setting the NeedAppear-
ances key in the AcroForm dictionary to false).

We refer to a file that has been completed in this way as being print-ready.
Prior to being made print ready, a PDF AcroForm may be incomplete to various degrees. For example,
the form could be blank in the sense that none of the fields contain any user-entered information.
Alternatively, a PDF AcroForm file could have been partially completed by a database program (for
example) which can provide values (content) for some or all of the text input fields but still not yet
completing the file. This completeness refers to two things:
• The fields’appearance streams may not be present in the PDF file, even though the fields may
have been given values (that is, the actual text to display in the input fields).
• The AcroForm will be marked as incomplete by virtue of the NeedAppearances key in the
AcroForm dictionary being set to true.
When the Harlequin RIP is given the job of printing a PDF AcroForm, it has to be sensitive to whether
or not the form has been completed and is print-ready.
The Harlequin RIP uses the following rule:
• If the NeedAppearances key in the AcroForm dictionary (in the PDF file) is false (or is
absent), the AcroForm will be printed such that all fields (and only those fields) with appear-
ance streams given will be displayed. Otherwise, if NeedAppearances is true, the Harlequin
RIP will reconstruct appearance streams for all the fields it finds.
What this means for the Harlequin RIP is that, unless the PDF file has been made complete and print-
ready, the final appearance of the various fields of the AcroForm could be displayed slightly differ-
ently than they might appear in the viewing application (for example, Acrobat).

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8.9.6.2 PDF AcroForms and the Harlequin RIP

When a PDF AcroForm has been completed and saved and is therefore print-ready, the Harlequin RIP
will print all AcroForm field types (text fields, choice list boxes, buttons, and signature fields). How-
ever, this is conditional upon the manner in which the fields have been defined in the AcroForm. For
example, some button fields may have been flagged (by Acrobat) as not to be printed. In this case the
Harlequin RIP will not print such items.
If the PDF AcroForm has not been saved as print-ready, the Harlequin RIP still supports the rendering
of text input fields (both single-line and multi-line).To do this, the RIP constructs (or reconstructs) the
fields’ appearance streams according to the field values and other information contained within the
AcroForm. It should be noted however that there is a degree of licence with respect to how a viewing
application may format the items (such as text and buttons), and so results between different viewing
applications may differ.
If the AcroForm is not print-ready, the Harlequin RIP also attempts to support other field types (such
as buttons and choice lists) but their final appearance may be different to the intended result (by a
greater or lesser extent). It is therefore highly recommended that all AcroForm files to be submitted to
the Harlequin RIP are saved as print-ready first.

8.9.6.3 Implementation of PDF 1.4 Annotations

Support for PDF Annotations, as defined in the PDF 1.4 specification, is implemented in the Harle-
quin RIP. Annotations are defined in section 8.4 of the specification, however, they also refer to Acro-
Form fields (which merge with annotation “widgets”). AcroForms are defined in section 8.6 of the
specification entitled Interactive Forms.
Support for AcroForms has already been implemented for PDF 1.3.
Most PDF Annotation types are supported as long as they meet the following conditions:
• their “Normal” appearance streams are present and correct in the PDF file and,
• they have their Print flag set.
Excluded annotations are:
• Link and Movie annotations, because they do not present a normal appearance stream in the
standard way
• Popup annotations, because they only apply to interactive applications (that is, popping up a
window)
• TrapNet (also known as, trap network) annotations.
Note: From Eclipse Release SP3 the RIP ignores (in non-strict mode only), PDF documents with
FreeText-type annotations which contain invalid PDF content.

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8.9.7 Related documentation

The following documents may help you understand AcroForms:
• Graphic technology‚Prepress digital data exchange‚Use of PDF for composite data‚Part 1:
Complete exchange (PDF/X-1), American National Standard CGATS.12/1-1999. This docu-
ment is available from NPES; see http://www.npes.org/ for purchasing details.
• Portable Document Format Reference Manual, Version 1.4. Adobe Inc.
• Harlequin ColorPro User’s Guide, Global Graphics Software.

8.9.8 PDF Options dialog box

Figure 8.7 shows the dialog box that appears when you click PDF Options in the Edit Page Setup dia-
log box. (This view shows some settings that are not at their default values.)
If you need to print PDF files with different options, for example with different passwords, you can
create a number of PDF Page Setup configurations.

Figure 8.7 PDF Options dialog box

The options are in sections for page selection, PDF type acceptance and passwords.

8.9.8.1 Page selection

Print all pages

Leave this check box selected to print all the pages in the PDF document. If you wish to print
only a subset of the pages from a PDF job, deselect this check box and enter the desired pages in
the Pages field.
Reselect this check box when you have finished printing the subset of pages. This enables the
printing of all pages from other PDF jobs. (You do not need to delete the entry in the Pages
field.)

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Page(s)

Enter numbers for the page or pages that you wish to print. You can enter individual page num-
bers or ranges, separating each number or range with a comma ( , ) character.
To enter a page range, enter the numbers of the first and last pages in the range, using a hyphen
to separate them: for example, 7-16. If you wish to print all pages from a particular page to the
end of the job, enter a range starting with that particular page and ending with a number that you
know to be higher than the last page in the PDF job: for example, 47-10000.
You can combine individual page numbers and ranges: for example, 1,2,7-16,23,24.
Pages may be repeated, for example [ 27, 27, 27] will print three copies of page 27.
Pages may be listed out of sequence, for example [154, 27, 170].
If not all pages in the document are printed the RIP will display a warning similar to the follow-
ing:
%%[Warning: Page range restricts printing to the following page(s):5, 27, 156-
163, 210, 210, 120, 196 from an availalable N pages.]

where N is the number of pages in the document.

If the range is such that no page in the job fits the following warning is displayed:
%%[ Warning: No pages found within range]%%

When printing a PDF job, the RIP displays a message for each page that is not printed because
of being unlisted in this field.
Page size bounding box

PDF version 1.3 offers several options for defining a rectangular area that is the area of interest
for a PDF page. A PDF file may set values for one or more of these areas, to be used as appro-
priate to the different ways that the PDF file can be used: viewing, office printing, imposition,
commercial printing, and so on.
The RIP looks for the values of the option chosen in this list and makes a page buffer of the size
set by that option. Only MediaBox must be present in a file, but the other areas inherit default
values from MediaBox.
When using Simple imposition the option chosen in this list is used to calculate the position of
trim marks and page furniture. Any bleed specified within Simple imposition will be filled with
objects outside that trim box, and the Page buffer will normally be larger than the chosen PDF
Page size bounding box. For more information see Configuring Simple imposition on page 265.
The options in this list are fully defined in the Portable Document Format Reference Manual,
Version 1.3. The default is MediaBox.

MediaBox The size of the media, which may be larger than the page imaged upon it.

BleedBox The size of the page whose edges must be reached by bleed objects, though
the trimmed size of the page may be smaller. There may be printer’s marks
and parts of the bleed objects outside this area.

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TrimBox The size of the page as intended for delivery to the reader, after trimming any
printer’s marks and excess bleed areas.

ArtBox The size of the rectangle to be used when placing a PDF graphic. (Typically,
this is the bounding box of the graphics plus a possible allowance for cap-
tions or blank margins.)

CropBox Rectangle specifying the default clipping region for the page when displayed
or printed. Acrobat Exchange sets this when cropping a page.

8.9.8.2 PDF Types

By default all PDF files will be accepted by the RIP, whether they conform to the PDF/X standards or
not.
The RIP will recognize PDF/X-1a, PDF/X-3, PDF/X-4, PDF/X-4p, PDF/X-5g and PDF/X-5pg files,
apply the necessary additional checks to validate that they comply with the full details of the standard,
and automatically change any configuration settings (such as overprinting) that do not match the
requirements for rendering them correctly.
Accept type(s)

This list allows you to define how strictly the PDF file must conform to various standards and
specifications for PDF jobs. You can use the On error list to define what the RIP should do if the
job does not meet the requested specification.
The options in this list are as follows:

Auto-detect types
This is the default option. The RIP makes the best possible attempt to print
the file according to the type labeling within the job. PDF/X files will be rec-
ognized automatically. If the job claims to be PDF/X-1 but does not meet that
standard, the RIP treats that as an error but may still be able to print the file.
With regard to the output of PDF/X files, the Harlequin RIP output will
match the Altona test suite and the GWG test suite output when auto-detect-
ing PDF/X files.
You can adjust the behavior of the RIP to match other mainstream applica-
tions by turning off the auto-detection of PDF/X and adjusting the RIP over-
print settings. See Color managed overprints for DCS on page 370.

Any PDF <= 1.7 as basic PDF

All PDF and PDF/X files will be accepted, with no special treatment of
PDF/X files. With this setting the RIP will print any job with a recognized
PDF version; that is, version 1.7 or less, including non-compliant jobs
labeled as PDF/X-1, but not actually complying with the standard. This is the
most relaxed setting. By using this option you are explicitly telling the RIP
not to override any overprint settings for a PDF/X file.

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Any PDF/X-1a
Only PDF/X-1a:2001 and PDF/X-1a:2003 files will be accepted. See below
for the action taken when other files are received.

Any PDF/X-3 or 1a
Accept any supported PDF/X variant, that is; PDF/X-1a:2001, PDF/X-
1a:2003, PDF/X-3:2002, and PDF/X-3:2003.

PDF/X-4, 3 or 1a
Accept any supported PDF/X-3 and X-1a variant, that is; PDF/X-1a:2001,
PDF/X-1a:2003, PDF/X-3:2002, and PDF/X-3:2003, and only PDF/X-4 (that
is, not PDF/X-4p).

PDF/X-4p, 4, 3 or 1a
Accept any supported PDF/X-3, X-1a and X-4 variant, that is; PDF/X-
1a:2001, PDF/X-1a:2003, PDF/X-3:2002, PDF/X-3:2003, PDF/X-4 and
PDF/X-4p.

PDF/X-5g, 5gp 4p, 4, 3 or 1a

Accept any supported PDF/X-3, X-1a and X-4 variant, that is; PDF/X-
1a:2001, PDF/X-1a:2003, PDF/X-3:2002, PDF/X-3:2003, PDF/X-4 and
PDF/X-4p. In addition, PDF/X-5g and X-5gp are accepted (not PDF/X-5n).
On error

The options in this list define the action you wish to occur if there is an error: for example, if the
PDF file is an unrecognized type or if it fails to meet the condition set in the Accept type(s) list.
The actions are as follows:

Report errors and continue

The errors reported are for the file type as explicitly set in the Accept type(s)
field or as detected when the setting is Auto-detect types. There may be
problems with the printed results if the job is newer than version 1.5 or badly
constructed.
Any PDF/X validation errors will be reported in the RIP’s system log, but the
file will still be processed and output.

Abort job
Report errors and reject (abort) the job. If a file being processed does not con-
form to the file type selected, the job will be aborted, and no output will be
produced.
Where a condition in the PDF file is encountered which does not conform to the appropriate PDF/X
specification, a warning message is displayed.

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8.9.8.3 Non-conforming rendering

To force the RIP to apply your own configuration (for example, overprint settings), to a PDF/X file;
select Any PDF <= 1.4 as basic PDF in the Accept type(s) menu. This option may also be used to
print a file that claims to be PDF/X compliant, but that does not correctly conform to the standard.

8.9.8.4 Password
Use password to print protected documents

Select this option when you wish to print a document that has been protected by a password, and
enter that password in the text field. Enter one password only.
For maximum security, remove the password after use. This removal is optional if your other
PDF jobs do not have password protection.
Note: The PDF specification allows for files to have Owner and User (reader) passwords. The
RIP checks the password that you enter against both of these passwords, and allows printing if
either password produces a match.
Passwords can be any length but only the first 32 characters are significant. If you have any way
to influence the choice of password used in jobs supplied to you, suggest that it uses only ASCII
characters: the letters A-z and A-Z, the numerals 0-9, and punctuation marks such as []{}
and ;. For example, there may be problems in entering the password if the password uses char-
acters that are not in the English alphabet. Avoid multiple white space characters, accented char-
acters, and characters that require a double-byte representation.
Note: The Honor PDF Color Management check box has been removed. The option is now called
Override color management in job and is part of the Input Document Controls within the Color
Setup Manager. See Color Setup on page 363 for more details.

To make fullest use of jobs containing device-independent color definitions, enable a TrapPro
option in the Configure RIP Extras dialog box.

8.9.9 Usage
The simplest way to use PDF files is using the File > Print File command. Select the Page Setup that
sets the correct PDF options from the Page Setup pop-up menu.
You can also supply PDF files to the RIP using spool folder inputs and all forms of network proto-
cols:AppleTalk (if supported), sockets, and so on. See the summary of managed inputs in Input man-
agement on page 202. If necessary, set the PDF options in the Page Setup corresponding to your
chosen managed input.

8.9.10 Limitations and special treatment

The RIP can always print PDF files that are designed to be printed. There are some minor differences
compared to the way in which the RIP handles PostScript language files. Also, the emphasis on
printed output and limited interactivity means that the support of some optional content in PDF files is
missing or modified, compared to the support in a dedicated PDF viewer.

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These features are:

Embedded fonts and font substitution

The Harlequin RIP supports the use of fonts embedded in PDF files as well as
fonts already available to the RIP for use with PostScript language jobs. The
embedded fonts can include TrueType (Type 42) fonts, CID (character identi-
fier) composite fonts, and Compact Font Format (CFF) fonts.
When fonts requested by a PDF job are missing, the RIP obeys the setting of
the Abort the job if any fonts are missing check box in the Page Setup Options
dialog box.) See Abort the job if any fonts are missing on page 145 for more
information.

Security settings
The creator of a PDF file can limit access to a PDF file, by requiring a pass-
word of the reader or forbidding changing, copying, or printing of the con-
tent. The only function relevant to the Harlequin RIP is the ability to forbid
printing. In general, the RIP does not print files where the creator has forbid-
den printing.

Document Information
The RIP Monitor window displays the PDF version number and general
information about the document, as supplied by the author or creating
application.

Most PDF Annotation types are supported but only if:

their ‚Normal Appearance streams are present and correct in the PDF file;
and they have their Print flag set.

Excluded annotations are:

Link and Movie annotations, because they do not present a normal appear-
ance stream in the standard way.
Popup annotations because they only apply to interactive applications (that is,
popping up a window).
TrapNet (also known as, trap network) annotations.

Extensions The RIP ignores all extended content (for example, multimedia content and
private data) that is labeled as such according to the PDF specification.

8.10 Printing XPS Documents

The RIP can print XML Paper Specification (XPS) files that conform to v1.0 of the XPS specification.
The following PrintTickets are supported if they are present within an XPS Document:

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• DocumentPageRanges
• PageBlendColorSpace
• PageMediaSize
• PageResolution
The way that the RIP handles the DocumentPageRanges, PageBlendColorSpace and PageMe-
diaSize PrintTicket keys depends on the settings of the XPS Options dialog. By default, all Print-
Ticket settings are ignored, but these three keys can be honoured if you choose to do so.
The only other PrintTicket setting which might get honoured is PageResolution. This will only
happen when the Override resolution in job option is not checked in the Page Setup dialog.
For further information see XPS Options on page 152.

8.11 Printing HD Photo images

From v8.0 the RIP supports direct ripping of v1.0 HD Photo images (previously WMPhoto).
The RIP can print HD Photo files using the File > Print File command, or from a spool folder. To view
*.wdp files (HD Photo images) in the file selection dialog, select All Files *.* in the Files of type field
and browse to the required file.
In compliance with v1.0 of the XPS specification, the RIP supports v1.0 HD Photo images and XPS
Documents containing v 1.0 HD Photo images are processed correctly.

8.12 Printing JPEG and JFIF files

The RIP can print JPEG and JFIF files using the File > Print File command, or from a spool folder.
The simplest way to print JPEG and JFIF files is using the File > Print File command.
You can also supply JPEG and JFIF files to the Harlequin RIP using spool folder inputs. See
Section 8.4 Using the Spool Folder input folder for details.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in a JPEG file. See
the Harlequin ColorPro User’s Guide for details.

8.12.1 Limitations
A JPEG file in Progressive format (a format option in Adobe Photoshop) cannot be printed by the
Harlequin RIP. Progressive format is often used for web downloads.

8.13 Printing GIF files

The Harlequin RIP can print GIF (Graphics Interchange Format) files using the File > Print File com-
mand, or from a spool folder.
The easiest way to print GIF files is using the File > Print File command.

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8.14 Printing TIFF/IT files

The Harlequin RIP supports the imaging of TIFF/IT Profile 1 files, generally referred to as
TIFF/IT-P1 files, a common method of transferring images for use in advertising.
This section summarizes the history of the file format and its uses before describing how to enable and
use imaging of these files in the RIP. The description of use starts with Installation and requirements
on page 238. See also Printing TIFF 6.0 files on page 240.

8.14.1 General
The Tag Image File Format (TIFF) is a well-established and popular file format for raster images.
There have been a number of published standards for the format of TIFF files, each successive stan-
dard generally being more complex than the last. This growing complexity has reflected the format
increasing in flexibility and providing for private extensions to the format. The result has been that
TIFF now represents a family of file formats and there are many programs that implement only the
more popular parts of these formats.
The RIP supports the imaging of TIFF/IT Profile 1 files, generally referred to as TIFF/IT-P1 files, a
common method of transferring images for use in advertising. The International Standards Organiza-
tion (ISO) Draft International Standard 12639 describes the TIFF/IT and TIFF/IT-P1 formats. Rele-
vant earlier standards are ANSI IT8.8 and the Aldus TIFF 6.0 standard (now maintained by Adobe).
The TIFF/IT-P1 format is being promoted by a body called Digital Distribution of Advertising for
Publications. It provides a clean interface for the proprietary color electronic prepress systems (CEPS)
formats such as the Scitex CT/LW format.
TIFF files can contain many different types of data but, in general, a single TIFF/IT-P1 file contains
only one kind of data from a total of six possibilities, each known by a two-letter abbreviation as listed
in Table 8.1.
The exception is the FP file, which includes layout information and the details of some combination of
files, each containing CT, HC, or LW data‚ it is convenient to call these other files subfiles of the FP
file. The data may appear in any order within the FP file but applications must image it in a set order.
There must be at least one subfile in an FP file, but no more than one of each type. For example, an FP
file cannot contain more than one CT file and it is typical for FP jobs to contain only a CT subfile and
an LW subfile.
The full list of data types with their typical uses is:

Table 8.1 TIFF/IT data type codes and usage

Data type Usage

FP Final Page (layout for CT, HC, and LW)

CT Contone, typically low resolution

LW Line Work

HC High resolution Contone

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Table 8.1 TIFF/IT data type codes and usage

Data type Usage

BL Binary Line work (not an FP subfile)

BP Binary Picture (not an FP subfile)

MP Monochrome Picture (not an FP subfile)

Some of these data types are partly compatible with the corresponding definitions in the TIFF 6.0
standard.
The largest difference with TIFF 6.0 is that TIFF/IT has only one image per file. The FP file format
can have up to four Image File Directories (IFDs), but only one image‚ the preview image for the FP
layout.
The major restrictions on TIFF/IT-P1 compared to TIFF/IT are that TIFF/IT-P1:
• Uses CYMK only (when appropriate).
• Is pixel interleaved (when appropriate).
• Has a single choice of image orientation.
• Has a single choice of dot range.
The Harlequin RIP images an FP file by rendering the referenced CT, HC, and LW subfiles, in that
strict order. Order is significant because the HC and LW subfile types can include transparent regions
able to reveal images rendered from previous subfiles.
When the RIP renders subfiles as part of an FP job, it uses extra information in the FP file to deter-
mine the overall size of the page, and position each subfile (which can be smaller) within that page.
The RIP can also image a single CT, HC, or LW file independently of an FP file. For each of these
files, the RIP locates the image origin at the PostScript language origin‚ relative to coordinates (0,0) at
the bottom left of the page. For example, this provides a limited proofing capability but be careful to
avoid printing a partial image when the subfiles are available before the FP file.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in a TIFF file. See
the Harlequin ColorPro User’s Guide for details.

8.14.2 Installation and requirements

You must enable the RIP to print TIFF/IT files, by entering a password or key number issued to you
by your supplier. Note that TIFF 6.0 input is always enabled.
1. Display the Configure RIP dialog box and click Extras.
2. In the Configure RIP Extras dialog box, select the item TIFF/IT in the list.
3. Click the Add button. In the Enable Feature dialog box that appears, enter the key number issued
to you for use with TIFF/IT, and then click OK to return to the Configure RIP Extras dialog box,
and OK again to return to the Configure RIP dialog box.

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If you attempt to print TIFF/IT-P1 files when the TIFF/IT option is not enabled, then depending on
the input method chosen, the TIFF 6.0 input option may attempt to process the parts of the file that it
recognizes as TIFF. This is unlikely to produce the desired result.
TIFF/IT files can result in very large page buffers and, potentially, cause painting to multiple partial
page buffers. We recommend that you allocate 128 MB of memory to the RIP if possible, with an
absolute minimum allocation of 64 MB RAM.
It is not possible to run a simple spool folder where any of the CT, HC, LW, or FP files may arrive
first: the result may be partial images. The spool folder can accept TIFF/IT-P1 files but only if the
order of arrival and file naming can be controlled. See page 210 for details of configuring the spool
folder for a specially controlled source of TIFF/IT-P1 files. If the order of arrival or naming is unsuit-
able or unpredictable, using Print File from the File menu is the simplest reliable method of ensuring
that the RIP images the intended file or combination of files.

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8.14.3 Usage
To print a TIFF/IT file, first choose a Page Setup with a large enough imaging area and an appropriate
resolution for the high resolution data types.
Next, choose the option Print File from the File menu. Figure 8.6, on page 219, shows the dialog box
that appears. Display the contents of the folder holding the file that you want to print.
Choose the file that you want to print. Typically, this is an FP file if you are imaging a finished page
but you can specify a subfile: for example, to proof it alone. There is no enforced file name convention
but the two letters of the data type usually appear in the name.
For the example of a CT file with name file, you may see any of:
file.ct
file.ict
file.CT
file.ICT

Select the file you want to print, and click Print.

If you are printing an FP file, the RIP displays a progress dial while reading each of the files refer-
enced by the FP file and the RIP Monitorwindow shows text similar to the following example:
% tiffdev: reading "H:\Suites\Tiffit\66.fp" as a
TIFF/IT-P1 FP (Final Page) standalone file
Starting Job On 24 April 1998 08:51:42
Using Color Setup "(None)"
Using default device calibration
% tiffdev: reading "H:\Suites\Tiffit\66.ct" as a
TIFF/IT-P1 CT (low-resolution contone) subfile of an FP job
% tiffdev: reading "H:\Suites\Tiffit\66.lw" as a
TIFF/IT-P1 LW (linework) subfile of an FP job
Interpretation time: 40 seconds
. . .

If you are printing a subfile (data types CT, HC, or LW), you see less text after clicking Print:
% tiffdev: reading "H:\Suites\Tiffit\66.ct" as a
TIFF/IT-P1 CT (low-resolution contone) standalone file
Starting Job On 24 April 1998 08:51:42
Using Color Setup "(None)"
Using default device calibration
Interpretation time: 37 seconds
. . .

If you attempt to print TIFF/IT-P1 files when the TIFF/IT option is not enabled, then depending on
the input method chosen, the TIFF 6.0 input option may attempt to process the parts of the file that it

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recognizes as TIFF. This is unlikely to produce the desired result. See also Printing TIFF 6.0 files on
page 240. In the following example a TIFF/IT-P1 file is processed as a TIFF 6.0 file.
% tiffdev: reading "H:\Suites\Tiffit\test.tif" as a
TIFF 6.0 baseline (with extensions) standalone file
Starting Job On 24 April 1998 08:51:42
Using Color Setup "(None)"
Using default device calibration
% tiffdev: TIFF6: compression is None
% tiffdev: bits per sample = 1
% tiffdev: samples per pixel (planes) = 1 (bilevel or grayscale)
Interpretation time: 0 seconds
. . .

However, if the TIFF 6.0 input option does not recognize any part of the file as TIFF, you will see the
message:
open: the TIFF 6.0 or TIFF/IT file
is either corrupt, unsupported, of an unrecognised
type or the appropriate file type is not enabled
in Configure RIP / Extras

The RIP displays the same message if you attempt to image TIFF/IT data types that it does not support
or to image files that do not conform to the TIFF/IT-P1 profile.

8.15 Printing TIFF 6.0 files

The RIP accepts TIFF 6.0 baseline files, with the exceptions and extensions listed under Limitations
and extensions on page 241.
This support extends to all TIFF files produced by the Harlequin RIP TIFF output plugin.
Note: From v 5.5r1 the Harlequin RIP can handle RGB Composite (Band) or CMYK Composite
(Band) Style but only with the tiffexec operator. tiffdev still does not support these styles.

Note: The Eclipse Release and later RIPs support Palette color (Index color) TIFF files.

8.15.1 Procedures
TIFF 6.0 input is always enabled, but operates only with Spool Folder input and the Print File com-
mand. (It is also possible to use TIFF 6.0 input from PostScript language instructions.)
Copy the TIFF file to the correct folder for Spool Folder input, or select it in the dialog box shown
when you choose Print File. If you use Print File, type the file name or make sure that the RIP is dis-
playing all files in the list of files. TIFF files often have the file name extension .TIF but this is not
required.

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This extract from the text displayed in the RIP Monitorwindow shows the messages produced when
successfully processing a TIFF 6.0 file.
Setup loaded: "tiff"
Ripping file %H%/Suites/PEOPLE/68.tif as TIFF.
% tiffdev: reading "H:\Suites\PEOPLE\68.tif" as a
TIFF 6.0 baseline (with extensions) standalone file
Starting Job On Thursday, January 29, 1998 08:48:48
Using Color Setup "(None)"
Using default device calibration
% tiffdev: TIFF6: compression is None
% tiffdev: bits per sample = 8
% tiffdev: samples per pixel (planes) = 4 (CMYK)
Interpretation time: 32 seconds
. . .

The remaining text (not shown here) is related to rendering and output, not to the input.

8.15.2 Limitations and extensions

The Harlequin RIP accepts TIFF 6.0 baseline files, with the following differences.
Not supported:
• Multiple IFDs (images) per file (the RIP images only the first).
• PhotometricInterpretation = 4 (transparency mask).
• PlanarConfiguration = 2 (tiffdev). This option is offered by the Harlequin RIP TIFF output
plugin, as composite RGB or CMYK output with band-interleaving in the Harlequin RIP
version 5.0 and later.
Note: From Harlequin RIP version 5.5r1 the tiffexec operator supports PlanarConfiguration
= 2.
Note: From Harlequin RIP Eclipse Release SP4, 16-bit images are supported.
Note: From Harlequin RIP Genesis Release v7.1 CIELab colorspace files with a given or
default whitepoint (D50) are supported.
Ignored:
• GrayResponseCurve.
• GrayResponseUnit.
Restrictions:
• 1, 2, 4, 8, or 16 bits per plane.
Additionally, the RIP supports the following full TIFF 6.0 extensions to TIFF 6.0 baseline:
• CCITT T.4 compression (group 3 2-D) (1 bit per pixel or bpp).
• CCITT T.6 compression (group 4) (1 bpp).
• LZW compression, including Differencing Predictor.
• CMYK (including DotRange != 0, 255).

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• JPEG compression.
Note: If you are attempting to RIP images which you have prepared using Photoshop and saved using
ZIP or JPEG compression, the RIP may generate a rangecheck error.
This occurs because ZIP compression is not a recognized TIFF compression format, and as such is not
documented in the TIFF 6.0 specification. The JPEG compression that Photoshop uses is a new ver-
sion of JPEG data in TIFF files which is also not part of the TIFF 6.0 specification.

8.16 Printing page buffer files

The RIP can print page buffer files produced by another similar installation of the RIP. This is a con-
venient way of setting up a simple workflow able to transfer pages from one RIP installation to
another.
One example of how this ability can be useful is where you have several RIPs with a single, fast, final
output device, and perhaps various slower proofing printers. It is easy for a single RIP working alone
to keep a slow proofing printer supplied with jobs. On the other hand, it may require many of the
Harlequin RIPs interpreting jobs and producing page buffers to keep your fast output device busy. One
solution is have the interpreting RIPs all pass their final output page buffers to a single machine run-
ning a RIP, whose only function is to accept page buffers and pass them to the fast output device as
quickly as possible.
Note: The separate FlatOut User Guide describes this situation and other, more complex, possibilities
in greater detail.
The method described here is designed for the rerouting of complete and valid page buffers, using
Print File or spool folder inputs.

8.16.1 Requirements and preparation

There are some requirements on the installations involved and you must prepare the receiving and
supplying Harlequin RIP installations before use.
The requirements are:
• The RIP installation printing (receiving) the page buffers must have the same installed version
of the same output plugin as used to produce the page buffers.
• This sending and receiving RIP installations must be running in Multiple or Multiple
(Parallel) modes.

• The sending RIP installations must be version 4.5 or later.

• All the RIP installations must be running on the same platform: for example, Mac OS X.
• It must be acceptable to have the original page buffers destroyed after output.
The preparation of the receiving RIP installation is to enable use of the PGB hot folder page fea-
ture and create a Page Setup. Optionally, you can use the Page Setup with a spool folder input.
1. Enable the page feature, by copying the PGB hot folder file from the
SW/Page Features/Examples folder to the SW/Page Features folder.

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2. Create an appropriate Page Setup and choose the PGB hot folder entry in the Enable Feature
pop-up menu in the Edit Page Setup dialog box.
3. Optionally, if you wish to use a spool folder as input, create a new spool folder input and, in the
Input Channel Edit dialog box, choose the Page Setup that you created in step 2. Configure and
name the spool folder, as described in Configuring a Spool Folder input source on page 209,
then make sure that it is enabled and that the inputs are started.
The preparation of the supplying RIP installation is simpler. Create Page Setups that use the output
device plugin with resolution and other settings that match those you have chosen in the receiving
installation. You do not need to select the PGB hot folder page feature.

8.16.2 Printing procedure

Depending on how you prepared the system, there are two possible methods. You can use both meth-
ods together.
• Supply page buffer files to a spool folder if you have set up one as part of the preparation
described in Requirements and preparation on page 242.
• Choose File > Print File, navigate to the relevant folder, select the wanted files and click Print.
(Page buffer files have the extension .PGB so be sure that you are displaying all files in the
folder.)
Warning: For both methods, the receiving RIP effectively deletes the supplied page buffer file, at the
same time as it creates a new page buffer in its own PageBuffer folder and makes it visible in the
Output Controller / Monitor. Even if you use a spool folder input and leave Delete on completion unse-
lected, the completed files copied into the Complete Folder are no longer valid page buffers.
When printing a page buffer file, the RIP displays a message in the RIP Monitor, similar to this exam-
ple, where text in italic varies according to the file and plugin:
Introducing new pagebuffer: %C%/my_folder/00000003.PGB
Pagebuffer created for device: my_device
Page name: 2. fontlist (K)
Total time: 1 seconds
Job Completed: 00000003.PGB

The receiving installation of the RIP does not check whether each page buffer was created for an out-
put plugin that the receiving installation has installed. Any page buffers created by a plugin that is not
installed either fail to appear in the Output Controller/Monitor, or trigger the error:
could not access a resource for a plugin device driver

8.17 Entering PostScript language code by hand

If you would like to type code directly into the RIP and see the results interpreted, you can use the
Executive, which allows you to type PostScript language code, and have it interpreted immediately by
the RIP.
If the input system is running, you must stop it using the File > Start Inputs menu option. When you
choose File > Executive, the RIP asks you to select a Page Setup for use with the Executive.

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Note: If you do not choose a Page Setup, the RIP uses the one that you chose last time you used the
Executive. If you have not used the Executive in this RIP session, the first Page Setup in the pop-up
menu is used. To change the order of this listing, see Reordering Page Setups on page 81.
The RIP then displays a window where you can enter PostScript language code by typing or cutting
and pasting. Any PostScript language code that generates output when executed produces page buffers
exactly like other jobs processed using the same Page Setup. It is wise to hold these page buffers for
inspection in the Output Controller, where you can view or manipulate the page buffers, before send-
ing any suitable pages for output. The Output Controller is available in either of the multiple page
buffer modes.
Note: If you intend to keep page buffers produced from the Executive for any significant time, set a
job name that helps you identify the page buffers.
To generate an interrupt, choose Interrupt from the Executive menu.
To quit the Executive window, type quit or Command-W at the prompt, or choose Stop Executive
from the Executive menu.
Whenever you quit the Executive, the RIP Monitorwindow displays the following, harmless message:
Job Not Completed: jobname

Remember to restart inputs if you stopped them before using the Executive.

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Media Management

This chapter describes how the RIP provides ways of monitoring and managing the use of media in a
range of output devices. It also describes how you can configure these ways to suit your operation.

9.1 Why manage your media?

In a typical printing environment, you might have access to a number of different imagesetters, each
of which takes one of several feed cassettes, or drum recorders, each of which holds a roll of continu-
ous media. You may use several feed cassettes on one imagesetter, or share one between several imag-
esetters. You may even do both.
Figure 9.1 on page 246 shows a possible printing environment. This environment can produce several
operational needs.
Suppose that you want to produce output from the RIP on a particular output device, using one of the
cassettes available to you. Which cassette should you use? You do not want to use one that is low on
media, in case it runs out before the job is printed.
At the same time, you want to make the most economical use of media. If a cassette contains just the
right amount of the correct media for a job, it makes sense to use it instead of another one, so that
media is not wasted.
The output (take-up) cassette is also worth monitoring. You may want to process all of a job together
and need to know how much more media the output cassette can accept. Equally, if the output goes to
an online processor, you may need to know that there is enough film output for the processor to handle
satisfactorily.
In addition, there may be times when you want to cut the media in a particular cassette, or feed extra
media. If you are working at your computer, and the output device is not located nearby, doing this by
hand might be inconvenient.

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Online processor Take-up bin

Multiple feed Imagesetters Take-up cassette

cassettes for film
and paper

Figure 9.1 Using multiple output devices and cassettes

9.1.1 Overview of the Harlequin RIP capabilities

The Harlequin RIP media management can meet all these needs, subject to operating with suitable
output devices and getting a minimal amount of information from the operator. These requirements
are explained in later parts of this section.
The RIP can manage up to sixteen feed cassettes at once, using as many suitable output devices as are
connected.
For each cassette (or roll-fed device) it can: monitor the media remaining, display the amount of
media for the particular cassette in use, and issue automatic warnings when this amount is low.
The RIP can also instruct the output device to perform cut and feed operations, both automatically (at
pre-specified intervals and events) and interactively, on request (when you choose menu options). The
physical device itself must support software control of these functions.
You can still perform manual operations while using the RIP media management. The purpose of
media management is to reduce the need for routine manual operation and record keeping.
A media saving feature is also available. For more information see Advanced Media Saving on page
119.

9.1.2 Suitable devices

You will gain some benefit from using media management with most types of output device. Media
management performs most efficiently when the following assumptions are satisfied:
• The physical output devices are roll fed from cassettes. The RIP media management is not
suited to, or necessary for, sheet-fed devices.

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• When you change a feed cassette, you also mount an empty output cassette‚ by changing or
emptying the full one.
• There is only one feed cassette mounted at a time. This is the usual case.
There is at least one imagesetter which can have several input cassettes mounted at one time.
• Each physical device is represented by one Harlequin RIP output device. This is the usual case.
The possibility of having multiple output devices arises because there are some physical devices
which can provide multiple types of output. One example provides a dual technology (dye sub-
limation and thermal transfer) engine in one unit. These technologies have different characteris-
tics and require separate strategies regarding calibration and color separation‚ providing each
technology with its own output device type is a likely solution.

9.1.3 What you need to do

Media management reduces and simplifies your routine work but you need to perform a small amount
of setting up for each cassette or media source before starting to use media management. This setting
up includes:
• Specifying when automatic cuts or feeds and warnings should occur.
You do this in the Media Manager dialog box.
• Naming cassettes and specifying their initial contents.
You do this in the Cassette Manager dialog box.
After this setting up, all you have to do is tell the RIP when you change something that affects its
records of media use:
• Which cassette is in use.
You do this in the Edit Page Setup dialog box, using the Cassette menu.
• How much media you have put in a cassette when you refill it, and when you perform a manual
operation that affects the amount of media.
You do this in the Cassette Manager dialog box.
Note: Any management system that monitors the amount of media remaining relies upon knowing the
amount that was available when the system was set up, since there is usually no automatic means of
detecting this. It is therefore essential that you inform the RIP how much media is available to each
cassette whenever it changes (for instance, when you refill one).
You must also ensure that the cassette being used to process a job is the same one the RIP thinks is
being used. You can check this by seeing which cassette is chosen in the selected Page Setup.

9.2 Advancing and cutting media interactively

You can use the interactive options described in this section immediately, without performing any
preparation.
This can be useful when you are starting to use a new system. Once you have established the effects of
the options and decided which of these you want to use regularly, you can set up automatic procedures

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to reduce your need for the interactive options: see Advancing and cutting media automatically on
page 249. The interactive options (and any manual controls on the output device) remain useful for
unusual jobs or special tests.

9.2.1 Device menu

Each interactive option is a Harlequin RIP menu command which affects the selected device and the
cassette mounted in that device.
The commands are in a menu which appears between the Edit menu and the Color menu. The menu
changes its name to indicate the currently selected output device.
Note: For simplicity, this manual refers to this menu as the Device menu. The commands available in
this menu can vary to suit the currently selected output device.
The first option in the Device menu is Select Device. Choose this option to see the Select Output Device
dialog box, where you can see a list of available output devices. Select a device and click Select.
The possible names in the Select Output Device dialog box‚ and thus of the Device menu‚ are exactly
the same as the ones you can choose from the Output device list in the Edit Page Setup dialog box. For
example, the name might be UltreP or ExxtraSetter if the RIP is driving only one imagesetter, or only
one of each type of imagesetter. If you are driving two imagesetters of the same type, there might be
names such as Ultre_1 and Ultre_2: you can choose a name for each device when you set it up in the
Device Manager.

9.2.2 Using the Device menu

For most output devices, the Device menu contains commands to advance (feed) the media and to cut
it.
On some output device types, there may be extra commands or some of the default commands may be
grayed out. (Any output device that you choose from the Device Manager can have its own version of
the Device menu: in technical terms, the menu is specified in the relevant output plugin at the time of
software manufacture.)
For example, if a device takes a long time to load film, there could be a pre-load command allowing
you to load film during the processing of a page to avoid delay once the page is ready to image.
• To advance the media in the current device, choose one of the Advance menu options, when
available.
There are usually three options to advance the media, allowing you to feed 1, 3, or 6 inches of
media through the imagesetter. (The relevant output plugin can be written to offer any number
of similar options, specifying other lengths or units.)

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• To cut the media in the current device, choose one of the Cut menu options. There are com-
mands to cut with or without feeding media.
If you choose Cut media with feed, or type Command-K, the RIP will feed a predetermined
length of media through the imagesetter, and then cut. You can specify the amount of media to
feed through, in the Media Manager. See Automatic use on page 249, for details of how to set
this length.
If you choose Cut media no feed, or type Command-L, the RIP will cut the film without feeding
any extra media.
Note: Some output devices, for instance the PelBox, always perform a feed before a cut. The
RIP cannot override this feed, but it can keep a record of how much media is fed. If you use
such a device, read its manual to find out this feed length, and enter the value in the box labeled
Built in cut length in the Media Manager dialog box. See Hardware feeds on page 258.

9.3 Advancing and cutting media automatically

The automatic options described in this section reduce the number of times you need to use the RIP
menu commands or front panel buttons on the physical output device. You must do some setting up to
make sure that the automatic options do what you want.
The manual options remain useful for use with unusual jobs or special tests: see Advancing and cut-
ting media interactively on page 248.

9.3.1 Automatic use

The RIP can advance the media in a cassette or drum recorder automatically. With many imagesetters,
the RIP can also cut media, although this depends on the particular device you are using.
Figure 9.1 shows two possible schemes for advancing and cutting media automatically. The RIP sup-
ports these schemes and many others.

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Flow of exposed media

P2 P1 P3 P2 P1 P4 P3 P2 P1

Job 3 Job 2 Job 1

Advance and cut only between jobs

P2 P1 P3 P2 P1 P4 P3 P2 P1

Advance every page and cut between every 4 pages

Figure 9.2 Some options for handling output media automatically

Using the Media Manager, you can make the RIP perform media cuts and feeds automatically, choos-
ing when and how much media to feed through and when to cut.
You can also disable or re-enable all media management facilities as often as you wish. (Harlequin
RIP output plugins designed for sheet-fed devices disable media management on those devices auto-
matically.) You will probably want to disable media management when you share feed cassettes
between different devices; this will prevent the RIP issuing meaningless warnings about low media
levels.
Display the Media Manager dialog box by choosing Media Manager from the Output menu.

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Figure 9.3 shows the RIP Media Manager dialog box. This dialog box allows you to configure and
control media.

Figure 9.3 Media Manager dialog box

The RIP displays the name of the current device at the top of the dialog box, in the Device pop-up
menu. All selections that you make in this dialog box apply to the displayed device (and to all cas-
settes that you use on this device). These selections are not confirmed until you click OK.
You can select another device using the Device list, then set up different options for managing media in
the new device.
Click OK to confirm your media management choices for the device(s) that you have edited. Click
Cancel to abandon all changes made to media management (on any device) in the current use of the
Media Manager.

9.3.2 Enabling and disabling media management

In the Media Manager dialog box, there is a check box labeled Disable media management.
• Select this box to turn off the automatic media management facilities for the output device. If
you turn off media management, there will be no current cassette selected in the Cassette Man-
ager (See Setting up the monitoring system on page 254).
• Leave the box clear to enable media management.
Note: After enabling or re-enabling media management, you must verify the contents of each cassette
used on that output device. For details, see Setting up the monitoring system on page 254.

9.3.3 Cutting media

With media management enabled, you can choose when the RIP will make automatic cuts.
Note: Any cut operation disables output, unless the output device is using an online processor (devel-
oper). Typically, you will need to fit a new take-up cassette before re-enabling the RIP outputs: the
RIP displays a message to remind you of this.

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You can choose from three different policies, available on the left of the Media Manager, in the section
labeled Cut. The three choices are:
• Cut the media after each job.
• Cut the media after a certain number of pages.
• Cut the media when (or slightly before) a certain length of it has been exposed.
To use any of these options, select the check box labeled appropriately and, if there is a text box along-
side the label, type a suitable value in that box.
If you choose a combination of conditions for a cut, the RIP will cut whenever any one of those condi-
tions becomes true, and will then reset all counts of length or pages.
To cut the media:

After every job printed

select the check box labeled after job. The RIP will automatically cut the
media after every job output on the current device.

After a number of pages

select the check box labeled after pages and enter the number (which must be
a whole number) in the adjacent text box. The RIP will automatically cut the
media after that number of pages has been printed.

At a certain length
select the before length check box and specify a length in the box. This length
is the maximum that will be exposed. For example, you might choose a
length that is convenient to process.
You can select the units you wish to use for length from the Select units pop-
up menu in the bottom left of the Media Manager. The options available are
feet, inches, meters, and centimeters.
Note: The RIP never cuts the media while part of the way through printing a page. Where a cut at the
exact length would fall within a page, the RIP performs the cut before outputting the page. This occurs
even if, for example, you specify a length of 12 inches and a page is 18 inches long.

9.3.4 Feeding media

The options on the right of the Media Manager let you specify when the RIP will feed media automat-
ically. There are three feed policies under Paper feed:
• Feed the media around each page.
• Feed the media between jobs.
• Feed the media before every cut.
See below for a fuller description of these policies and some of the possible reasons for wanting extra
media feeds in each of the specified situations. (The remaining entries in this section of the dialog box
describe characteristics of the output device.)

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To use any of these options, type the feed length that you want in the text box alongside the appropri-
ate label. Type 0 (zero) into the text box if you do not want an automatic feed.
You can choose which units to use for the lengths from the Select units pop-up menu above the OK but-
ton; the available units are feet, inches, meters, centimeters, picas, and points.
Some reasons, and the details, for each feed policy are as follows:

Around each page

Feed through some media around every page that is produced, perhaps so that
you can perform cuts by hand more easily. Half of this amount will be fed
before the page and half after it.

Between jobs Feed through some media after every job that has been processed, perhaps to
make it easier to see where one job ends and the next starts.
Note: This feed after a job will not occur if there is a cut after the last page of
the job, caused by either of the cut after pages or cut after job settings.

Before cut Feed through some media before making any cut, perhaps to stop film near a
cut being exposed to external light.
The RIP feeds the amount of media you specify here before performing any
of the automatic cuts described on page 251, or a cut that you have requested
by choosing Cut media with feed from the Device menu. See also Hardware
feeds on page 258.

9.3.5 Interaction with other Harlequin RIP options

The description just given of automatic cutting and feeding is accurate but there is also a degree of
interaction with the RIP options to use media as economically as possible. These options either reori-
ent pages or pack them together so that, for example, more than one page is imaged side by side in the
length of media that would otherwise be used by one page.
The results are that the page length can vary or that the RIP treats several pages as one unit (and that
this unit is treated as a page by the media management software). This may be unexpected but it
should not cause any problems.
The relevant options occur in the Optimization and Enable Feature pop-up menus of the Edit Page
Setup dialog box. See Advanced Media Saving on page 119 and Features on page 140 for a fuller
description of these options.

9.4 Monitoring media

When you start monitoring media, you must tell the RIP how much media is in each cassette. Thereaf-
ter, the RIP maintains a record of how much media remains, and will warn you when any cassette is
running low.

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9.4.1 Setting up the monitoring system

The RIP monitors the feed cassette providing the media, rather than the output device used. This is
because any one output device may take several different feed cassettes. For instance, you may have
an imagesetter that can produce output on either film or paper, and you may keep two cassettes: one
loaded with film and one loaded with paper.
Note: If you have an output device that uses a roll feed, you can monitor its use of media by treating it
as a device with a permanently mounted cassette.
Before processing any jobs, you need to tell the RIP about the cassettes you are using and give details
of the media currently in each cassette. You do this from the Cassette Manager dialog box. Click the
Cassette Manager button in the Edit Page Setup dialog box or choose Output > Cassette Manager to open
the Cassette Manager dialog box, as shown in Figure 9.4.

9.4.2 Cassette Manager and Edit Cassette dialog box

The main window of the Cassette Manager lists each available cassette, so that you can see and com-
pare the information relating to different cassettes.
A new installation of the Harlequin RIP lists one cassette in the Cassette Manager. You can add more
cassettes at any time, and subsequently edit their information or delete their entries using the Edit,
New, Copy, and Delete buttons.

There is a related Edit Cassette dialog box in which you can alter the information for a particular cas-
sette.

Figure 9.4 Cassette Manager dialog box

The information in the Cassette Manager also appears in the Edit Cassette dialog box: each category is
listed below.
There are two buttons which appear in the Cassette Manager only. Use these buttons to tell the RIP
when you have performed a manual operation. (On some output devices, a manual operation may be
the only option or it may be quicker than an operation driven by the RIP.)

Manual Cut Done

Click this button when you have cut the media in the current device.

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Manual Feed Done

Click this button when you have performed a manual feed of media in the
current device.
Before using one of these buttons, you must set up the amount of media used in the corresponding
manual operation. These quantities are labeled Manual feed length and Manual cut length in the Media
Manager. See Hardware feeds on page 258.
To set up or change the details for a cassette, select the relevant cassette in the Cassette Manager win-
dow and click the Edit button. Figure 9.5 shows the Edit Cassette dialog box that appears, containing
the details for the selected cassette.

Figure 9.5 Edit Cassette dialog box

The RIP displays the following values in both the Edit Cassette dialog box and the Cassette Manager.
You can only change these values from within the Edit Cassette dialog box.
The RIP displays the information about a cassette in columns in the Cassette Manager and in corre-
sponding text boxes in the Edit Cassette dialog box.

Cassette name An identifying name. This name will be displayed on the Cassette pop-up
menu in the Edit Page Setup dialog box. The name is purely for your own
convenience; you can change it to any name you like. Choose a name that
allows you to identify the cassette and that suits your situation and your pro-
cedures. You might find it helpful to attach a label with this name (and the
type of media) to the actual cassette.
For example, if you use two cassettes only on an Ultre imagesetter and only
for specific types of media then you might name these cassettes: UltreFilm1
and UltrePaper2. An alternative solution in the same situation might be
Ultre1 and Ultre2, with a separate record of the type of media. If you use the
same cassette to hold paper and use it for proofs on different output devices
then you might call it PaperProof.
Note: The symbol > in front of the cassette name indicates the cassette in use
on the current or most recently used output device.

Media type The type of media held in the selected cassette. It lets you tell quickly
whether, for instance, the cassette holds paper or film. The field Cassette
Name is purely for your own convenience; you can change it to anything you
like.

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The entry No Media means that no one has yet specified a type of media for
the cassette.

Media width The width of the media in the selected cassette or drum recorder. The RIP
uses this value when calculating in which orientation to print a page if you
are using the Media Saving option in the Optimization menu. (See Printing
effects on page 129.)
You must set this value to the actual width of media that can be printed on
(the imageable width) because some output devices cannot image right up to
the edge of the media. If you enter the total width of the media and the output
device has a smaller imageable width then some large pages are likely to
extend into the non-imageable area and those output pages will be clipped or
visually corrupted when the RIP attempts to output them. The illustration to
the left shows an example of clipping where a page (the rectangle) is wider
Imageable than the imageable width (arrowed): only the area shown shaded is imaged
width
successfully.

Remaining length
The amount of media left inside the cassette. The RIP updates this value
whenever it advances or prints media. (The RIP also tests the updated value
against your choice of threshold values so that it can warn you when the
media is running low.)
You must type in the length that you have loaded whenever you refill a cas-
sette with media.

Number A unique number that the RIP uses to keep track of the cassette. You can edit
this number only when creating an entry for a new cassette; the RIP suggests
an unused number, but you can use any other unused number.

Units The units used in the measurement fields in this dialog box. Use this pop-up
menu to choose any convenient unit. The RIP converts any figures already
displayed to the units you choose.)
Note: The unit of measurement that you choose here is also used to display media usage in the Media
Monitor window: see Monitoring media on page 254).

9.4.2.1 Closing the dialog boxes

You must close the Cassette Manager before you can use any tool bar buttons or menu options in the
Harlequin RIP.
Click OK to confirm all the changes you have made in this use of the Edit Cassette dialog box. This
confirmation is provisional: you must also click OK in the Cassette Manager to finally save your
changes. The OK button saves the changes you have made and closes the Cassette Manager. If you
opened the Cassette Manager from the Edit Page Setup dialog box, you can also save the changes by
clicking the Select button. In addition to saving the changes, the Select button displays the selected cas-
sette in the Edit Page Setup dialog box. Click Cancel to discard all changes.

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Note: If you open the Cassette Manager from the Edit Page Setup dialog box, changes that you make
in the Cassette Manager are independent of the Edit Page Setup dialog box. For example, if you create
a cassette, and close the Edit Cassette and Cassette Manager dialog boxes with OK or Select, the new
style will remain even if you cancel the Edit Page Setup dialog box.

9.4.3 Using media management

When using media management, you must select both the feed cassette to be used and the output
device, in the Edit Page Setup dialog box (as described in Cassette management on page 142). When
printing a job, the RIP uses the cassette selected in the saved Page Setup associated with the input
source providing the job.
When you perform a manual operation on the output device, use the Manual Cut Done or Manual Feed
Done buttons in the Cassette Manager dialog box.

When you refill a cassette, you must use the Edit Cassette dialog box to inform the RIP how much
media is now in the cassette.

9.4.4 Using media management with multiple setups

Sometimes you will need to process a job on a device that had previously used one cassette and now
must use another. This is quite likely to happen when using a number of different Page Setups.
When a change of cassette is required, the RIP will warn you that the correct cassette is not in the cur-
rent device, and will halt printing until you have loaded it. This ensures that you will never waste time
or media by printing jobs on the wrong cassette.
If you are running the RIP in a Multiple mode, the warning will appear in the progress box of the Out-
put Controller. If you are running in a Single mode, it will appear in a separate progress box on the
screen.
Note: The RIP cannot tell which cassette is loaded on the output device, so it will issue a warning
even if you have changed to the correct cassette after the previous job was produced.
Always inform the RIP when you physically change cassettes, by selecting a Page Setup that uses the
new cassette.

9.4.5 Low media warnings

The RIP can warn you when the amount of media in the current feed cassette is low and before the
media actually runs out. You can specify thresholds for up to three warnings using the Media Man-
ager.
In the section labeled Length warnings, type values into the First, Second, and Final text boxes. The RIP
sorts the three values so that the length for the first warning is greater than for the second, which itself
is made greater than the final threshold. All three warnings appear in the Output Controller: they are
Media low, Media very low, and MEDIA VERY LOW.
Choose the units used for these lengths from the Select units pop-up menu immediately below the
Length warnings text boxes; the options available are feet, inches, meters, or centimeters.

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Note: Once you have refilled a cassette, you must update its details in the Cassette Manager if you
want media management to continue to work correctly.

9.4.6 Hardware feeds

Some imagesetters automatically feed the media a certain amount before printing any page or before
performing a cut; and they also may have front panel buttons that trigger these or similar actions. The
RIP cannot override these hardware feeds but it can record them and calculate their effects on the
amount of media left in any input cassette.
If you have an imagesetter that issues hardware feeds, and you use media management, you must tell
the RIP how much media is fed through when a hardware feed is performed, so that it can take this
into account.
This involves two stages: set up and routine use.

Perform the set up by selecting the output device in the Device pop-up menu in the Media Man-
ager. The relevant options are on the right of the Media Manager:Built in feed
length
Type into this text box the amount of media that the output device feeds when
it receives a software feed request.
The Media Manager will add this amount to its record of the amount of media
consumed for every job processed, and deduct it from the details of the rele-
vant cassette. This is used in addition to the around each page feed value.

Built in cut length

Type into this text box the amount of media that the output device feeds
before a cut triggered by software.
Whenever a cut is issued, the RIP will subtract this amount from its record of
the remaining length of media for the current cassette. This is used in addition
to the before cut feed value.

Manual feed length

Type into this text box the amount of media that the output device feeds when
a front panel button triggers a media feed.
The RIP adds this amount to its record of the amount of media consumed, and
deducts it from the details of the relevant feed cassette.

Manual cut length

Type into this text box the amount of media that the current output device
feeds before a cut triggered by a front panel button.
Whenever you inform the RIP that you have performed a cut, the RIP sub-
tracts this amount from its record of the remaining length of media in the
current cassette.
For these options, you can choose units from the Select units pop-up menu at the bottom of the dialog
box. The units available are feet, inches, meters, centimeters, picas, or points.

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Note: The feed lengths for built-in and manual operation may be the same. If they are the same, enter
the same value in the two fields.
In routine use, there are two cases:
• The RIP takes account of the values you set up when calculating the effects of any automatic
operations and ones that you request from the Device menu. You do not need to do anything
extra.
• If you perform a manual operation by using controls on the output device, you must inform the
RIP. Display the Cassette Manager and click the button Manual Cut Done or Manual Feed Done
whenever you perform the corresponding manual operation. See Figure 9.4, on page 254, and
the following description of the buttons.

9.4.7 Online developers or processors

If you are using an online developer with a particular output device, you must inform the RIP so that it
can handle that device correctly.
There is an obvious benefit to using an online developer because media that emerges from the output
device is fed directly to the developer, which produces the image automatically. However, online
developers need to be fed a certain amount of media before they can develop any images; for example,
a particular online developer may require a minimum of two feet of media. If the RIP or an operator
performs a cut before the required amount of media has been exposed, then any images on the exposed
media will not be developed automatically, and there may be a media jam in the developer. It is easy to
avoid this problem.
To set up the RIP to drive an output device with an online developer, first make that device current and
display the Media Manager. Make these two settings:

Using online developer

Select this box to show that you are using an online developer.

Minimum length before cut

Enter in this text box the minimum length of media that the online developer
requires for processing.
You can choose the units for this length from the Select units pop-up menu
immediately below. The units available are feet, inches, meters, centimeters,
picas, and points.
In routine use, you do not need to do anything extra. The RIP will make an automatic cut only if there
is sufficient exposed media to enable the online developer to work effectively. If you need to force a
cut, select Cut with feed from the Device menu. This command feeds enough media to pad the output to
the Minimum length before cut value, and then performs a cut.
When using an online developer, the RIP does not issue warnings to change take-up cassettes, and
does not disable output after a cut.

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9.4.8 Monitoring your media

When you are using media management, the RIP can display information about media usage on your
computer screen and keep the information up to date as jobs are output.
Choose Media Monitor from the Output menu to display the information.
The information appears in the Media Monitor, shown in Figure 9.6. By default, when in Multiple
(Parallel) mode, the RIP displays both the Output Controller and the Media Monitor.

Figure 9.6 Media Monitor window

The media information is presented in the following fields:

Name The name of the feed cassette.

A series of asterisks ( *** ) in this field shows that the current output device
has media management disabled.

Type The type of media in the feed cassette.

A series of asterisks ( *** ) in this field has the same meaning as in the Name
field. The entry No Film, No Media, or a blank entry, means that no one has
defined the type of media, not that the cassette is empty.

Pages The number of pages exposed since the last cut was performed.

Length The amount of media left in the current feed cassette.

This length is shown in the unit of measurement that you can choose in the
Units field in this dialog box.

Exposed The amount of media that has been exposed since a cut was last performed.
This is also the amount in the take-up cassette.

Units The units of measurement for figures in the Length and Exposed fields.
Choose any convenient unit from those listed.

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 10

Simple Imposition

This chapter describes Simple Imposition, the in-RIP imposition option provided with the Harlequin
RIP Genesis Release onwards.
TM

10.1 What is Simple imposition?

Harlequin RIP Simple imposition provides facilities to impose incoming pages using some of the most
common imposition layout schemes used for smaller format presses. This is achieved by the selection
of various options within an Imposition setup dialog. You are able to create and save as many imposi-
tion configurations as you wish. In addition to this, once an imposition configuration is created, you
can apply that configuration to any Page Setup by selecting it from a menu in the Edit Page Setup dia-
log. When you have created an imposition setup you can use that setup as the basis for further imposi-
tion setups.

10.2 Input file formats

The Harlequin RIP can accept various file formats. Table 10.1 shows which input file formats are
compatible with, and can be used with, which imposition schemes:

Input file format Imposition schemes

PDF, TIFF, JPEG, EPS All schemes

PostScript Language files One-Up, single-sided

N-Up, single-sided

Table 10.1 File format compatibility

Note: Simple imposition is not compatible with jobs submitted through JDF.
Of all the schemes, only One-up, single-sided and N-up, single-sided may be used when
processing PostScript language files. PDF files may be submitted to any scheme, and single page for-
mats such as TIFF, EPS and JPEG may be submitted to any scheme, but only really make sense for
use with One-up, single-sided and Step and repeat, single-sided schemes, because all
others are intended to be applied to multiple pages.

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Note: PDF files with mixed orientation and pages sizes cannot be processed with Simple Imposition.
If an attempt is made to process files of this type the following error will occur.
%%[ Error: while running imposition Response procedure ]%%

%%[ Error: rangecheck; OffendingCommand: HqnLayout; Info: Simple imposition

requires that all pages are the same size and orientation; File: ]%%

Note: Some EPS files containing errors will continue to output if the Add Showpage at end of job if nec-
essary and Crop marks page feature options are turned on. If either of these options are turned off then
an error will occur on input.

10.3 How to activate Simple imposition

To make use of the standard Simple imposition setups you do not need a password. However, if you
would like to create new and copy and edit existing setups, you must enter a valid password in the
Configure RIP > Extras dialog. For more information on how to activate a password protected option
see Extras on page 194.

10.4 The Imposition Manager

The Imposition Manager allows you to select, create, edit, copy and delete imposition
schemes. To display the Imposition Manager, click the Imposition Manager icon from the
toolbar or the Page Setup dialog, or select Output > Imposition Manager.

Figure 10.1 The Imposition Manager dialog box

Note: The Imposition Manager dialog contains listings when it first appears. The setups within brack-
ets are those supplied as standard. These setups are derived from Page features used in pre v7.0
Release RIPs, and have names that reflect their intended use. These options cannot be copied and
changed or new setups created unless you have activated Simple Imposition with a password. Imposi-
tion schemes are selected from the Page Setup dialog.
Please note that the imposition setups provided as standard cannot be edited. You may however, use
the Copy option to create a duplicate setup which you can then change to suit your requirements.

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The following options are available from the Imposition Manager dialog box:

Units Before creating any imposition setups you should choose your preferred
units. All imposition setups use the same units, and any existing imposition
setups will convert any values to the currently selected units.

Edit Select an existing imposition setup and click Edit to change the imposition
settings. When you have finished editing the setup, click OK to save your
changes. Please note that the supplied imposition schemes cannot be edited,
they can however be copied to a new name and then edited.

New Click New to create a new imposition setup. In the Imposition setup dialog
choose your imposition options and then click Save as. Enter a unique name
for your setup followed by selecting Save.

Copy This option allows you to copy an existing setup or use an existing setup as
the base for a new setup. Select an existing imposition setup and click Copy.
In the Imposition Setup dialog make any changes to the setup and then click
Save as. Enter a new name followed by clicking Save.

Delete Select an existing setup and click Delete to remove it from the Imposition
Manager. If a Page Setup is using an imposition setup that is selected for
deletion, it will not be removed, and a message will appear stating this. To
remove an imposition setup the setup must not be used by any Page Setup.

Select If you have accessed the Imposition Manager from the Edit Page Setup dia-
log you can highlight one of the existing Imposition setups, and click Select.
This will apply the selected imposition to the current Page Setup configura-
tion.

10.5 Configuring Simple imposition

This section describes how to use Simple imposition. Before choosing your imposition scheme you
should consider:
• The binding method. The common options are:
• Perfect binding as used for most books. The pages are collated then cut and glued together
with a spine.
• Saddle-Stitching as used for newspapers and magazines. The pages are stapled together
along the center-fold. (The front page is printed next to the back page.)
• Cut and stack. The printed pages are trimmed to the correct size, collated and then bound.
• The size of the printing surface (raster).
• Whether the reverse side of the surface can be printed, and how the page is turned on the print-
ing device.
• How the job is folded or cut.

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• Simple imposition acts on the Page Setup > PDF Options > Page size bounding box option, see
PDF Options dialog box on page 228 for more information. Therefore, before configuring your
Simple imposition scheme you should consider how the incoming PDF is constructed in terms
of its trim box, bleed box and so on. For example, you can configure the Page Setup to use
TrimBox, and then configure Simple imposition to add bleed from outside the trim. Setting the
correct Page size bounding box is essential to the successful imposition of PDF files. The rec-
ommendation when using Simple imposition is to set the Page size bounding box option to
TrimBox because the size of the page is as it is intended for delivery to the reader, after trim-
ming any printer’s marks and excess bleed areas. With this selection you can add your trim
marks and page furniture using the Simple imposition options.
The New/Edit Imposition setup dialog is used to configure the imposition setups. You can access this
dialog through the Imposition Manager.

Figure 10.2 Simple imposition setup dialog

Note: The imposition setup graphic shown above is displayed as it first appears.
The following sections describe the various options within the imposition setup dialog.

10.5.1 Schemes
Choosing the correct scheme is important as its selection determines which of the other options in the
imposition setup dialog are available. The following imposition schemes are available:

Scheme Name Description

One-up, single-sided Single-sided, one page per surface.

Table 10.2 Simple imposition schemes

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Scheme Name Description

One-up, two-sided Two-sided, one page per surface.

N-up, single-sided Each surface of this single-sided layout contains a grid of

pages, all at the same orientation. This can be used for laser
printer N-up printing, and for media saving. The number of
pages in the grid can be set manually, or can be calculated
automatically for best fit.
In conventional print, it can also be used for two-sided printing
using either Work & Turn or Work & Tumble (depending on
plate orientation in the press) for two-up surfaces that will be
cut to produce single-surface, unbound jobs.

N-up, two-sided Each surface of this double-sided layout contains a grid of

pages. It is intended mainly for laser printing, and for the
media saving of unbound jobs in conventional printing.
Note that neither of the N-up schemes provide support for gen-
eralized conventional imposition; they all take pages in reader
order from the supplied content file, rather than taking pages
out-of order as is required for perfect binding, etc.

Step and repeat, single-sided Single-sided, multiple copies of the same page are imposed in
a grid.

Step and repeat, two-sided Two-sided, multiple copies of the same page are imposed in a
grid. This differs from the single-sided variant principally in
allowing different surface margins, slug lines, and so on, or the
front and back of the surface.

Two-up, saddle-stitched Two-up Saddle-stitched production. Surfaces are gathered after

printing, then folded and trimmed to produce booklets. The
binding side is defined by the setting of Binding edge parame-
ter.

Step and repeat, saddle-stitched Step and repeat of Saddle-stitched page pairs. This option
places one or more identical copies of each booklet side-by-
side on the surfaces. The surfaces are cut before gathering,
then folded and trimmed to produce booklets. The binding side
is defined by the setting of the Binding edge parameter.

Cut and stack, single-sided Single-sided, multi-up imposition for jobs that will be bound
with wire, comb binders and so on, and therefore will be
trimmed to single pages. Once printed and stacked, each set of
surfaces will be cut, and stacked on top of the other to give a
full set of pages in order.

Cut and stack, two-sided As Cut and stack, single-sided, but for two-sided work.
For an example see Cut and stack, two-sided‚ 12 page booklet,
A4, ring bound on page 283.

Four-up, saddle-stitched Saddle-stitched, four-up printing which is folded once before

gathering and stitching. The Binding edge, Spine fold and
Geometry options define the layout on the surface.

Four-up, perfect binding Four-up printing for perfect binding. The Binding edge, Spine
fold and Geometry options define the layout on the surface.

Table 10.2 Simple imposition schemes

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10.5.2 Previously supplied schemes

Some of the schemes present in the Genesis Release v7.0 were changed for v7.1. If you migrate the
imposition setups from v7.0 to v7.1 they will work correctly. The following table shows the relation-
ship between the deprecated Genesis Release v7.0 schemes and the schemes present in the Genesis
v7.1 Release:

Bind-
Old New Spine- HorGut- Vert- Pages- Pages-
ing-
Scheme Scheme Fold ter Gutter Up Across
Edge

SaddleStitch_ SaddleStitch_2 Left Auto GutterB GutterA 0 0

Left_1

SaddleStitch_ SaddleStitch_2 Right Auto GutterB GutterA 0 0

Right_1

SaddleStitch_ SaddleStitch_2 TopA Auto GutterB GutterA 0 0

TopA_1

SaddleStitch_ SaddleStitch_2 TopB Auto GutterB GutterA 0 0

TopB_1

SaddleStitch_ SaddleStitch_2 TopC Auto GutterB GutterA 0 0

TopC_1

SaddleStitch_2x SaddleStitch_ Left Auto GutterA GutterB 1 2

_Left_1 S&R_1

SaddleStitch_2x SaddleStitch_ Right Auto GutterA GutterB 1 2

_Right_1 S&R_1

SaddleStitch_2x SaddleStitch_ TopA Auto GutterA GutterB 1 2

_TopA_1 S&R_1

SaddleStitch_2x SaddleStitch_ TopB Auto GutterA GutterB 1 2

_TopB_1 S&R_1

SaddleStitch_2x SaddleStitch_ TopC Auto GutterA GutterB 1 2

_TopC_1 S&R_1

Table 10.1 Migration of deprecated Simple Imposition schemes

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10.5.2.1 Changes from 7.1 to 7.2

Note: Migrate will set PageRotate to Rot0 for all bound schemes.
Warning: A bound work setup with page rotation set to anything but 0 (zero) migrated to 7.2 will
change the output. All PDF files should have their orientation set correctly.

10.5.3 Surface
The Surface options define the size of the raster to be created, that is, the maximum size, outside of
which nothing will be printed. The following options are available:

Size The size options are:

From media: (the default option) where the size of the output is taken from
the size of the media loaded. This of course depends on the device and type of
media. See the Table 10.3 below for more details.
From job: where the size of the output is taken from the size of the incom-
ing job (plus any margins).
Custom: where the size of the output is defined in the Width and Height
fields.
Note: All imposition schemes are constructed on the assumption that the
image width > height. If the image height > width, the whole layout is
rotated. Thus, if the sheet is rotated, the layout design is calculated as if it had
been rotated, which is then applied to the media at 90 degrees to what you
might otherwise have expected. For one-up layouts the only effect is that the
page is rotated by 90 degrees in such cases. This may not be visible if Best-
Fit is selected for the page rotation.

Device Width Height

Capstan (including When there is a media selection Height is taken from the job. For
roll-fed proofers) on the Page Setup Layout dialog, N-Up and Step & Repeat with
the width is taken from that, oth- automatic page counts, only one
erwise it is taken from the cassette row will ever be produced.
width.

Drum As Sheet (below) As Sheet (below)

Partial drum Width is taken from the job. For The height is taken from the cas-
N-Up and Step & Repeat with sette width.
automatic page counts, only one
column will ever be produced.

Sheet When there is a media selection When there is a media selection

on the Page Layout dialog, the on the Page Layout dialog, the
width is taken from that, other- height is taken from that, other-
wise it is taken from the default wise it is taken from the default
Page size option on the Page Page size option on the Page
Layout dialog. Layout dialog.

Table 10.3 Width and height definition when using From Media option

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Device Width Height

Unlimited devices Width is taken from the default Height is taken from the default
including TIFF Page size option on the Page Page size option on the Page
Layout dialog. Layout dialog.

Table 10.3 Width and height definition when using From Media option

Flip on This option is only available with two-sided imposition schemes, and allows
the surface to be flipped on either its Long edge or Short edge.
When used for conventional printing, select the option that matches how the
paper lifts are turned for the second side to be printed, or how each sheet is
turned automatically in a perfecting press. When used for driving a digital
printer, select the option that matches the duplex capability of the printer for
the paper size to be used.
The selection of Long edge is where the first surface is printed, and the media
is then flipped from top to bottom. The top and bottom are switched, and the
right and left edges remain in the same position for both surfaces.

The selection of Short edge is where the first surface is printed, and the media
is then turned from side to side. The right and left edges are switched, and the
top and bottom remain in the same position for both surfaces.
Simple Imposition can get the page size from the Media, the Custom layout or
from the Job. All Simple Imposition schemes are constructed on the assumption
that the image width > height (landscape). If the image height > width (portrait),
the whole layout is rotated and the top of the page is effectively at the right-hand side.
In normal circumstances when making plates the page size would be set as Custom or to come from
the media.If however the page size is set to come from the job, a portrait page is configured such that
the top of the page is actually at the top. This causes the Flip on long edge and Flip on short edge options
to behave in the opposite way to how you would expect. Flip on long edge causes the page to flip
top/bottom (in effect on the short edge), and Flip on short edge causes the page to flip Left/Right (in
effect on the long edge).

10.5.3.1 Work & Turn, Work & Tumble, and Perfecting

Work & Turn, Work & Tumble, and Perfecting are common imposition schemes.
A Work & Turn imposition scheme uses a single plate to print on both sides of the paper. When the
first side of the sheet is printed, the paper is then flipped over from side-to-side and fed through the
press again using the same gripper edge. The top and bottom remains in the same position for both
sides, that is the top of the first side remains as the is the top for the second side.
A Work & Tumble imposition scheme again uses a single plate to print on both sides of the paper
using opposite grippers. When the first side of the sheet is printed the leading edge is gripped. The
paper is then tumbled; that is, the top of the first side becomes the bottom of the second side and the

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trailing edge of the paper is gripped. The left and right edges of the sheet remain in the same position
for both sides.
Perfecting is when you can print on both sides of the sheet in one pass through the machine.
These imposition schemes can be achieved using Simple imposition. It does however depend on
which edge of the sheet is fed into your printer.
If your press is fed with the short edge first and you have Long edge configured as the Flip on setting,
you are in effect, using a Work & Turn scheme.
If your press is fed with the short edge first and you have Short edge configured as the Flip on set-
ting, you are in effect, using a Work & Tumble scheme. This method can be utilized for a Perfecting
press configuration.
If your press is fed with the long edge first and you have Short edge configured as the Flip on set-
ting, you are in effect, using a Work & Turn scheme.
If your press is fed with the long edge first and you have Long edge configured as the Flip on setting,
you are in effect, using a Work & Tumble layout. This method can be utilized for a Perfecting press
configuration.

10.5.4 Pages
These options define the settings that affect individual pages within a layout. The following options
are available:

Layout of pages N-up, Step and repeat, and Cut and stack page schemes can use an Auto-
matic or Custom layout of pages. When Automatic is selected the number
of pages on a surface is calculated automatically.
You can specify the number of pages on each surface using the Custom
option. You define the number of page columns by entering a value in the
Across field. You define the number of page rows by entering a value in the
Up field.
To define the order in which pages fill the layout use the Page fill order
option, see Front and back options on page 277 for more information.

Rotate The rotate options define whether pages within a layout can be rotated. The
Best Fit option will rotate pages as needed (for Nup, StepRepeat, Cut &
Stack only) so that they fit the layout.
Note: Best Fit will be treated as 0 if Width = 1.
This option defines how individual pages are rotated within the page grid.
The 0 to 270 options rotate the individual pages by the elected amount.
0 as in the supplied job.
90 is rotated 90 degrees.
180 is rotated 180 degrees.
270 is rotated 270 degrees.

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By selecting Landscape all pages will be rotated by 0 degrees unless the

pages are supplied as portrait in which case the pages will be rotated by 90
degrees.
By selecting Portrait all pages will be rotated by 0 degrees unless the
pages are supplied as landscape in which case the pages will be rotated by 90
degrees.
The whole grid (and its accompanying annotations) can be rotated using the
Rotate options from the Page Setup dialog.
Note that PageRotate is ignored for bound-work schemes, and the final page
rotation is defined by the spine direction, binding edge and geometry.

Page flip How the front and back of each page within the sheet are turned relative to
each other.
If Left/Right the final trimmed page should be flipped left to right to
move from the front to the back.
If Top/Bottom the final trimmed page should be flipped top to bottom to
move from the front to the back.
Schemes: OneUp_2s_1, NUp_2s_1, StepRepeat_2s_1, CutStack_2s_1.

Bleed The value in this field is added to the overall page size.
The value entered here will not affect page positioning in any way, but if
there is any graphical content on the page that extends off the page, this much
of it will be printed.
If the bleed value extends more than halfway across a gutter, the content is
trimmed at the gutter centre.

If pages don’t fit If the group of pages do not fit within the surface size, you have the following
options:
Abort job will abort the job and issue a warning message.
Crop will crop one or more edges of the raster. The Page Grid positioning
options (see Page Grid positioning on page 278 for more information),
decide the alignment of the page grid within the available space, and there-
fore the edges that are cropped.
The various Trim options crop one or more edges of the raster. The edges to
be trimmed are manually selected.
The Scale to fit option will scale the pages and all associated gutters and
crop marks. This option is intended for use when proofing and digital printing
and would not generally be used when imaging plates.
Tile allows the same page grid to be imaged over several rasters, each with
different offsets so that the rasters may used together to create the entire
image.

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Note: The Tile option cannot be used with PostScript language files. Also,
the use of the Tile option with the Layout of pages option set with Up and
Across equal to zero, with multiple page, Step and repeat and Cut and stack
schemes will only ever produce one tile unless a single page will not fit in the
image size available.

Page padding This option decides what to do if the number of pages in the job do not divide
exactly by the number of pages required to fill a sheet. The options are:
Abort job if pages don’t fill surfaces which will cause a warn-
ing to be issued and no output will be produced.
Add blank pages after last page and Add blank pages before
last page which will add blank pages as specified.
Add blank pages before cover which will add blank pages before the
next to last page (that is, before the back cover of a two-sided job).
The affect of the Split before end option, available for two-sided Cut
and stack schemes, depends on the number of blank pages. If one blank page,
the result will be the same as Add blank pages before the last
page. If two blank pages the result will be the same as Add blank pages
after the last page. If three blank pages, one blank page will be added
before the last page, and two after it.
The Split before cover option is only available for two-sided Cut and
stack schemes. This will be the same as Add blank pages before the
last page, but will insert pages before the last-but-one page as necessary.
These options lead to a booklet containing an even number of pages, with the
last page of the content files on the outside of the back cover, and then a num-
ber of blank sheets behind the booklet after cutting and stacking.

10.5.5 Binding
The Binding options determine how the booklet is bound and folded.

Binding edge For saddle-stitched and perfect binding schemes these options decide the
binding edge.
Left bound is used for booklets bound on the left, the most common form
for Latin text.
Right bound, suitable for use with right-to-left scripts such as Arabic and
Hebrew. This scheme is also appropriate for use with Japanese text (even
though that is not written right to left).
Top bound A is designed for use in items such as calendars, which are hung
open so you can see two pages at a time.
Top bound B is designed for use in items that will be hung (if a calendar)
closed by the binding edge, and where page 2 is on the reverse of page 1.

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Top bound C is designed for use in items that will be hung (if a calendar) by
the binding edge, and where page 2 is on the front of the second surface.

Spine fold For saddle-stitched and perfect binding schemes these options decide the
direction of the fold that will become the spine. This is the fold with any
creep applied.
Vertical is used for portrait (tall) pages.
Horizontal, is used for landscape (wide) pages
Automatic, select between the vertical or horizontal options based on the
Page size, available space, Binding edge and Geometry.
This option is automatically set to None for normal flatwork. so that any
applied gutters work correctly.

Geometry For four-up, saddle-stitched and perfect binding schemes these options
decide if the gutter (other than the Spine fold) is head-to-head or foot-to-foot.
These options change the orientation of the pages on the surface.
Head to head places the tops of the page pairs together
Foot to foot, places the foot of the page pairs together.
Left to right, place the left and right sides of the page pairs together.
Right to left, places the right and left sides of the page pairs together.
Automatic, either head to head or left to right is automatically selected
depending on the aspect ratios of the pages and the available raster. This
option can only be used if Automatic is selected n the Spine fold field.

Work and T For all two-sided schemes, these options allow you to select a Work & Turn
or Work & Tumble layout.
None, no Work & Turn or Work & Tumble.
Left to right/Right to left, are available when Short edge is
selected in the Flip on option and is used with Work & Turn schemes, with the
paper turning either way.
Top to bottom/Bottom to Top, are available when Long edge is
selected in the Flip on option and is used with Work & Tumble schemes, with
the paper tumbling either way.

Gutter This is the amount of space between the two sides of the layout produced
when Work and t is set to something other than None.

Min This is the minimum gutter value between the two sides of the layout pro-
duced when Work and t is set to something other than None, which is the most
common configuration.

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10.5.6 Gutters
The gutter is the space between pages on a layout. The options in this section define the size of the
gutter. The following options are available:

Vertical gutter/Horizontal gutter

The value in these option define the optimum horizontal and vertical gutter. If
there is sufficient space within the layout these values are used. If there is not
enough space, the gutter is size reduced as necessary, but to a value not less
than the value specified in the Minimum field.
Note: The vertical gutter runs vertically, from top to bottom.

Creep Creep occurs on saddle-stitched and perfecting bindings where the inside
pages extend beyond the image area of the outside pages. This option com-
pensates for this effect, and specifies the amount to be removed from the gut-
ter (often called shingling).

Creep Style The following Creep Styles are available:

Push out: means that the inner-most surface uses the set gutter value, and
every outside surface has a larger gutter increased by the Creep value, each
page is pushed the amount of creep away from the centre line.
Pull in: means that the outside surface has the set gutter value, and each
inside surface has a gutter size decreasing by the Creep value, each page is
pulled in by the amount of creep towards the centre line, until the minimum
gutter size is reached, at which point the gutter will stay at the minimum size
for all remaining surfaces.
Center line: means that the middle surface in the stack has the set gutter
value, those inside it will have smaller gutters and those outside it will have
larger gutters.

10.5.7 Front and back options

These options define the way in which the layouts are filled with pages, and allow the specification of
various page furniture items such as annotations, registration marks and crop marks. For two sided
schemes you have the option to define the front pages, and then, by leaving the Use front options for
back option selected, you can use those same values for the back pages. Alternatively, you can de-
select the Use front options for back option and define the back pages separately.
If you wish, you may change the current units used by imposition. Changing this option will convert
all existing values in this and any other imposition setups.
On selection of either Front options or Back options the following dialog will appear:

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Note: The left, right, top and bottom are all relative to the design orientation of the imposition scheme,
which assume that the image width is greater that the image height. If this is not the case, or if the sur-
face has been rotated using the Page Setup Rotate option, the orientation is likely to be affected.

Figure 10.3 Front and Back imposition options

Page fill order The page fill order options define how pages will fill the layout, and are all
described such that the first half of the name describes the fast scan axis and
direction, and the second half describes the slow scan axis and direction.
Please note that the example graphic shows how a 2 x 2 layout would be
numbered.

10.5.7.1 Page Grid positioning

The top, bottom, left and right options define the size of the borders into which control strips and/or
slug lines will be placed. The margins must therefore be large enough to accommodate the selected
items. Do not confuse the Spacing for marks with the margins specified in the Page Layout dialog
which may be used to position the raster produced by the RIP on the printing plate or output media.

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Note: From Harlequin Genesis Release v7.1 crop marks and bleed will extend into the margins
defined in simple imposition, and will be clipped if insufficient margin is defined. Margins will also
not automatically increase if too large a set of annotations is defined on any edge.

Position page grid horizontally

The page grid is horizontally positioned within the area of the raster after Left
and Right are accounted for according to this value. Note that the graphic on
the user interface indicates the currently selected position.
The options are Left, Center, Right.

Position page grid vertically

The page grid is vertically positioned within the area of the raster after Top
and Bottom are accounted for according to this value. Note that the graphic
on the user interface indicates the currently selected position.
The options are Top, Center, Bottom.

If annotations and crop marks do not fit in margins

From v7.1 crop marks and bleed extend into the margins defined within sim-
ple imposition. By default, the margins will not grow automatically if too
large a set of annotations is defined on any edge; they will be clipped. This
can be changed using this option. The available options are:
Clip annotations and crops: which is the default value.
Enlarge margins: enlarges the margins to accommodate the annotations.
Abort job: abort the job if the annotations do not fit.

10.5.7.2 Marks
These options allow you to define which marks you want placed onto your imposition layout.

Crop Marks You can make a selection from the various crop marks provided. Crop marks
are drawn around every page on the layout.
None: no crop marks are used.
Small: small trim marks are placed on the layout.
Full: large trim marks, separation names, step wedges and color bars are
placed on the layout.
PDF page boxes: trim marks are placed to show the locations of all PDF
pages boxes. For file formats other than PDF this option is the same as
Small.

Registration Marks
Select the required option to place registration marks on the selected surface:
None: no registration marks are placed on the layout.
Desired: registration marks are placed on the layout if space is available. If
space is not available a warning is generated.

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Required: registration marks are placed on the layout. If space for those
marks is not available the job is aborted.

Fold and/or cut marks

Select this option to place fold or cut marks in all the appropriate gutters on
the layout.

Page border Select this option to draw a page border around every page on the selected
surface.

10.5.7.3 Annotations
The Annotations section of the imposition dialog allows you to add slug line text, color bars and
proofing strips. You can, using this option, add just about anything extra you wish to your imposition
layout.
If required custom annotation files can be used. This is done by using the Install Annotation
page feature which, when activated via the Page Setup dialog, allows you to print an EPS file (EPS
only), to install that file as a new annotation.
Annotation selections draw the following marks:

PlateBar_ISO12647-2_1, PlateBar_SWOP_1
Both draw a more or less standard press color bar, with 25, 50, 75% tints and
solids of all the separations rendered, together with trapping patches, slug
patches, registration test patches and neutrals. These do not include any slug
text. The difference between the two is in the neutral patches; one follows the
recommendations from the ISO 12647-2 standard, the other from SWOP.

PlateBar_small_1
This draws a secondary press color bar, with smaller patches in order to avoid
wasting space; the patches in this bar are not designed to be large enough for
measurement using densitometers. Patches include shadow and highlight
ramps.

PlateText Writes a slug line, including job name, time and date of interpretation, file
time and date (if available), submitter's name (if available) and details of the
Page Setup selected.

ProofStrip_1, ProofStrip_2,ProofStrip_4
All draw a combination of color bar and slug text designed to be suitable for
proofing. In addition to flat color tints, graduations and neutrals, some
patches setting out job meta-data such as PDF/X compliance are included.
The three selections differ in the number of rows of color patches included,
and therefore the amount of space that they take up.

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Spacer_18pt, Spacer_6pt
These do not draw any marks, but may be used to position the other annota-
tions, for example, by moving them away from the edge of the sheet.

PlateBar_G7_1 This option prints a G7 color bar on the output and provides support for the
use of Gracol G7 print characterization data.
To install your own custom annotation:
1. Create a Page Setup (not using Simple Imposition) and select the Install Annotation page
feature. For more information on using page features see Features on page 140.
2. Print the Annotation (EPS) file using this Page Setup. A message will appear indicating that the
annotation is being installed.
3. Go back to the Page Setup using Simple Imposition. You can now select and use the custom
Annotation in your Simple Imposition setup. See below for information on how to add an anno-
tation to the imposition layout.
When used as an annotation the EPS file will be repeated along the length of the selected raster edge
as many times as it will fit.
Note: If the custom annotation does not fit, there will be no error message.
To add an annotation to the imposition layout:
1. Click New.
Note: An annotation will appear in the list. Do not attempt to delete this. Go straight to step 2.
2. Select your required annotation file from the Edit selected row drop-down list. For example,
select PlateText to add slug line information.
3. Select where on the layout you want to add the annotation by choosing either, Top, Bottom,
Left or Right from the Edit selected row drop-down list.

4. Click New to add further annotations. You can add as many annotation files as you wish, but you
must ensure your layout has enough room to accommodate them.
The annotations are printed in the order in which they appear in the list, and you can change that order
by dragging and dropping them. If two annotations are placed on the same edge of the layout, the first
one will be on the edge of the layout, and the second will be moved inwards by the size of the first.
Similarly, if an annotation has already been drawn on the left of the layout, a second annotation on the
bottom edge will leave room at one end for the first annotation.
You can edit the any annotation in the list by selecting it and then choosing the required options from
the Edit selected row drop-down menus.
You can remove any annotation file from the list by selecting and clicking the Delete button.
When you have completed the front and back options select OK to save them. Selecting Cancel will
abort any change you have made. Similarly, when you have completed all your imposition configura-
tion options select OK to save your changes.

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10.6 Example impositions

This section provides same example impositions showing how the pages for each surface are laid out
along with the final results.

10.6.1 Saddle-stitched‚16 page booklet

The plates for this imposition will be laid out in the following fashion:
Front surface

16 1 14 3 12 5 10 7

15 2 13 4 11 6 9 8

Back surface

Figure 10.4 Saddle-stitched, left bound layout

This extra settings for this imposition scheme are:

Scheme Two up, saddle stitched

Flip on Long edge

Binding edge Left bound

Spine fold Vertical

The resulting saddle-stitched booklet will look like this:

9
11 7
13
15 5
3
1
Red numbers denote unsighted pages

Figure 10.5 Saddle-stitched, left bound result

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10.6.2 Cut and stack, two-sided‚ 12 page booklet, A4, ring bound
The plates for this imposition will be laid out in the following fashion:

Front
Surface 1 7 3 9 5 11

Back 2 8 4 10 6 12
Surface

Figure 10.6 Cut and stack, two-sided layout

This extra settings for this imposition scheme are:

Scheme Cut and stack, two sided

Flip on Long edge.

The resulting sheets before cutting and the stack after cutting are shown below:

Sheets before cutting Pages after stacking

2 1 8 7 2 1

4 3
4 3 10 9
6 5
6 5 12 11
8 7
10 9
Blue numbers denote the reverse side
12 11

Figure 10.7 Cut and stack, two-sided sheets and stack

The final pages are suitable for hole punching and then ring or wire binding.

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10.6.3 Saddle-stitched‚ 8 page booklet A5 on B4

The plates for this imposition will be laid out in the following fashion.

8
8

7
1

2
2
6
6

5
3

4
4
Front surface Back surface

Figure 10.8 Saddle-stitched, x2 left bound layout

This extra settings for this imposition scheme are:

Scheme Step and repeat, saddle stitched

Flip on Short edge

Binding edge Left bound

Spine fold Horizontal

The two resulting saddle-stitched booklets will look like this:

5 5
7 7
3 3
1 1

Red numbers denote unsighted pages

Figure 10.9 Saddle-stitched, x2 left bound result

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10.6.4 Saddle-stitched, Top bound A, 8 page booklet

The pages for this imposition will be laid out in the following fashion:

Front

6
8
surface

Back

5
surface

Figure 10.10 Saddle-stitched, Top bound A layout

Note: Page 8 is a special case.

This extra settings for this imposition scheme are:

Scheme Two up, saddle stitched

Flip on Long edge

Binding edge Top bound A

Spine fold Vertical

The resulting saddle-stitched booklet will look like this:

7
1 2
4

5
5 7
3

Red numbers denote unsighted pages

Figure 10.11 Saddle-stitched, Top bound A result

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10.6.5 Saddle-stitched, Top bound B, 8 page booklet

The pages for this imposition will be laid out in the following fashion:

6
1

3
8
Front
surface

5
Back

4
surface

Figure 10.12 Saddle-stitched, Top bound B layout

This extra settings for this imposition scheme are:

Scheme Two up, saddle stitched

Flip on Long edge

Binding edge Top bound B

Spine fold Vertical

The resulting saddle-stitched booklet will look like this:

7
1 4 2

5
5 7
3

Red numbers denote unsighted pages

Figure 10.13 Saddle-stitched, Top bound B result

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10.6.6 Saddle-stitched, Top bound C, 12 page calendar

The pages for this imposition will be laid out in the following fashion:

12
7

6
11
8

5
10
9

4
Front surface Back surface

Figure 10.14 Saddle-stitched, Top bound C layout

This extra settings for this imposition scheme are:

Scheme Two up, saddle stitched

Flip on Short edge

Binding edge Top bound C

Spine fold Vertical

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The resulting saddle-stitched calendar will look like this:

12
11

10
6
1

5 6
2

4
3

Figure 10.15 Saddle-stitched, Top bound C result

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10.6.7 Four-up, Saddle-stitched‚ 16 page A4 booklet on B2/SRA2

The plates for this imposition will be laid out in the following fashion.

3
13

16

15

14
8

7
9

12

11

10
Front surface Back surface

Figure 10.16 Four-up, Saddle-stitched, 16 page A4 booklet

This extra settings for this imposition scheme are:

Scheme Four-up, saddle stitched

Flip on Short edge

Geometry Head to head

Binding edge Left bound

Spine fold Horizontal

The resulting 16 page saddle-stitched booklets will look like this:

9
11
13 7
15 5
3
1

Red numbers denote unsighted pages

Figure 10.17 Saddle-stitched, 16 page A4 booklet result

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10.6.8 Four-up, Perfect-bound‚ 16 page A4 booklet on B2/SRA2

The plates for this imposition will be laid out in the following fashion.

3
5

6
12

10

11
13

16

15

14
Front surface Back surface

Figure 10.18 Four-up, Perfect-bound, 16 page A4 booklet

This extra settings for this imposition scheme are:

Scheme Four-up, perfect binding

Flip on Short edge

Geometry Head to head

Binding edge Left bound

Spine fold Horizontal

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The resulting 16 page perfect-bound booklets will look like this:

13
15
11
9

5
7
3 Red numbers denote unsighted pages
1

Figure 10.19 Perfect-bound, 16 page A4 booklet result

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Fonts

Whenever the RIP processes a job that uses fonts, they must be available in memory. Fonts are loaded
into the RIP from the disk automatically whenever they are required. However, the fonts must have
been installed first, or they must be embedded in the job that uses them. Installation is a once-only
process where the RIP configures the font for its use and puts it in the appropriate place. This chapter
discusses how fonts are installed and then used by the Harlequin RIP.
The RIP provides a suite of facilities that let you manage fonts easily and efficiently. This suite
includes commands that will:
• Install fonts in the RIP.
• Tell you which fonts are currently installed.
• Produce a proof of any font currently installed.
• Remove fonts from the RIP.
The Harlequin RIP also provides facilities for font substitution and font emulation. For more informa-
tion see:
• Font substitution on page 302.
• Font Emulation on page 303.

11.1 Supplied fonts

The Harlequin RIP comes with the 35 standard fonts found in most versions of the Apple LaserWriter
and many other PostScript language capable printers. The RIP font folder also includes several spe-
cial-purpose fonts:
• The Harlequin font is used only for the Harlequin RIP logo.
• The NotDefFont font is used by composite fonts.
The RIP supplies the 35 standard fonts and the special-purpose fonts installed in the fonts folder in
the SW folder.

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11.2 Types of font

There are several different types of fonts that can be installed and used with the RIP. See Installing
fonts in the Harlequin RIP on page 295 for details about installing fonts.
• Type 1 fonts - these are the most commonly used fonts. Type 1 fonts can contain hints that can
subtly change the shape of the characters. Hinted fonts can improve the appearance of text ren-
dered at low resolution or at small sizes on higher resolution devices: for example, hints can
affect 11 point text at resolutions up to 2000 dpi.
Note: The font downloaders supplied with many Type 1 fonts actually install Type 1 fonts as
Type 4 fonts.
• Type 3 fonts.
• Type 0 (composite) fonts - these are special fonts designed to support large character sets such
as Japanese or Chinese. Type 0 fonts can use any base font format (Types 1, 3, 4, 32, 42) and
CID fonts. Type 0 fonts can support multi-byte character encodings. Older Type 0 fonts had
multiple sub-fonts and as such used a lot of memory however, the new CID-keying method is
much more memory efficient.
• Character identifier (CID) composite fonts, together with associated character map (CMap)
files are used to produce CID-keyed fonts, which exist only in the memory of the Harlequin
RIP (or other RIPs).
There is not easy method of determining whether a TrueType font should be installed as a CID
font or not. If installed as a CID font, the order of characters in the font is not easily predicted.
Improvements to this are expected in future releases.
• Single-byte PC format TrueType fonts or OpenType fonts with TrueType outlines.
• The RIP also supports installation of native TrueType, Type 42, raw CFF (Compact Format)
and OpenType/CFF fonts. Multiple-font CFF or OpenType/CFF fonts will be installed as Font-
Set resources, but these will not appear in the Proof or Delete Fonts menus, or in the font List.
Note: The font resources created when installing CID fonts are CID-keyed fonts and are created auto-
matically by the RIP. These font resources are created when CID fonts or CMaps are installed using
the Install Fonts option in the Fonts menu, and are deleted when CID fonts are removed using the
Delete Fonts option from Fonts menu. Font resources may also be created or deleted on startup, if the
available CID fonts or CMaps have changed since the last bootup.
Installing a CID font over AppleTalk with a font installer will not automatically create font resources;
the RIP must be quit and restarted to do this.
The created font resources may be deleted using the Delete Fonts option on the Fonts menu, and will
not be re-created by the RIP.
Note: The RIP supports the use of a variety of other fonts, for example, when they are embedded in
PostScript language, XPS or PDF jobs. The embedded fonts can include Compact Font Format,
Type 42, and Type 32 fonts.
Note: The font data cache is not configurable, but takes 0.5 MB for all fonts. So, for CID, native Tru-
eType, CFF, and OpenType/CFF fonts, 1 MB extra RAM should be sufficient.

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11.2.1 Font resource directories

The Font resource directories can be changed. The default locations are:
• Font resources are installed in SW/fonts.
• FontSet resources are installed in SW/FontSet.
• CID fonts are installed in SW/CIDFont.
• CMap files, which are placed in the SW/CMap folder.
Throughout this section these are the directories referred to when font resources are mentioned.

11.3 The DLD1 format

The Harlequin RIP will convert Type 1 fonts (and Type 1 fonts contained within composite fonts) into
its own DLD1 font format.
The DLD1 format stores font data far more efficiently than do standard storage formats. Access to
font data, and operations upon fonts, are made much faster, while the amount of PostScript language
virtual memory consumed by the font is reduced dramatically.
The benefits of using the DLD1 format include: a DLD1 format font occupies less disk space; and this
format can require under 10% of the memory space of other formats. This table shows some typical
figures for the disk and memory requirements of a font in DLD1 format, and for the corresponding
font in Type 1 and Type 4 formats.

Table 11.1 Disk and memory requirements for font types

Font type Disk space (KB) Memory (KB)

DLD1 45 4

Type 1 100 50

Type 4 50 30

Note: It is difficult to give corresponding estimates for Type 3 fonts because they are inherently so
flexible, but they are not particularly efficient.

11.4 Installing fonts in the Harlequin RIP

If a job requires a particular font, the font must already be installed in the RIP before the job is pro-
cessed, unless the job itself contains the font definition. If the font is not found, the RIP will instead
print the text in a selected substitute base font (see Font substitution on page 302), or issue an error
message, depending on the setting for Abort the job if any fonts are missing in the Page Setup Options
dialog box. See Abort the job if any fonts are missing on page 145 for details.
Depending on the font type, you can install a font into the RIP in one of two ways: by using the Install
Fonts command or by downloading the font to the RIP.

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All fonts may be embedded, and all fonts may appear in the fonts and CIDFont resource directories.
Most font formats can be installed using the Install Fonts command, including, Types 1, 3, TrueType,
Type 42, CID Types 0, 1, 2, 4 (same as Type 32), CFF, OpenType and CMap resources.
The Install Fonts command and downloading fonts to the RIP are described in the next two sections.
See Removing fonts on page 300 for details about deleting the fonts you have installed.

11.4.1 Install Fonts command

When you choose Install Fonts from the Fonts menu, the RIP displays the Install Fonts dialog box
shown in Figure 11.1.

Figure 11.1 Install Fonts dialog box

A list of files in the current folder is displayed in this dialog box.

1. Install.
To install a collection of fonts, do the following:
1. Select a font in the list.
2. Select other fonts, moving to other folders if required.
Shift
To select several files, hold down the Shift key while clicking to make your selection.
When you have selected all the fonts you want, click Install to install them in the RIP.
A successfully installed font produces the message:
Installed font ‚font_name‚ in TrueType format

Note: The format type will be reported in this way for single-font packages only (not FontSets). The
type reported will be TrueType, Type 42, Type 1, DLD1, Type 2, Type 3 and so on.

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The Install Fonts command will install into the RIP Type 1, Type 3 and single-byte PC format True-
Type fonts or OpenType fonts with TT outlines.
OpenType/CFF is supported. Single-font OTTO packages will install as a single font or CIDFont as
1

appropriate. Multiple-font packages will install as FontSet resources.

If you try to install a file that does not contain a font, or that contains a font of another type, the RIP
displays a message in the RIP Monitor. This will not harm the RIP or the file in any way; the RIP just
refuses to install it.
Using the installer, TrueType fonts only install as non-CID fonts. They therefore have to be manually
moved to the CIDFont resources directory to make them appear as CID fonts.
If a font is of Type 1, it will be converted into DLD1 format before being added. This can then be
loaded into the RIP whenever necessary.
Installation is performed on a copy of the font, so your original font file remains intact.

11.4.2 Downloading fonts to the RIP

This section describes how to download fonts to the RIP.
• Multiple Master fonts
Multiple Master fonts may be downloaded over AppleTalk from a Macintosh using the down-
loader supplied with them.
• Composite fonts
Composite fonts vary greatly, and so the procedure for installation is likely to be different for
each one: there is no industry standard for this at present. Almost all composite fonts now
come with their own AppleTalk installers; however, there is still a small number that are
shipped as a collection of self-installing PostScript language files. Contact your font supplier
for more detailed information about using particular composite fonts with the RIP.
• TrueType fonts
No downloader is needed for TrueType fonts. Using a downloader makes them less efficient if
converted to Type 42 format. TrueType fonts should be installed using the Install Fonts com-
mand.
• CID fonts
If your CID font is supplied with a downloader, install the font and any relevant CMap file
over AppleTalk using the supplied downloader. If no downloader is supplied, use the Install
Fonts command. At present, however, CID fonts have to be manually moved to the CIDFont
resources directory to make them appear as CID fonts.
All installed fonts are placed in the fonts resources directory, except for CID fonts and CMap files,
which are placed in the CIDFont and CMap resources directories respectively.
Leaf fonts and composite fonts are sub fonts of Type 0 fonts and are installed elsewhere.

OpenType fonts containing CFF data use the tag OTTO

1.

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11.5 Pre-loading fonts

The Harlequin RIP always pre-loads the 35 standard fonts, since one or more are likely to be used by
most jobs. If you frequently use a particular set of other fonts, you can ask the RIP to load them auto-
matically upon start-up.
The RIP will take slightly longer to start-up, but once loaded, the fonts will be in memory when jobs
require them. This saves time when processing jobs, since the RIP does not have to stop interpreting to
wait for a font to be loaded. The time savings can be considerable; if a job requires a composite font,
the RIP could be waiting for a few seconds to load it. By having it pre-loaded, you will save this time
with every job that uses it.
Note: You can use this method to pre-load composite fonts, so long as they have been installed
according to the instructions in Downloading fonts to the RIP on page 297.
To pre-load a font, add a new line to the Harlequin RIP initialization file, HqnOEM, and restart the RIP.
This initialization file is in the Sys folder in the SW folder.
You must add one line of PostScript language code for every font you want to load. For example, the
following lines load ZapfChancery-MediumItalic and ZapfDingbats into the RIP:
/ZapfChancery-MediumItalic HQNloadfont
/ZapfDingbats HQNloadfont

The RIP may take slightly longer to start up, but any jobs using these fonts will run considerably
faster. Pre-loading a composite font takes longer than pre-loading other types of font, but saves more
time for each job using it.

11.6 Producing a list of installed fonts

Sometimes you will need to know whether a particular font is currently installed in the RIP. You can
produce a list of all the currently installed fonts by choosing Fonts > List Fonts.
Note: The List Fonts option does not show FontSet resources.
This list will appear in two places:
• The RIP Monitorwindow - this lets you see immediately whether or not fonts are installed.
• The file LOGFILE in the SW folder - this provides a more permanent record of which fonts were
installed at a particular time.
The date and time accompanies every list.

11.7 Proofing fonts

Sometimes you may want to produce a formatted listing of all the characters in a particular font‚
known as a proof. This would normally entail writing a special PostScript language job to produce the
listing, but the RIP allows you to produce a proof of any installed font automatically.
Note: The RIP can proof CID fonts only in long format. Also, the RIP will not use a substitute font in
short format. If you do not choose long format, the RIP reports:
CID fonts cannot be proofed - try Proof fonts in long format.

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Palatino-Italic
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQR
1234567890-=!@#$%^&*()_

Figure 11.2 An example of font proofing

You can proof fonts, either on a printer or on your screen, by choosing Proof Fonts from the Fonts
menu. The RIP produces the proof using your choice of Page Setup and fits as many fonts as possible
on a page. Figure 11.2 shows an example of a short-format proof for one font.
When you choose Proof Fonts, the RIP displays a dialog box that lists all of the fonts currently
installed, as shown in Figure 11.3.

Figure 11.3 Proof Highlighted Fonts dialog box

First, choose an appropriate Page Setup for proofing the fonts, from the Page Setup pop-up menu.
Note: If you forget to choose a Page Setup, the RIP uses the one that you chose last time you proofed
fonts. If you have not proofed fonts in this RIP session, the first Page Setup in the listing is used. To
change the order of this listing, see Reordering Page Setups on page 81.
Select the fonts you want to proof, and click Proof. You can select as many fonts as you like.

To select all the fonts listed, type Command-A.

Shift
To select a block of several fonts, select the first font in the block, and then hold down the Shift key
and select the last font in the block.

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To select several unconnected fonts, hold down the Command key while clicking to make your selec-
tion.
The RIP constructs a PostScript language job and then runs it, as if you had used Print File to print an
existing file. If other jobs are pending, the proof takes its place in the queue.
By default, proofs only show a sample of the full character set in a font. If you want a proof of the
complete set of characters, select the Proof fonts in long format check box.
Note: CID fonts can be proofed, but only in long format. FontSet resources cannot yet be proofed.

11.8 Removing fonts

You can remove most font types using the Delete Fonts command. The two exceptions to this are com-
posite and CID fonts.
• Composite fonts
We recommend that you remove a composite (Type 0) font using the font downloader supplied
with it. This will ensure that the leaf fonts are removed. In many cases this is also the only way
to recover a font license if the license restricts you to a fixed number of installs.
• CID fonts
CID fonts which you have installed using the Fonts menu Install Fonts option should be deleted
using the Fonts menu Delete Fonts option.
Note: If there is a CID font and, for example, a Type 1 font with the same name, the name is
listed twice. If you delete such a font, the RIP deletes the Type 1 font first; and then the CID
font, if you choose to delete again.
When you choose the Delete Fonts command from the Fonts menu, the RIP displays a dialog box, as
shown in Figure 11.4, where you can select the fonts to remove. As with the Install Fonts and Proof
Fonts dialog boxes, you can select as many fonts as you want.
When you click Delete, the RIP removes the fonts you have selected immediately.
Warning: If you remove a font, and then need to process a job that uses it, you will first have to rein-
stall it. There is no confirmation dialog box. Before clicking Delete be sure that you have the original
file from which you can reinstall the font.

Figure 11.4 Delete Fonts dialog box

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11.9 Composite fonts (Type 0)

The RIP provides full support for composite fonts. Because of their size, composite fonts are treated
specially. You cannot install all of them using the Install Fonts option, for example, and there are cer-
tain considerations you must make if they are to be used efficiently. See Downloading fonts to the RIP
on page 297 for information about installing composite fonts.
Composite fonts are usually very large, and can consume much computer time and memory. When-
ever a character is encountered in a job, a RIP must find its definition in the composite font, and then
convert it into a bitmap, before it is printed or previewed. If a RIP does this for every character in the
job, it will be very slow.
The RIP minimizes the number of character conversions it has to do by storing the results of conver-
sions in a RAM cache store. This means that the first time a character is seen, it is converted it into a
bitmap and stored in the cache. When that character is seen next, the RIP does not need to convert it
again because it can find the result immediately in the cache store. Significant savings in processing
time can be made using this method, especially when dealing with frequently used characters.
The RIP is able to cache more character data when more memory is available to it. We recommend
you allow extra memory in the range 16 MB through 32 MB. You will need more memory still if you
wish to cache several composite fonts. Try experimenting with memory allocation, as requirements
will depend on the fonts and types of job you have.
If you are going to use a composite font regularly, you should pre-load it into the RIP. See Pre-loading
fonts on page 298. Pre-loading makes the RIP slower to start up, but saves a great deal of time when
processing jobs that use those fonts.

11.10 Font substitution

Generally, it is preferable to use the exact font that was used in the design of the document. However,
there are times when this is not possible; a font may be corrupt; or the original font may not have been
sent with the original file. In such cases the only solution is to substitute with a font that is very similar
in design to the original specified font. The customer may ask you to do this to get the job done on
time.
If substitution were not available, the RIP would do one of two things: error and refuse to produce the
job or substitute a default font, depending on the setting of the Abort job if any fonts are missing option,
see Abort the job if any fonts are missing on page 145. Either result may be unacceptable.
One solution is to open up all the pages in the original application program and search and replace
every occurrence of the problem font. This is not ideal as it is time consuming; you may not have the
original application and if you miss one or two occurrences where the font was used, the processing
time would be wasted.
Having the RIP do the substitution for you‚ on the fly‚ is the best solution because all occurrences of a
font are guaranteed to be substituted.
In the RIP, the file SW/Config/FontSubstitution is automatically run as the RIP boots. You can
configure the following information in that file:
• Default font to use.

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• Default CID font to use.

• Font substitution table.
• CID Font substitution table.
In all cases the FontSubstitution file has many comments and is intended to be self-documenting.
A font substitution mechanism has been added which is similar (and in addition), to the existing font
substitution mechanism (defined by entries in the SW/Config/FontSubstitution file).
Whereas the existing substitution mechanism is unconditional, the new mechanism only attempts a
substitution if the initially given font name cannot be found. However, if a conditional substitution is
made, a message is displayed on the monitor indicating the substitution:
Warning: font <-name-> not found, using <-name-> instead

For example:
Warning: font Arial not found, using ArialMT instead.

You can silence this message by uncommenting the line in SW/Config/FontSubstitution which
specifies the /SilentCondFontSub key.
For more information see the Conditional Font Substitution section in the SW/Config/FontSub-
stitution text file.

11.11 The HqnFontSetStubs start up files

The Sys/ExtraStart/10HqnFontSetStubs and Sys/ExtraStart/20HqnCIDFontStubs files
are run by the RIP at startup and perform the following functions:

Sys/ExtraStart/10HqnFontSetStubs
Generates stub fonts for FontSet resources. The stub fonts will be installed on
the %fontset% pseudo-device.

Sys/ExtraStart/20HqnCIDFontStub
Generates the CID-keyed resources for newly-installed, and previously unde-
tected CID fonts and CMaps.
Either of these files may be removed if the functionality is not required. The numeric prefix to their
names is to force a particular running order; FontSet stubs should be created before CID font stubs,
because FontSet stub files may be CID fonts. The files in Sys/ExtraStart are run in alpha/numeric
order.

11.12 Font backup

The font backup utility allows you to easily transfer fonts from your existing RIP to a newly installed
RIP.
To use font backup, select a default Page Setup and RIP the file:
SW/Utilities/BackupFonts.ps

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This creates a file which effectively contains backups of font files, (and some other files) from the SW
folder.
A message appears in the monitor window informing you of the name of the PostScript language file
created.
When you have installed your new RIP, you should run this PostScript language file to install those
font files on your new RIP.

11.13 Font Emulation

When fonts requested by the job are unavailable to the RIP, some work flows benefit significantly
from being able to produce acceptable, readable copy using another font. This is particularly true with
rapid turnaround work flows typical of digital printing. To achieve this, emulated fonts are used to
produce suitable facsimile text based on the characteristics of the font that is being emulated in terms
of style, spacing, height and width. In this way, a suitable readable font with similar characteristics of
the target font is used in the place of a missing font.
Font Emulation is often acceptable when digital printing, and can be preferable to the file not being
produced at all.
Font Emulation is available from the Harlequin RIP Genesis Release and has the following charac-
TM

teristics:
• The ability to recognize the missing font by name.
• A database of style, spacing, height and width for each font name.
• The database currently contains over 1600 specified fonts.
• Font Emulation only supports the standard Latin characters.

11.13.1 Using Font Emulation

Font Emulation is enabled by checking the Enable font emulation option in the Page Setup Options dia-
log.
Once enabled, Font Emulation currently catches references to over 1600 fonts. The type of font that
can be emulated is not important because fonts are matched by name. If the font name is in the data-
base the font can be emulated. See Modifying the Font Emulation database on page 306 for informa-
tion on how to modify the font database.
Note: CID Fonts are not emulated.
If a request for a font returns an error, or anything other than the requested font, Font Emulation
first looks up the font name in the FontEmulation dictionary, and then, if necessary, may go on to
look up the font in the supplied database on disk.
If Font Emulation fails to emulate a font (for whatever reason), the RIP will behave as if Font Emula-
tion had not been switched on. That is, if the RIP is configured to abort jobs when a font is missing,
the job will abort; if the RIP is configured to substitute Courier for the missing font, Courier will be
used.

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There are two situations when fonts are emulated these are: when the font requested is not found or
when a font error occurs. The following sections describe the two scenarios:

11.13.1.1 Font not found

Font Emulation will be used for PostScript language and PDF files if:
1. The required font is not embedded in the job and
2. The required font is not installed in the RIP and
3. The required font is not handled explicitly by font substitution.
Font Emulation will only regard font substitution as successful if the font name returned by any
substitution is exactly the same name as the requested font. Therefore, in most cases Font Emu-
lation will override font substitution. If however Font Emulation fails, the font previously
selected for substitution will be used.
Currently there is not automatic way of excluding fonts selected for substitution from being
emulated. If you want to use font substitution instead of the emulated font, that font will have to
be explicitly disabled in the /SW/Config/FontEmulation file.
4. Font Emulation is enabled and
5. The required font is not disabled in /SW/Config/FontEmulation file and
6. The required font is defined or aliased in /SW/Config/FontEmulation or defined in the Font
Emulation database.

11.13.1.2 Font error

Font Emulation will be used for PostScript language and PDF files if:
1. A font error is encountered attempting to use a font embedded in a job or installed in the RIP
(this includes the error produced when selecting Abort the job if any fonts are missing in the Page
Setup Options window) and
2. Font Emulation is enabled and
3. The required font is not disabled in /SW/Config/FontEmulation file and
4. The required font is defined or aliased in /SW/Config/FontEmulation or defined in the Font
Emulation database.
Note: PDF files usually include a PDF FontDescriptor for each font required by the PDF file, even
for fonts which are not embedded. If Font Emulation is employed for a PDF file, the FontDescrip-
tor in that PDF file will be used in place of the emulation data in the RIP. Also, the FontDescrip-
tor can be used even if the font is not defined in the Font Emulation database or
/SW/Config/FontEmulation file.

11.13.2 Messages
When a missing font is successfully emulated the following message appears:
%%[ Warning: Font <...> emulated. ]%%

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Note: <...> is the name of the missing font.

If Font Emulation's attempt to get the required font returned an error, and the font is unable to be emu-
lated, the following error is generated:
%%[ Error: Font <...> not found. (Emulation unknown) ]%%

However, if the font returned is not what was asked for (for example, Courier), and the font cannot be
emulated, the following warning is output but the RIP will continue to use whatever font was returned:
%%[ Warning: Font <...> not found. (Emulation unknown) ]%%

That is, if a font is missing and it cannot be emulated, an error is only generated with emulation
switched on if there would have been an error with it switched off.
If the missing font cannot be found in FontEmulation or the database, the following message
appears:
%%[ Error: Font <...> not found. (Emulation not known)]%%

If emulation is switched off for a particular font, the following message appears:
%%[ Error: Font <...> not found. (Emulation disabled)]%%

If there is an error in the Font Emulation dictionary the following message appears:
%%[ Error: FontEmulation syntax /<...> invalid value. ]%%

In the unlikely event of an internal emulation font being replaced by a normal font, the following mes-
sage appears:
%%[ Error: Font <...> not found. (FontEmulation installation}]%%

11.13.3 Modifying the Font Emulation database

You are able to add to or modify the Font Emulation database using the file SW/Config/FontEmu-
lation:

• Aliasing of a font in the database so an identical font with a different name can be emulated.
• Switching Font Emulation off for a specified font. This is useful if a corporate logo is using a
font in the database.
• Override a font definition in the database.
• Add a new font definition to the database.

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Calibration

This chapter discusses calibration of output devices. Calibration involves the measurement of test
images produced on an output device and the use of those measurements to produce stable images
with good tonal values: here, good means consistent and usually linearized (in some measurement sys-
tem). Some devices have a published specification that you can use in place of measured data: this is
true of many printing presses. In demanding applications, you may use several different calibrations
on the same device, according to the settings on the device or within the RIP.
This chapter describes how you can produce suitable test images (called targets or test strips), measure
their characteristics, then enter or edit calibration data, while Chapter 5, Configuring Output Formats,
describes how you can choose different calibrations when producing output.
A mechanism is provided that enables a third-party application to push calibration sets into the RIP. It
is intended to replace the method used by some vendors to emulate the processing performed by Glo-
bal Graphics’ Genlin tool, and to avoid the need for a final manual step to import the calibration data.
Calibration sets may be submitted as a PostScript language file to the RIP, calling the PushCalibra-
tion procedure in the HqnPushCalibration procset. Calling this procedure does not trigger any
raster output, and files may be submitted through any input channel configured on the RIP, such as hot
folders, Unix-style sockets and so on. For more information on this see the Push Calibration Harle-
quin Technical Note 081.

12.1 Why calibration is needed

Regardless of the accuracy of an output device, the media and other consumable items can vary and
have an effect on the output. For example, an imagesetter may produce an accurate and stable expo-
sure of the media on which it is imaging but the reaction of that media varies from paper to film, and
from one media manufacturer to another. Also, laser dots are never square (as in an idealized raster),
they usually overlap, often cannot resolve a single pixel, and cannot always be turned off between
adjacent pixels. Similarly, in direct output devices, overlap of toner dots in laser printers or ink spread-
ing in inkjet devices often produces a deviation of some kind between required gray levels and those
actually output.
Whatever the physical reason, the result is variability or non-linearity and some adjustment is almost
always necessary to compensate for these physical artifacts. This is called calibration.

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Note: In almost all output devices, a solid (100%) black area prints as a 100% black area, and white
always prints as white. Any failure to achieve this degree of faithful reproduction usually indicates a
problem or maladjustment in the output device, which you must cure before attempting calibration.
Consider the irregular solid line in Figure 12.1. It shows an example of the kind of response typically
seen from red-sensitive paper on a Helium/Neon-based imagesetter. The diagonal dotted line repre-
sents the theoretical line that would be shown for a perfect material. The arrowed lines show how if
you request a 50% tint you will actually see something like a 65% tint on paper, when measured with
a densitometer.
When setting flat tint areas for monochrome print work, variation in gray level is often immaterial
because the relatively small tonal variations encountered will not be visible to an untrained eye. But as
soon as scanned images are introduced into monochrome work, it becomes apparent that highlight and
shadow detail is lacking and, typically, that the image is darker than expected. The higher the halftone
frequency used, the more the shadow areas will fill in and highlights will lighten and the more neces-
sary calibration becomes.
Color process work brings the problem into flat tint work as well, because variations of only a few
percent from the requested value in just one of the color plates can throw the final apparent color well
away from that intended.
Note: Calibration is important in color work, but it is not a complete answer. Calibration is sufficient
only where the originally requested colors are prepared with the final output device in mind; calibra-
tion can adjust the individual color values but not the hues of those colors. A color management sys-
tem is required to make adjustments which change hues, as for example in digital proofing.
The RIP allows calibration sets to be built for particular configurations. By choosing appropriate cali-
bration sets, you can make the RIP correct for variations caused by different output devices, line fre-
quencies, exposure values, dot shapes, and negative / positive setting.

100
Gray level measured from paper ( % )

80

60

40

20

20 40 60 80 100

Gray level requested ( % )

Figure 12.1 Response of red-sensitive paper on a Helium/Neon-based imagesetter

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12.2 Calibration and linearization

Linearization is a special case of calibration, commonly used when producing output on an imageset-
ter.
Linearization is the process of adjusting values on output so that the result is proportional to the values
requested, in some suitable measuring system. On film, this is usually a matter of ensuring that the
gray levels produced are the ones you request in halftone dot area coverage. For example, if you ask
for a 42% tint in your page make-up application then, after linearization, the output device produces
that 42% tint correctly.
Note: Calibration can only provide the desired output to the accuracy with which you can measure
gray levels, and with which the output device can produce them. See Assessing attainable accuracy on
page 323 for details.

12.2.1 Non-linear devices

It is an established industry practice to accept non-linearity in the transfer from film to printing press.
Frequently, whoever performs the scanning or layout design uses their judgement to introduce a com-
pensatory adjustment in the scanner settings or choice of tints, basing the compensation on the kind of
printing press to be used.
Calibration is still a valuable process in this scheme but the purpose is to produce a known and repeat-
able non-linear transfer.
It is possible to create a single calibration set that compensates for the combined characteristics of an
imagesetter and a printing press, but this scheme is inflexible and clumsy where several imagesetters
and presses may be used in various combinations. Also, you cannot account for absolute density vari-
ations.
A more flexible approach, and one provided by the RIP, is the ability to produce and use a calibration
curve for each color of a printing press, applied separately from film linearization. This improves the
accuracy and ease of compensating for the dot gain of, for example, Harlequin Dispersed Screening
(HDS). HDS screens gain more on press than conventional screens. Calibrating the press for use with
an HDS screen replaces a laborious and approximate compensation previously possible only by
changing the film linearity settings or scanning with HDS in mind. Note that although an imagesetter
is not a multi-color device, you can create a separate calibration curve for each color, to take account
of the different screen angles.
See Press calibration on page 325 for details of press calibration.

12.3 Calibration in the Harlequin RIP

The calibration facilities allow several ways of working:
• You can measure calibrated or uncalibrated targets.
This means that you can print a calibration target with the previous calibration applied and enter
only the values that are in error‚ possibly saving time and materials. Alternatively, you can start
again with an uncalibrated target as if no calibration exists. See Establishing a workflow on page
320 for a discussion of the advantages and advisable controls.

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• You can create a separate calibration curve for each channel of multicolor devices, for example
color ink jet printers and printing presses. If the output device or printing press supports addi-
tional colorants, you can create separate calibration curves for spot colors.
Although an imagesetter is not a multi-color device, you can create a separate calibration curve
for each color, to take account of the different screen angles.
• If you are preparing a job for a printing press, you can create separate calibration curves for
output to film and output to a printing press. If you are not using Harlequin ColorPro, you can
retarget a job from its intended printing press to another printing press, using a separate calibra-
tion set to remove the compensation for the gain of the intended press. See Press calibration on
page 325 for a discussion of the background issues.
• Tone Curves allow you to make another set of color adjustments, in addition to the device cali-
bration and the press calibration. See Tone curves on page 324 for details.
• You can use different measuring systems, as appropriate for the kind of output device and mea-
suring instruments.
Additionally, these features are arranged so that is easy to add and use the advanced facilities provided
by the ColorPro options. The extra facilities and changes of procedure associated with ColorPro are
described in the separate Harlequin ColorPro User’s Guide.

12.3.1 Accessing calibration functions

The Harlequin RIP Output menu contains the Print Calibration and Calibration Manager commands.
The Calibration Manager is also available from an icon button alongside the Calibration pop-up menu
in the Edit Page Setup dialog box.
Use the Print Calibration command to display the Print Calibration dialog box. From here, you can
print test strips (targets) which enable you to measure the characteristics of your output devices.
Note: If calibration strips are used then late color management is disabled. See Notes on Use late color
management on page 369.
Use the Calibration Manager command to display the Calibration Manager dialog box. This allows you
to create and edit calibration sets using measurements from test strips or published figures, and to
enable or disable the use of particular calibration sets. The consequence is that you can adjust for day-
to-day or printer-to-printer variations in ink density and similar variations in the exposure of imageset-
ters and platesetters.

12.3.2 Calibration sets

A calibration set is a piece-wise linear curve that maps requested tint levels to actual tint levels and
has some associated information including the intended output resolution, exposure, dot shape, range
of screen frequency, and negative / positive settings that the calibration set has been prepared for.
Whenever you select one or more calibration sets in the Edit Page Setup dialog box, the RIP uses
those calibration sets to output jobs.

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12.4 Example procedure

The following procedure outlines basic cases in which you can create and apply a calibration set for a
simple monochrome or color device driven directly by the RIP. The same principles apply to more
complex cases involving color devices and printing presses.

12.4.1 Devices and requirements

Although an imagesetter is not a multi-color device, you can create a separate calibration curve for
each color, to take account of the different screen angles.
To create calibration sets, you need a reliable and accurate densitometer that is reflective for paper and
transmissive for film. The densitometer that you select should ideally display dot coverage in percent-
age terms, rather than simple density readings, since calculating coverage by hand is time-consuming
and prone to errors.

12.4.1.1 Devices requiring exposure settings

The procedure for a device such as an imagesetter needing a correct exposure setting is:
1. Where appropriate, establish the correct exposure for the device.
2. Print and measure a calibration target.
3. Use an Edit dialog box to enter the data and label it with the information describing its use. You
may also want to inspect the resulting curve and smooth or edit the data values. This is where
you name the calibration set.
4. Apply the calibration set you have created and check that it provides good output.
Section 12.4.2 through Section 12.4.5 describe these steps in more detail.

12.4.1.2 Devices without exposure settings

The procedure is simpler for a device that does not have an exposure control, such as a color inkjet
printer supplied with reference calibration sets.
Note: It is very unlikely that you will achieve good results if you try to use an inkjet printer without a
reference calibration set (or other control of ink delivery). The typical response of an inkjet printer in
its raw state is to produce very dark images and deliver so much ink that there are severe problems
with drying time or ink running across the printed page.
Supplied reference calibration sets or calibration profiles define an ideal or reference printer. Using a
reference calibration set greatly improves output, but the response of your printer (the user printer)
may differ from the reference printer because of small but inevitable variations between printers. You
may be satisfied with the reference calibration. To obtain the best output you can calibrate the user
printer so that it responds in the same way as the reference printer; this produces your own calibration
set that you can use in your Page Setup, and edit or update as required.
When you create a Page Setup the Calibration entry must match the combination of device, media, and
resolution being used. This is true for both supplied calibration profiles and your own calibration sets.

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Note: You can tell apart supplied calibration profiles and calibration sets that you have created
because most supplied calibration profiles appear in the Edit Page Setup dialog box with parentheses
( ) around the name shown in the Calibration list. See the documentation for the relevant output plu-
gin if you are in any doubt about identifying the entries in the Calibration list.
The Page Setup you use to print a target can use either kind of Calibration entry:
• To create your own calibration set for a device for the first time your Page Setup must use a
supplied calibration profile for the device.
• To edit your own calibration set your Page Setup must use that calibration set.
Once you have identified or created an appropriate Page Setup, follow the steps below to print a target
using this Page Setup:
1. Use the menu option Output > Print Calibration and choose your Page Setup in the From Page
Setup(s) list.

2. Choose the type of target that you wish to print from the Print For menu. Process Colors
only is often suitable. See Print Calibration dialog box on page 329 for details of all these
options.
3. Prepare your printer‚for example by loading the correct paper and click Print uncalibrated target.
(Enable output in the Output Controller if necessary to get a printed target.)
Note: You must print the target on the paper for which the calibration profile or set was created
in order to obtain an accurate calibration set.
4. Wait for this target to dry thoroughly before attempting to measure it. Even when a target
appears dry, It can take ten minutes or more for some combination of inks and media to stabilize
completely so that the colors are no longer changing and the target is unaffected by handling.
You can then follow the rest of this overall example procedure from Creating a calibration set on page
316.

12.4.2 Choosing the correct exposure

For devices such as imagesetters where calibration is performed with respect to dot area coverage, the
first step is to ensure that your output device is set up with the correct exposure. Attempting to cali-
brate an imagesetter with badly adjusted exposure settings will waste a lot of time and film, and may
lead to undesirable effects at plate-making time, such as variable dot gain. Run a series of test pages at
varying exposures to determine the setting required to give a solid black and a clear white.
You are likely to need to select a different exposure for each combination of media and resolution.
Halftone frequency and dot shape will not affect required exposures significantly. However, the media
and the chemistry of the developer used can make a big difference: stable developer chemistry is very
important for accurate calibration.

12.4.2.1 Printing exposure tests

Choose an appropriate Page Setup. This should set the correct output device, output resolution, and
negative / positive settings, dot shape, and screening details if appropriate. The dot shape and screen-
ing details are set in the separations style of the Page Setup. The exposure is unimportant at this stage:

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you will override it to make the test print. Creating a calibration set on page 316 describes how to cre-
ate a calibration set for this Page Setup.
Note: If you are using a drum device with variable film feed, you will usually want to rotate the page
or select film saving when printing test strips. See Advanced Media Saving on page 119 for details.
Choose Output > Print Calibration. The RIP displays the Print Calibration dialog box, shown in
Figure 12.2.

Figure 12.2 Print Calibration dialog box

Select an appropriate Page Setup in the From Page Setups list.

Note: If you forget to choose a Page Setup, the RIP uses the one that you chose last time you used the
Print Calibration command. If you have not used the Print Calibration command in this RIP session, the
first Page Setup in the list is used. To change the order of this listing, see Reordering Page Setups on
page 81.
Note: Some settings in the chosen Page Setup are ignored or altered‚ notably those in a ColorPro color
management option that would change the color of a graphic object.
Each button creates a slightly different target (test strip) or series of targets. To create the appropriate
series of targets for the example procedure, you need to set up some values and then click Print expo-
sure sweep.

Note: If your output device does not support software exposure control, run the tests manually
instead, according to your output device manufacturer’s instructions. Typically, you would set the
exposure manually, click Print uncalibrated target, and repeat for each exposure value.
Print exposure sweep uses the values in the associated From, To, and Step text boxes to print test strips at
each of several exposures in the range.

12.4.2.2 Messages
Calibration and color management is setup as normal when running a calibration target. This is differ-
ent to previous behavior where it was not setup. At the start of the target procset, everything that has to
be turned off is turned off.
The target procset now gets information about its environment from PostScript language data in set-
calibration and various color management operators. Therefore, calibration and color manage-
ment must be setup normally for this information to be present.

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A manifestation of this is that when running calibration targets the normal messages for calibration
and color management are displayed, followed by a number of extra “switched off”messages, for
example:
Setup loaded: "Default Page Setup"
Starting Job On, 10 May, 2011 10:27:13
Using Color Setup "testing"
Using calibration for device "Glossy Photo Hvy 720"
Color management switched off for calibration job
Tone curve calibration switched off for calibration job
Intended press calibration switched off for calibration job
Actual press calibration switched off for calibration job
Device calibration switched off for calibration job
Running Uncalibrated Target for Default CMYK + spot colors target:

Only the relevant messages appear, that is, if color management is not enabled, its switched off mes-
sage will not appear.

12.4.2.3 Acceptable exposure values

The ranges of values that you can enter into the From, To, and Step text boxes are dependent on the
output device. On several types of device, the values do not form a continuous range. Read the manual
for your output device carefully before entering any values.
The Harlequin RIP makes exposure tests over a range of exposure values by starting at the first expo-
sure value that you want to produce, and then at regular steps up to and including a last exposure
value. For example, if you want to print test pages at exposure settings of 120, 125, 130, and 135, then
type 120, 135, and 5 into the boxes. Typically, each test page is just over 2 inches long.
Care: If you are using an output device where increasing exposure values do not necessarily mean
increasing laser intensity smoothly at the film surface, take care in selecting the settings for this dialog
box. If necessary, print out two sweeps; for example, 225 through 230 and 100 through 120.

12.4.2.4 Checking the target

Each of the test pages should look like that in Figure 12.3 unless you choose a composite Separations,
Screening & Color Style, in which case you will output a vertical exposure test page with all colors on
a single page. In addition, if you choose CMYK halftone output you will produce four individual test
pages, one for each separation. (Test pages designed for use with densitometers that move the media
automatically may look slightly different, often having one strip of patches for each color, and it is
possible to have custom targets supplied with each output device driver.)

Figure 12.3 Uncalibrated exposure sweep test page

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If you have a densitometer, select the correct exposure by reading the density values of the two
squares labeled D Max/Min on each of the test pages from your exposure sweep. (Measure both
squares to check for a uniform exposure across the page.) Optimum density varies from material to
material, but generally a densitometer reading of between 3.5 and 4.0 is acceptable for film, and
between 1.8 and 2.0 for paper. (The densitometer should of course be switched to give density read-
ings rather than dot percentage readings.)
If you do not have a densitometer, you can still use this page to select an approximate exposure set-
ting: study the fine detail in the bottom left of the page, and select the exposure that gives clear, fine
white detail in black areas and vice versa. As an additional guide, you should be able to tell the differ-
ence between the 0% and 2% tint panels, and between the 98% and 100% panels. (These figures are
for film or bromide: inkjet output can be black from the 80% patch upwards.)
Keep the strip that you decide has the right exposure: you can measure values from it to create the cal-
ibration set. If you think a value falling between those used in your exposure sweep might be better,
print a new target at that exposure. For example, set Exposure in the Edit Page Setup dialog box and
then use Print uncalibrated target. You can only set the Exposure in the Edit Page Setup dialog box if
your output device supports software exposure control, otherwise the option is grayed out.

12.4.3 Creating a calibration set

You can create a calibration set after you have measured data from a target or obtained it elsewhere:
for example, from a manufacturer’s specification for the device.
Choose File > Page Setup Manager. The RIP displays the Page Setup Manager. Select the Page Setup
for which you printed the exposure test (or single calibration target) and click Edit. In the Edit Page
Setup dialog box, set the Exposure to the chosen value. If your output device does not support software
exposure control, the Exposure option is grayed out and you may have to set the exposure manually.
Click the Calibration Manager button to open the Calibration Manager, shown in Figure 12.4. This but-
ton is next to the Calibration and Tone Curves pop-up menus.
Calibration sets are grouped by device and by color space. When you open the Calibration Manager
from the Edit Page Setup dialog box, the RIP displays the calibration sets for the current device and
current color space, if any have been created. The choice of separations style determines the color
space. When you first open the Calibration Manager after installing the RIP, the list box is empty.

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If you open the Calibration Manager using the Output > Calibration Manager command, select the
appropriate device from the Device pop-up menu and, if necessary, select a color space from the Color
Space pop-up menu.

Figure 12.4 Calibration Manager dialog box

The column headings are various properties of a calibration set. The first column in the list is the name
of the calibration set and the last column is the edited or unedited status of the calibration. Each of the
remaining columns in the list corresponds to the name of one of the warning criteria in the Edit
Calibration dialog box. See Calibration Manager dialog box on page 331 for full details.
Click New to create a new calibration set for the first time. The RIP displays an appropriate version of
the Edit Calibration dialog box.
Subsequently, you will probably edit the set, as described in Editing calibration sets on page 320.

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12.4.4 Entering the data

When you edit a calibration set, the RIP displays the dialog box shown in Figure 12.5.

Figure 12.5 Edit Calibration dialog box

If you leave the Edit calibration dialog by selecting Cancel the new values will not be saved and the
calibration will work as before. If however, you decide to save the new values the calibration will
work using the default curve and will produce more accurate results.
When you click New to create a new calibration set, you enter the Edit Calibration dialog box for an
uncalibrated target with all Warning criteria boxes empty. The warning criteria list the resolution, dot
shape, screen frequency, and so on that this calibration set is intended to work with.
At least, you must:
• Name the new calibration set.
• Show what kind of values you are measuring.
• Provide data values.
You should also use the Warning criteria boxes to show which settings the calibration set is intended to
work with.
Edit Calibration dialog box on page 335 describes how to use all the items in this dialog box, but this
short procedure mentions the essential items:
1. Type a name into the Name text box.

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2. Choose the type of measurement you are making from the Measurements as pop-up menu drop-
down list.
3. Measure the dot coverage percentages from densitometer readings taken from the target that
you chose in the procedure Choosing the correct exposure on page 313 and enter these values
into the labeled boxes for calibration data. (The Import button allows you to import data values
taken from a file.
Note: Each value you enter must be consistently greater than the preceding value (or less than it
if you are using a negative film or meter).
The Smooth button allows you to smooth the ends of the graph (and by doing so, the values of
the calibration set) in small steps. If a set of values are out of range or non-monotonic a warning
will appear when you try to exit from the dialog.
4. In the Warning Criteria panel, enter the settings used to create the target: resolution, dot shape,
screen frequency, exposure, and say whether it applies to both negative and positive settings.
Note: If you create a calibration set from the Edit Page Setup dialog box, you need only select
the Warning criteria check boxes. The RIP takes the default settings from the Page Setup you are
editing.
Click OK to save the calibration set.
You can create a new calibration set, or save all the changes you have made to date by clicking OK in
the Calibration Manager.
You can create or edit a calibration set in the Calibration Manager, even if you do not want to use it in
the current Page Setup. Once you have saved the new calibration set by clicking OK in the Calibration
Manager, it will remain even if you Cancel the Edit Page Setup dialog box. If you opened the Calibra-
tion Manager from the Edit Page Setup dialog box, you can also save the changes by clicking Select. In
addition to saving the changes, using the Select button displays the selected calibration set in the Cali-
bration control in the Edit Page Setup dialog box.

If you click Cancel in the Calibration Manager, you discard all changes to calibration sets that you
have made since you opened the Calibration Manager.
When you edit a calibration set for color data, the procedure is very similar, except that you must enter
data for each color channel. Note that although an imagesetter is not a multi-color device, you can cre-
ate a separate calibration curve for each color, to take account of the different screen angles.

12.4.5 Applying the calibration

You must select a calibration set from the Calibration pop-up menu in the Edit Page Setup dialog box
in order to use it. Subsequently, you can save the Page Setup and recall both the Page Setup and its
corresponding calibration set as required.
Select your new calibration set in the Edit Page Setup dialog box, and click OK to save your changes
and close the dialog box. Click OK in the Page Setup Manager.
Return to the Print Calibration dialog box, choose the Page Setup in which you have chosen the new
calibration set, and click Print calibrated target. You should see improved tonal rendering in the cali-
brated target.

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Measure the tint values on this calibrated target. If the values are wrong in any patches, reread these
tint patches on the original exposure sweep target, and edit the values in the calibration set again.

12.5 Editing calibration sets

The procedure described in Example procedure on page 311 is adequate for creating new calibration
sets. This section describes how you can choose a strategy to keep calibration up to date, choose
which calibration sets to use, and edit existing calibration sets.
There are three more general sections: Consistency of calibration on page 323, discusses establishing
and maintaining calibration; Tone curves on page 324 describes tone curves calibration; and Press cal-
ibration on page 325 describes press calibration.
For details of the individual dialog boxes, see Print Calibration dialog box on page 329, Calibration
Manager dialog box on page 331, and Edit Calibration dialog box on page 335.

12.5.1 Establishing a workflow

There are three possible workflows for maintaining calibration:
• Historical record.
• Recalibrate every time.
• Adjust for drifts in calibration.
It is usually best to use the same method for any one device. It is possible to change from one to the
other, but you may see values in the Edit Calibration dialog box which, though correct predictions, are
not values you recognize because they have been calculated by the RIP.

Historical Sometimes it is desirable to keep a historical record of calibration sets. In this

case, an uncalibrated strip or target is printed on each occasion when calibra-
tion is carried out, and a new calibration set created (with the New button).
The new calibration set must be selected explicitly in the Edit Page Setup dia-
log box each time.

Recalibration This is the conventional method. Here an uncalibrated strip is printed each
time calibration is required. On the first occasion, a set is created with New.
On subsequent recalibrations, Edit from uncalibrated target is selected and the
values in the dialog box changed to reflect the new readings from the strip.
Then a calibrated strip is printed and the linearity of the result is checked, and
if the linearity is unsatisfactory another uncalibrated strip is printed to correct
the flaws. (The new calibration values are in the existing set, so there is no
need to select a new calibration set in the Edit Page Setup dialog box.)

Adjustment Here a calibrated strip is printed on each occasion (except the first when an
uncalibrated strip is printed to enter the values with New). Edit from calibrated
target is selected. This should then show the perfect values. If the device has
changed, these values will be a little in error and the new values can be

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entered. A second calibrated strip can be printed to check the result. (Again,
the new calibration values are in the existing set, so there is no need to select
a new calibration set in the Edit Page Setup dialog box.)
Note: When working in density rather than percent dot, it is not immediately
obvious what the correct values should be; Edit from calibrated target provides
this information.
However, whatever method is adopted, the most important rule is to match the edit command to the
type of target. To be explicit:
• When entering measurements using uncalibrated test strips, always do so with Edit from uncali-
brated target (or New).

• When using calibrated test strips, always do so with Edit from calibrated target.
Calibration will be completely wrong if you do not follow this rule.

12.5.2 Variations on the Edit Calibration dialog box

When you edit a calibration set, the RIP displays the dialog box shown in Figure 12.5, on page 318.
This dialog box lists the resolution, dot shape, screen frequency, and so on that this calibration set is
intended to work with. You can change these settings as necessary. See Edit Calibration dialog box on
page 335 for details of all controls.
There are variations on this dialog box for calibrated and uncalibrated targets and for tone curves,
printing presses, and other devices. These variations include the nature of the values you enter to
define the curve and the color channels you can select.
The title of the dialog box changes to show the kind of target and the device. The general form of the
title is:
Edit <calibrated/uncalibrated> target for <Device name>

<calibrated/uncalibrated>
depends on which edit button you clicked in the Calibration Manager.

<Device name>
is the selection in the Device pop-up menu in the Calibration Manager.
When you edit the calibration set for a printing press, the differences are:
• The presence of a Press pop-up menu in the Warning Criteria panel. In this case the default cali-
bration set is determined by the selected profile.
• The types of measurements available in the Measurements as pop-up menu.
When you edit the calibration for tone curves, the differences are:
• The options in the Warning Criteria panel are unavailable (except for the Use for Pos & Neg
option for monochrome devices).
• The Force solid colors option is unavailable.

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12.5.3 Choosing and labeling calibration sets

It is important to choose a calibration set that is appropriate for the job you are processing. If you set
the warning criteria for a calibration set, the RIP warns you if the settings in the Page Setup or job
conflict with these criteria. By setting a Page Setup option, you can tell the RIP to abort any job that
fails the criteria. See Warning Criteria panel on page 336 for details.
Name the calibration set carefully, so that you can identify all the parameters associated with it. For
example, it may not be sufficient to name the calibration set with the chosen resolution, since the dot
shape and line frequency could also affect the calibration.
Most settings have obvious single values. Screen frequencies and positive / negative settings need
some discussion.
Screen frequencies are given as a range to indicate the range of frequencies for which the set is valid.
It is a good idea to start by working out which frequencies you expect to use‚ for example, 85, 100,
112, 120, 133, 150, 175 lpi, and so on. You can then create ranges centered on each of these values‚
for example, 75 to 93 lpi, 93 to 106 lpi, and so on. You do not have to create calibration sets for the
full range of frequencies. You may find, for instance, that the lower frequencies do not need calibra-
tion, either because the output device is fairly accurate at these values, or because the work you do at
those frequencies does not demand accurate output. Also, it may be that the same calibration set will
apply to a wide range of frequencies‚ for example, 100 to 300 lpi.
You must inform the RIP about the various combinations of positive and negative output and measur-
ing devices.
The Measurements as pop-up menu allows you to tell the RIP which densitometer mode you used when
performing your density readings. Some densitometers read in positive dot, others in negative dot (that
is, a clear area may read 0 (zero) or 100).
For a monochrome device, you can specify what kind of output you are measuring using the Negative
media check box.

The Use for Pos & Neg check box allows you to record whether the RIP can use this calibration set for
both positive and negative output, or only one. The default setting of this box (selected) is usually the
best to use, but for very accurate calibrations, apply this setting only to Euclidean dot shapes. (See
Chapter 6, Screening for a description of Euclidean screening.) When this check box is not selected,
the RIP uses the calibration set only for positive or negative, as set in Negative media.

12.5.4 Saving calibration sets

Click the OK button to save the calibration set. You can then edit a different calibration set, create a
new calibration set, or save all the changes you have made by clicking the OK button in the Calibra-
tion Manager. If you opened the Calibration Manager from the Edit Page Setup dialog box, you can
also save the changes by clicking the Select button. In addition to saving the changes, the Select button
displays the selected calibration set in the Edit Page Setup dialog box.
If you click the Cancel button in the Calibration Manager, you lose all the changes to calibration sets
that you have made since you opened the Calibration Manager.

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12.6 Consistency of calibration

Once you have produced a number of calibration sets for a device, you must be sure that they continue
to be accurate to an acceptable degree, and that you use them appropriately. This section describes
what to do and check in routine use.

12.6.1 Checking calibration

Once you have produced a calibrated output successfully, you need only check that the calibration
remains stable. Do this at suitable time intervals, which may vary from twice a day to once a month‚
depending on your requirement for accuracy and what you learn about the stability of your systems.
Even if you check calibration sets only occasionally, always check them when your imaging or pro-
cessing environment changes. For example, when you load film, ink, or ribbon from a new production
batch, or change your processor speed or temperature. In many cases, it may also be advisable to
check exposure settings.
To check the calibration, click Print calibrated target in the Print Calibration dialog box and measure
the density of the tint panels.
If the value for any tint panel drifts outside your acceptable range, you can use data from the calibrated
target to correct the calibration set. You need record only the values that are in error. Display the Cali-
bration Manager dialog box, select the calibration set, and then click Edit calibrated target. In the Edit
Calibration dialog box, enter the newly measured value or values. (Alternatively, you can click Print
uncalibrated target in the Print Calibration dialog box, read all the densitometer values from that target,
and then use Edit uncalibrated target to edit the calibration set appropriately.)

12.6.2 Assessing attainable accuracy

It is relatively easy, using these procedures, to maintain the accuracy of calibration data on an image-
setter using film. This accuracy can be within 2% of a perfect result. The accuracy obtainable with
bromide paper is far lower, and it is not feasible to maintain densities closer than about 5%. (One rea-
son for having a less accurate requirement for bromide paper is that two densitometers are likely to
show much larger differences when measuring the same piece of paper, than when measuring the
same piece of film.)
When assessing your required level of accuracy, take into account the accuracy of the imaging engine
itself: an imagesetter rated as having a variation of less than 2% across the film cannot be expected to
be able to produce work calibrated more closely than this.
Some reasons for inaccurate imaging are:
• A coarse screen may not be able to reproduce an exact percentage value or may provide vary-
ing readings depending on where in a patch a density reading is taken.
• Values intermediate between patch values are interpolated. This process is never perfectly
accurate.
• Some imaging technologies produce variations in tones depending on where in the page the
tones are located, and some produce output that depends on the tones in neighboring areas of
the page.

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Other, variable, factors that can significantly affect calibration results include the following:
• The temperature (especially the consistency of the temperature) at which the imagesetter and
the film processor are maintained.
• The length of time and the temperature at which film, paper, or ribbons are stored.
• Whether the processor is used for other materials (for example, duplication film) as well as
imagesetter film.
• The time between photographic processing and measurement. Many films have a colorant that
fades rapidly after processing.
• The time and storage conditions between printing and measurement. The output from inkjet
and dye-sublimation printers can alter significantly over a period of weeks, or even hours if
subjected to bright sunlight.
Reasonable calibration can normally be achieved easily, but for very high quality calibration a consid-
erable amount of care in setting up and controlling the imagesetting environment is required.

12.7 Tone curves

Tone curves allow you to make another set of tone or color adjustments, in addition to the device cali-
bration and the press calibration. In a properly controlled workflow you should have little need to use
tone curves but you may find that they offer a quick and effective way of working around short-term
difficulties such as lack of calibration facilities or badly formed jobs that you cannot easily correct in
the job.
For example, you may have to process a particular set of images where the correct calibration does not
produce an acceptable printed result. There are two common cases. You may be able to produce a tone
curve using exact data, perhaps coming from a known setting in scanning or later processing. Alterna-
tively, you may wish to emphasize a color or tonal range in response to artistic direction, such as a
request to boost the mid-tone magenta component by 10%.
In all cases, the tone curve is an exact record of what you have done, kept separate from the device and
press calibrations.

12.7.1 Creating and using tone curves

To create tone curves, select the Tone Curves device in the Calibration Manager. Create the calibra-
tion set for the tone curves in the usual way, entering data values for the patches and possibly using
Smooth.

You apply tone curve calibration sets using the Tone Curves pop-up menu in the Edit Page Setup dialog
box.
For the Harlequin RIP version 5.1 revision 1 and later, tone curves behave in the opposite sense to
device and actual press calibration curves. This normally means that you enter higher values where
you wish to see more output.

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For example, assuming a positive-reading system where 0% is no output and 100% is full density or
coverage, enter values higher than the nominal values of the patches to produce more output for a
given input.
Note: In the Harlequin RIP version 5.1 revision 0 and earlier, tone curves behaved in the same sense
as device and actual press calibration curves; in these earlier versions, for the example just given, you
had to enter lower values where you wished to see more output.

12.8 Press calibration

Press calibration allows the RIP to make press adjustments to the density of the ink on paper on a
printing press independently from the intermediate medium (usually film) used to prepare printing
plates.
Press calibration can also be set up to work in absolute density measurements instead of halftone dot
area coverage, which means the actual color can be predicted rather than just its relationship to the
maximum and minimum densities, as on film.
Press calibration provides these facilities:
• The press can be put into the same state as some reference state.
Though this can often be achieved by adjusting press controls, the RIP provides a finer degree
of tuning than just the maximum density or midtone controls common on the press.
• The press can be accurately tuned for Harlequin ColorPro.
• An adjustment can be made for a different press from the one for which the job was originally
prepared.
This might be needed because it really is a different machine, or because the dot-gain character-
istics have changed over time: for example, as the blankets have worn.
• An independent adjustment can be made to compensate for changes to the job after scanning
and so on, which affect the gain on press, such as substitution of HDS screens.
• The gain of the press can be expressed in relative terms.
This form is common in manufacturers’ documentation: for example 20% at 70%, rather than
the more common measure on film as 70% reads 90% (which is equivalent).
• Readings can be estimated from a small number of data points supplied by the manufacturer.

12.8.1 How does press calibration work?

Conventionally, a color job is prepared by combining scanned pictures with application-generated text
and graphics. In this process there are two assumptions made:
• The film to which the resulting raster will be first directed is linearized, that is if the job
requests a 25% gray value, a densitometer would read 25% on that area of the film.
• The press will gain further (a lot further usually) and the scanner operator takes this into
account when preparing a scan. This means the scanner operator must know or guess the gain
of the target press. It also means that the colors in application-generated graphics are similarly

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produced by guesswork, experience, or by reference to samples printed on a similar press (pre-

vious work, or more likely chosen from swatches in an appropriate PANTONE Color System
or from a system with a similar intent).
The consequence is that if the gain of the press is not as expected, then the job will not print correctly.
This might be because:
• It is not the press originally intended.
• The dot gain has changed (or was never known).
• The dot gain was assumed for some particular rendering process, which has changed.
For example, you may be using a HDS screen which gains more on press than conventional
screens. The film can be linearized as normal, and a further adjustment made to account for the
difference between the HDS screens and the conventional screens. By separating the two adjust-
ments, it is now possible to linearize to film again without having to repeat the whole process.
Whichever of these reasons holds, the job has the gain of the press already accounted for. This means
that the overall effect of calibration in the output path is to first apply any primary calibration to
remove compensation for the gain of the intended press, and then to compensate for the gain of the
actual press.
Note that the intended press calibration is not available when ColorPro is enabled. Instead, ColorPro
provides several options for processing color data ahead of the transfer to press: these options include
emulating the output of one press on another type of press. For details, see the separate Harlequin
ColorPro User’s Guide.
For this reason, the process is split in two:
1. You give the gain (expressed as a calibration set) of the intended press, which may be one of:
• A standard press
Some standard presses are built in to the Harlequin RIP.
• A variation on a standard press
A typical variation is, for example, an extra 5% gain at 50% over SWOP Type 1 printing
but with essentially the same shape of gain curve. You can create such calibration sets in
the RIP by extrapolation from the standard curves provided with the RIP.
• A real press
This press might be one of a group of similar presses, another of which may be used to
print the job. Alternatively, this same press may actually print the job, but can no longer
print with the same gain as assumed when making the scans.
2. You give the gain of the actual press. The calibration here is expressing the adjustment needed
to put the press back into its reference state (what the press looked like when first calibrated),
which is not usually a linear state, but the characteristic dot-gain curve of a printing press.
The RIP can then do the calculations which account for the difference. This separation allows the
actual press behavior to be accounted for without needing to remember what differences to apply man-
ually.

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12.8.2 Alternative uses of press calibration

It is also possible to work in two alternative ways, which are uncommon at present, but which we
expect to become more common in the future:
• Scan to linear
Here the scanned images and application graphics are produced assuming the measured
response of the press, rather than the film, will be linear. The RIP provides a special (None)
calibration set which can be used as the intended press for use in this situation.
• Press is linear
Here the press is indeed set up to produce a linear response, but the job is not expecting this. In
this situation, the (None) calibration set would be chosen for the actual press, or more likely
some calibration set, derived from (None), that will bring the press back to its required linear
state. This is similar to printing to a full-color desktop printer.
Of course, it is possible to work with both of these ways simultaneously.
A special case of linear scans is device-independent color data‚ i.e., images where the colors are
expressed in CIE L*a*b* for example, or held on Photo CDs in YCC format. Here, Harlequin Color-
Pro is required to accurately reproduce the intended color, and in this case only the actual press cali-
bration set is used. This is also the case if CMYK colors are converted to device-independent colors
first by ColorPro. In that case the gain incorporated in the job is accounted for during the conversion
by ColorPro.
Lastly, note that press calibration is not a substitute for ColorPro. Calibration can compensate for
changes in response of the individual process colors, but it cannot account for variations in colors of
inks and dyes. Therefore if the actual and intended presses are significantly different processes (a
proofing device and a press for example, or two entirely different kinds of press), the colors cannot be
accurately reproduced using only calibration.

12.8.3 Direct to press

There are two ways of calibrating for working direct to press.
• You can assume a linear imagesetter and calibrate for the actual press as normal. In this case,
set the device calibration to linear: (None).
• You can assume a linear actual press and calibrate for the device as normal. In this case, set the
actual press calibration to linear: (None).

12.9 Using a combination of calibration sets

If you are printing to a direct output device, the Page Setup can include a calibration for the output
device and a tone curve calibration. The RIP applies any calibration sets specified in the Page Setup in
this order:
1. The Tone Curves calibration.
2. The device Calibration.

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If you are preparing a job for a printing press, the Page Setup can include an imagesetter calibration, a
tone curve calibration, and calibrations for the intended and actual presses. The RIP applies any cali-
bration sets specified in the Page Setup in this order:
1. The Intended Press calibration (to remove compensation for the gain of the intended press).
2. The Tone Curves calibration.
3. The Actual Press calibration (to compensate for the gain of the actual press).
4. The device Calibration (the calibration for the imagesetter).
The Intended Press calibration is not available when ColorPro is enabled. Instead, ColorPro provides
several options for processing color data ahead of the transfer to press: these options include emulat-
ing the output of one press on another type of press. For details, see the separate Harlequin ColorPro
User’s Guide. The calibration set specified in Actual Press is always used.
The default curve, which is a device correction curve, is applied before any other calibration.

12.10 Print Calibration dialog box

Choose Output > Print Calibration to display the Print Calibration dialog box, as shown in Figure 12.2,
on page 314.
You can select which Page Setup to apply while printing a test strip or exposure sweep by choosing an
entry from the list in this dialog box. If you select several entries then, when you click the button to
print the appropriate target, the RIP prints one test strip or exposure sweep for each Page Setup you
have selected.
Note: Some settings in the Page Setup are ignored or altered‚ notably those in a ColorPro option that
would change the color of a graphic object.
There may be different, distinct targets for each output device or type of device.
If the output format supports additional colorants (spot colors), you can choose to print the calibration
for Process Colors only, Spot Colors only, Process & Spot Colors, or for Mono-
chrome only by selecting from the Print for pop-up menu. The output format is determined by the
separations style of the Page Setup.
The Monochrome only option supports calibration of a monochrome device such as an imagesetter.
Choose this option to print a single calibration strip for a Page Setup that normally generates separa-
tions. (This ability removes any need to produce a Page Setup used only for calibration.)

12.10.1 Buttons
Clicking a button prints at least one calibration target, and more if you have selected several Page Set-
ups using the From Page Setups list, as described in Other controls on page 330. The options are:

Print uncalibrated target

Prints a target without using a calibration set‚ even if the selected Page Setup
has one or more calibration sets associated with it.

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Print calibrated target

Prints a target using the calibration set or sets associated with the selected
Page Setup. If the output device has not changed since the calibration set was
created then the nominal density values and the measured ones should be the
same.

Print uncalibrated press target

Prints a target for a printing press without using a calibration set. You must
select a Page Setup that produces separated output.

Print calibrated press target

Prints a target using the calibration set or sets associated with the selected
Page Setup. You must select a Page Setup that uses an Actual Press calibration
set and that produces separated output. See Press calibration on page 325 for
more details.
Note: The Default CMYK targets supplied with the RIP for Uncalibrated Target and Uncalibrated
Press Target have the same number of patches.

Print exposure sweep

Uses the values in the associated From, To, and Step text boxes to print test
strips at each of several exposures in the range. This button prints an expo-
sure sweep for each selected Page Setup, so be careful you do not produce
more targets than you intend. This prints an exposure sweep without using a
calibration set‚ even if the selected Page Setup has one or more calibration
sets associated with it.

12.10.2 Other controls

These controls affect the contents and number of calibration targets produced by the buttons described
in Buttons on page 329.

Print for Choose the set of colors you wish to have printed on print test strips. You
may see just one option, usually Process Colors only, in this list if your
output device and the selected Page Setup do not support spot colors.
If the output format supports additional colorants, you can also choose to
print the calibration for Spot Colors only, Process & Spot Colors,
or for Monochrome only. The output format is determined by the separa-
tions style of the Page Setup.

From Page Setups

Select one or more Page Setups from this list, if desired.

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From / To / Step
Print exposure sweep uses the values in these text boxes as, respectively, the
first, last, and increment values of exposure when producing an exposure
sweep. Take care to enter values so that the complete sweep corresponds to
valid exposure values for your output device.
For example, values of 100, 120, and 5 produce a sweep with exposures of
100, 105, 110, 115, and 120.
To recap, the From box is the first exposure setting, the To box is the last
exposure setting and the Step box is the size of the step. With values of, From
100, To 150 and Step 5. You will get 11 exposures from 100 to 150 in steps
of 5.
Change the Step 5 to Step 10 and you will get 6 exposures from 100 to 150
in steps of 10.

12.11 Calibration Manager dialog box

Click the Calibration Manager button in the Edit Page Setup dialog box or choose Output > Calibration
Manager to display the Calibration Manager dialog box, as shown in Figure 12.4, on page 317.

This dialog box helps you create new calibration sets and manage your existing calibration sets. You
can edit sets to keep them accurate by entering data from new targets or to adapt a copy of an existing
calibration set: for example, to make it apply to a related group of settings. Finally, you can delete any
entry in the list by selecting it and clicking Delete.
Calibration sets are grouped by device and by color space. When you select a device from the Device
pop-up menu, the dialog box shows a list of calibration sets for that device and the currently selected
color space. If necessary, select the appropriate color space from the Color Space pop-up menu.
The list of color spaces contains all the color spaces in which a separations style is defined for the
device. For example, if the device has separations styles defined in the Monochrome and CMYK color
spaces, then you can create calibration sets in the Monochrome or CMYK color space.
Most entries in the Device list are direct output devices (imagesetters, platesetters, proofing printers,
and some preview options and file formats) but there are also special entries for Printing Press
and Tone Curves.
The ways in which you create and use calibration sets for these types of entry vary.
Direct output devices
The way to create the calibration set is to print and measure a calibration target, as described in
this chapter.
To use a calibration set, in the Edit Page Setup dialog box, you can choose any calibration set
that was defined for the current device and current color space, in the Calibrationpop-up menu .
The choice of separations style determines the color space. Although an imagesetter is not a
multi-color device, the calibration set for an imagesetter contains a calibration curve for each
color specified in the separations style, to take account of the different screen angles used for
these colors.

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Note: A special example is the CIP3 output plugin. Its behavior with respect to calibration is
like that of a printing press, because its purpose to provide ink-key data for use with printing
presses.
Printing Press

You can use this special device to calibrate the transfer from film to press. In general, you do not
create calibration sets for a press, although this would be possible, but expensive, once you had
created a calibrated output path to film or plate. A more common way of working is to adjust the
press to conform to one of the standard references such as SWOP (CGATS TR001) or a BVD-
FOGRA standard and to use the corresponding calibration profile as supplied with the RIP.
You apply a calibration set for the press that you are using by choosing its name in the Actual
Press pop-up menu in the Edit Page Setup dialog box. You can also adjust a job prepared for a
different press; do this by choosing a supplied profile or measured calibration for that different
press in the Intended Press pop-up menu, and making the normal choice for the press that you are
using in Actual Press.
Tone Curves

This special device allows you to make another set of color adjustments in addition to the device
calibration and press calibration. Typically, you might create a tone curve calibration by estimat-
ing the required change at one or two tonal values and then extrapolating and smoothing to
obtain the other data values.
You apply a tone curve calibration set using the Tone Curves pop-up menu in the Edit Page Setup
dialog box.
For the special devices, Tone Curves and Printing Press, the Color Space listing contains all the
color spaces for which a profile exists.
To edit an existing calibration set, select it in the list and then click either Edit from uncalibrated target
or Edit from calibrated target, as appropriate.

12.11.1 List headings and entries

The column headings are the various properties of a calibration set. The first column in the list is the
name of the calibration set and the last column is the edited or unedited status of the calibration. Each
of the remaining columns in the list corresponds to one of the warning criteria in the Edit Calibration
dialog box.
The values in the columns for warning criteria show the intended values for use of each calibration set,
as set in the Edit Calibration dialog box. The RIP will warn you if you select the calibration set for a
Page Setup with conflicting values. You should create a calibration set for each combination of media
and settings for resolution, dot shape, range of screen frequencies, exposure, and negative/positive
that you expect to use with each kind of device. Use narrow ranges if you want high accuracy.
In the columns for warning criteria, you may see the following entries:

(Any) Shows that any value is allowed, so the RIP will not warn if you select the
calibration set. This corresponds to clearing the check box for the warning
criterion in the Edit Calibration dialog box.

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(n/a) (not applicable)

Shows that the type of entry is not relevant to the device. For example: Exp
(exposure) is (n/a) if the device does not support exposure control.
The individual columns are as follows, with the names used in the Edit Calibration dialog box follow-
ing in parentheses.

Name The name of the calibration set.

Res (Resolution) The resolution setting.

The halftone screen dot shape or spot function.

Freq (Screen freq)

The halftone screen frequency.

Exp (Exposure) The exposure setting, if software controllable by the RIP. For example, this
option is not available for the None or Preview devices.

+ / - (Use for Pos & Neg)

This tells you whether the calibration set can be used for both positive and
negative output, as set by the state of the check box labeled Use for Pos and
Neg in the Edit Calibration dialog box.
The possible entries are:
Y if you can use the calibration set for both
N if the calibration is for only one of positive or negative

Profile (ColorPro only) or Press

Entries in the Profile column are n/a except when ColorPro is enabled, when
each entry shows which profile to associate with the calibration set. When
Printing Press is selected in the Device pop-up menu, this column is
labeled Press, but the behavior is the same. The default calibration set is
determined by the selected profile.
Note: A profile is used in ColorPro options to define the color performance
of a combination of output device, media, and colorants.
If you create calibration sets in the RIP without ColorPro and subsequently
enable ColorPro, the RIP associates the Linear profile with the existing
calibration sets.

Status The Status column tells you about the source and whether the current data for
the given calibration set came from an uncalibrated target or a calibrated tar-
get.
The possible entries are:
C for data from a calibrated strip
U for data from an uncalibrated strip

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E if you have edited the data since entering the Calibration Manager
D if you have viewed the default curve without editing it
See Establishing a workflow on page 320 for a discussion of why you might
use different types of target.
E is an important entry in the Status column because it shows that you have uncommitted changes for
that calibration set, which affects the valid commands and the values you see in the Edit Calibration
dialog box.
If you select a calibration set with status E, you can only further edit the values in the same way, so
only the edit button that you have already used on that set is enabled. If you edit the set, you see the
entries you made in the previous edit.
When you click OK or Select in the Calibration Manager, the RIP commits the changes in all edited
calibration sets. Once committed, the status reverts to C or U, both edit commands are enabled, and
you see the perfect curve when you next view the calibration curve using Edit from calibrated target.
(Perfect, in this context means linear only in some measurement systems.)
Once you have committed changes, the RIP can show you either the calibrated or the uncalibrated
curve, for any future updating of the calibration.
Note: The same calibration set can have status U or C depending on the last target (and the correspond-
ing edit command) used to update it.

12.11.2 Buttons
Most buttons operate on multiple calibration sets. Only the two edit buttons require just one selected
calibration set.

Edit from uncalibrated target

Click this button to enter the Edit Calibration dialog box for an uncalibrated
target produced on an output device or printing press.

Edit from calibrated target

Click this button to enter the Edit Calibration dialog box for a calibrated tar-
get produced on an output device or printing press.

New Click this button to create a new calibration set. You enter the Edit Calibra-
tion dialog box for an uncalibrated target with all Warning criteria boxes
empty. At least, you must name the new calibration set and provide data val-
ues.

Copy Click this button to copy a calibration set. The RIP creates a new name for the
copy by adding characters (for example, ~[1] or ~[2]) after the original
name. If the name is longer than about 13 characters then you can see the
added characters only in the Name field of the Edit Calibration dialog box,
where you can also edit the name to be more meaningful.

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Delete Click this button to delete the selected calibration set or sets. The RIP gener-
ates a warning if the selected calibration set is used in a Page Setup.
Note: You cannot delete a calibration set if you open the Calibration Manager
from within the Edit Page Setup dialog box.

OK Confirms the changes you have made and exits the dialog box.

Select This button is available if you opened the Calibration Manager from the Edit
Page Setup dialog box and if a calibration set is selected.
The Select button confirms the changes you have made and closes this dialog
box. In addition, using the Select button displays the selected calibration set in
the Edit Page Setup dialog box.

Cancel Closes the Calibration Manager, canceling all changes made since you dis-
played this dialog box.

12.12 Edit Calibration dialog box

Figure 12.5, on page 318, shows the Edit Calibration dialog box.
There are various ways of entering this dialog box, and corresponding variations in its contents.

12.12.1 Entry methods and variations

There are three ways to enter the Edit Calibration dialog box, corresponding to buttons in the Calibra-
tion Manager:
• New

• Edit from uncalibrated target

• Edit from calibrated target

These ways of entry allow you to follow most working practices. The choice is yours.
When you use the New or Edit from uncalibrated target buttons, the RIP creates a calibration curve
directly from the uncalibrated data values you enter.
When you use the Edit from calibrated target button, the RIP creates a calibration curve more indi-
rectly. In some circumstances and with some devices, this indirect approach can lead to values that
never settle to an error too small to measure; you may find that the residual errors are acceptable or
you may prefer to use Edit from uncalibrated target.
One way of regarding the process for Edit from calibrated target is to say that the RIP uses the data val-
ues you enter from a calibrated target to detect imperfections in the existing calibration and adjusts the
calibration to remove them. Typically, these imperfections and the corresponding adjustments are
small (compared to those for uncalibrated targets) and may provide a better calibration curve than
working from uncalibrated targets. Another advantage of working from a calibrated target is that it
may allow the use of one fewer target‚ saving both time and media.

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The RIP is supplied with default calibration curves for some output devices, each curve representing
the linearized state of a typical device of the same kind. If you are using ColorPro, the default calibra-
tion set is determined by the profile. Without ColorPro, the RIP uses the Linear profile.
There are two special devices, shown in the Calibration Manager as Tone Curves and Printing
Press. When you edit a calibration set for one of these devices, the Edit Calibration dialog box offers
slightly different options (as described in Variations on the Edit Calibration dialog box on page 321).

12.12.2 Checks in the Edit Calibration dialog box

There are various checks on the validity of the calibration curves as you change settings or enter data,
and more as you exit the dialog box. The RIP displays an appropriate warning message if any of the
checks suggest a problem.

12.12.3 Warning Criteria panel

It is important to choose a calibration set that is appropriate for the job you are processing. If you set
the warning criteria for a calibration set, the RIP warns you if the settings in the Page Setup conflict
with these criteria. In addition, when processing the job, the RIP warns you if the settings in the job
conflict with those in the calibration set. By setting the Abort job if calibration is on, and the selected cal
set does not match job option in the Page Setup Options dialog box, you can tell the RIP to abort any job
that fails the criteria. See Abort if calibration on, and the selected cal set does not match job on page
145 for details. Otherwise the RIP displays the warning messages in the RIP Monitor window.
Most of the controls in this panel are paired: a check box and a setting control. To make the calibration
set apply to a particular value or limited range of values for the setting, select the corresponding box
and then enter the value or values. If you do not select the box, the setting is not tested and the
Calibration Manager shows (Any) in the column for that setting.
Note: If you create a calibration set from the Edit Page Setup dialog box, the RIP takes the default set-
tings for the Warning criteria from the Page Setup you are editing.
The warning criteria are:

Profile (not illustrated)

This warning criterion is available only with ColorPro and appears only if
your output device has more than one profile available. There is no check box
associated with Profile: if present, the profile is always used as a criterion.
The choice of profile determines the default calibration set.

Press (not illustrated)

This pop-up menu appears in the Edit Calibration dialog box only if you are
editing the calibration for a printing press. There is no check box associated
with Press: if present, the press profile is always used as a criterion. The
choice of press profile determines the default calibration set. If ColorPro is
not enabled, the RIP uses the Linear profile.

Resolution The resolution setting.

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Dot shape The halftone screen dot shape or spot function.

Screen freq The halftone screen frequency. You can enter the lower and upper limits of a
range of frequencies and choose the units in the accompanying pop-up menu.

Exposure The exposure setting, if software controllable by the RIP.

Use for Pos & Neg

Select this box to show that the calibration set is suitable for both positive and
negative output. (This can apply only to monochrome devices.)
Also select the Negative media box if you are measuring from negative output,
and use the Measurements as pop-up menu to show whether you are measur-
ing with a positive or negative reading densitometer.

12.12.4 Other controls

Name The name of the calibration set. If you alter the name shown here you are
renaming the set, not creating a new set.
This box is empty if you enter this dialog box by clicking the New button in
the Calibration Manager. You must enter a name before leaving this dialog
box.

Channel This pop-up menu contains the names of the channels defined in the calibra-
tion set. Depending on the device, there may be one or several channels. A
monochrome device has a single channel, while a color device has several
channels labeled with the names of the colors. For example: Cyan, Magenta,
and Yellow are possible channels for a 3-color device. If the output device
can support additional colorants, you can add a channel for a spot color. The
channel (Other colors in job) allows you to specify a calibration
curve for any spot colors that do not have a separate calibration curve. Note
that although an imagesetter is not a multi-color device, you can create a sep-
arate calibration curve for each color, to take account of the different screen
angles specified in the separations style.
You must specify a separate calibration curve for each process color channel
to produce a valid calibration set. The RIP reminds you to view the data for
each channel to assess if it needs editing, as described in Exiting the Edit Cal-
ibration dialog box on page 342. Note that you can also Copy the data from
one channel to another channel.
The RIP does not allow you to change to another channel if the calibration
curve for the current channel is unreasonable. One example of an unreason-
able curve is a non-monotonic one that rises but then falls before rising again.
In such a case, the RIP warns you and prompts you to correct the curve before
you can change to another channel.

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Add To add a channel for a spot color, click the Add button. In the Add Channel
dialog box, select the name of the spot color from the pop-up menu and click
the OK button. The list of spot colors contains all the spot colors named in the
separations styles for the selected device and color space.
Note that in the special case of the Tone Curves and Printing Press
devices, the list includes all the spot colors named in separations styles for
any device in the selected color space. This is because tone curve and press
calibration can be used with any Page Setup.

Copy If the data for one channel is similar to another channel, you can copy the
data and then edit it, rather than having to enter it again. For example, to copy
the data from the Cyan channel to the Magenta channel, first select the
Magenta Channel and click the Copy button. Then, in the Copy Channel Data
dialog box, select the Cyan channel from the pop-up menu and click the OK
button.
For some devices, for example with an imagesetter, you might feel that the
calibration of the black channel is also adequate for the color channels. In this
case, use the Copy command to copy the black channel data to the other chan-
nels.

Delete You can delete any spot color channel from the Channel pop-up menu by
selecting the spot color channel and clicking the Delete button. If you have not
defined any spot color channels, the Delete button is not available.

Measurements as
Use this pop-up menu to declare what kind of measurements you are entering
in the data boxes. The entries available in this menu can vary with the type of
output device. Two examples are Status T, a standard measure of absolute
density, and % Dot, the area coverage of halftone output.
Note that if you choose to edit a different Profile which uses an alternative
measurement system, a Measurement system...not found warning
is displayed and the correct system for the newly chosen profile is automati-
cally selected in this menu.

Max density (not illustrated)

This control allows for conversion between percent dot and density. It
appears only for the Printing Press device and for ColorPro profiles that
require it to appear.

12.12.5 Values
You can enter values in any form offered to you in the pop-up menu labeled Measurements as. Exam-
ples are:
• Percent dot (0 through 100%)
• Dot Gain (relative values expressed in ℜ± values from a perfect transfer curve)

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• Status-T Density
• Visual or ISO Visual (which is the same as the Visual channel of Status-T)
• L* (from CIE L*A*B*)

12.12.6 Test strips and data boxes for patches

Each output device can have its own pattern of test strip and there can be varying numbers of patches
on test strips for different devices. If the target uses fewer patches than the maximum (36) then the
remaining data boxes appear empty and unlabeled.
You can exit this dialog box only when all labeled boxes have entries. You can provide entries by typ-
ing, by using Extrapolate, or by using Import and a file of data values.

12.12.7 Controls
Negative media Select the Negative media check box to show that you are measuring data from
negative output media. Leave it clear when you are using positive media.

Force solid colors

This check box is available only when you are using halftone devices. When
you select this box, any color in a job that uses the maximum density of any
channel is represented by the maximum amount of that colorant available on
the output device: this guarantees a solid color that is the maximum deliver-
able by the output device, rather than a lower density color (achieved by
screening) that calibration has established as 100%.
The default setting of this option is selected and should be left for work on
most presses; this will ensure that colors defined as solid in the incoming
PostScript language file will be imaged as solid. For Gravure work this
option should be unchecked.
This option does not apply to calibration test strips, only jobs.
For example, this is a desirable setting where you wish to avoid screening
black text, but using it means you do not have an exact colorimetric match for
the color when using ColorPro. See also the Harlequin ColorPro User’s
Guide.

Smooth This button smooths the values near the ends of a curve: typically, to approx-
imate a smooth curve where the limited resolution of a measuring device may
have truncated similar values to be the same.

Extrapolate This button is enabled when you are calibrating for a printing press or when
the output device supports extrapolation. There also needs to be at least one
empty data value.

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You can use Clear to empty all data values, enter a limited number of values,
and then press Extrapolate to have the RIP calculate the remaining values. A
typical source of values is a manufacturer’s data sheet, for example, giving
press gain in the form: a gain of 15% at 50%.
In rare cases, extrapolation may not be able to produce a reasonable curve:
the RIP displays an error message to tell you if this has happened. (One
example of an unreasonable curve is a non-monotonic one that rises but then
falls before rising again.)

Clear Click this button to clear all the boxes. This is intended as a preliminary to
entering data in a small number of boxes and using the Extrapolate button to
calculate values for the other boxes.

Reset Reset deletes all entered data for the calibration set and displays the default
curves for the device (and profile, if ColorPro is enabled). For a multi-chan-
nel device, it resets all channels; not just the channel whose curve is
displayed.

Import To import the data from a file rather than typing numbers into the boxes, click
the Import button. The RIP displays the Import Measurements dialog box,
shown in Figure 12.6.

Figure 12.6 Import Measurements dialog box

Note: The data in the file is provided in the correct format by a separate util-
ity program, Genlin, which supports the use of various automated densitome-
ters. See Appendix C, Using Genlin on page 401 for details.
The import file contains measured data for some or all of the channels in the
calibration set. For each calibration channel, you can choose to import the
measured data for that channel, to import data that was measured for a differ-
ent channel, or to leave the current data for the calibration channel
unchanged. By default, the RIP uses the measured data for a channel, where
available. If there is no measured data for a channel, the RIP defaults to the
(No Change) option.

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The Calibration Channel column contains the names of all the process and
spot color channels defined in the calibration set, including the (Other
colors in job) channel, if appropriate. When you select the Channelpop-
up menu in the Edit Calibration dialog box, you see the same list of defined
channels. (You can define a spot color channel using the Add button in the
Edit Calibration dialog box: see page 338 for details.)
Thepop-up menu under the Measured Channel column contains the names of
all the measured channels in the import file, together with the (No Change)
option.
To change the setting for a particular calibration channel, select the corre-
sponding row and then select the name of a measured channel or (No
Change) from the available list. For example, select the Yellow row and
then select Cyan from thepop-up menu to import the data measured for the
Cyan channel to the Yellow calibration channel. A more realistic example
might be to select an available measured channel, perhaps Default, for a
Black or Gray calibration channel when the measurement file does not iden-
tify the data in the way expected by the RIP.
Note: The RIP may detect a mismatch between the expected device, profile
or measurement system and display a warning dialog box. This protects you
from importing incorrect data.

12.12.8 Exiting the Edit Calibration dialog box

You must specify a separate and valid calibration curve for each process color channel to produce a
calibration set, unless you want to accept the default curve. The RIP carries out checks on the data
before it saves the calibration set.
If you exit the Edit Calibration dialog box without editing any calibration data, the RIP closes the dia-
log box and saves the calibration set with a status of D. This shows that you have viewed the default
curve without editing it.
If you have edited the data for one of the process color channels, but not all of them, the RIP warns
you and asks for confirmation that you want to exit without editing the other channels.
In this context, editing the data for a channel means at least viewing the data to assess if it needs edit-
ing. The RIP keeps a record of which process color channels you have edited and queries you if you
have not edited all of them.
For example, if you edit only the Cyan channel of a 4-color device, the RIP will query you about the
Magenta, Yellow, and Black channels. The following message is typical:
You haven’t viewed the following channels: Magenta, Yellow, Black. Finish
editing anyway?

The RIP does not allow you to save an unreasonable curve. One example of an unreasonable curve is
a non-monotonic one that rises but then falls before rising again. If you try to save an unreasonable
curve, the RIP warns you and prompts you to correct the curve before you can save it.

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 13

Color Separation

This chapter describes some basic concepts of color reproduction and the related parts of the Harle-
quin RIP.
The concept of color separation is no longer restricted to producing separated output. When process-
ing any job, the RIP creates a separation for each process colorant and also, where appropriate, for
spot colorants. The output format determines whether the separations are printed together as a com-
posite, or separated. By configuring these separations you can control the printing of individual colo-
rants in the job. Although there is only one separation in the monochrome color space, the RIP
provides the same options for configuring that separation.
Separations information is saved together with screening information in a separations style, which can
be used in several Page Setups. A separations style is defined for a specific device, color space, and
output format. Selecting a separations style in the Edit Page Setup dialog box determines the color
space of the Page Setup.
These are the related parts of the Harlequin RIP:
• The Separations Manager and Edit Style dialog box. See Creating and managing separations
on page 353 for details of the choices you make for all separations. (See Chapter 6, Screening
for details of the screening options for halftone separations.)
• The Color Setup dialog box. See Color Setup on page 363. This dialog box contains the con-
trols for black generation and undercolor removal, trapping, and overprinting.
• Use of the Output Controller to view superimposed color separations. See Pages in the Output
Controller on page 375. The Output Controller is available in either of the multiple modes.
This chapter describes how you can define separations styles, while Chapter 5, Configuring Output
Formats, describes how you can choose different separations styles when producing output.

13.1 Introduction
To produce a color image, many reproduction systems take advantage of the fact that there are small
sets of colors that, when mixed in the correct proportions, can produce any of a very wide range of
other colors. For example, combinations of red, green, and blue inks (commonly known as RGB), or
cyan, magenta, and yellow inks (CMY), can between them produce thousands of different hues.
Color printing more commonly uses CMY colors, with the addition of a black ink to account for
imperfections in the printing process. This manual uses the term CMYK for the system of color repre-

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sentation using these four inks (Cyan, Magenta, Yellow, and blacK). These inks are the commonly
used process colors. There are several other terms in common use, some terms using B for Black or
referring to the order of printing each ink by reordering the letters: YMCK, YMCB, and KCMY are
typical.
Black ink is used for several practical, economic, and quality reasons:
• Black appears very often: for example, in text.
• Black ink is cheaper than colored inks.
• Mixing CMY inks produces an impure black, probably tinged with brown, and can result in
objectionable colored fringes on small objects such as characters in body text. Additionally,
one application of black ink replaces three applications of colored inks so drying time can be
reduced.
• Black can be used to extend the range of colors and tints available from mixing CMY inks.
There are ways to improve reproduction quality or economy beyond the levels possible with CMYK
process inks. There are two general approaches: to vary the number of process inks (HiFi or N-color
printing), or to add spot colors. Each approach has its own advantages.

13.1.1 Alternative process color systems

N-color printing uses a different number of process colors: fewer for economy in simple jobs such as
forms printing or more for high quality. For high-quality printing, or HiFi color, at least two distinct
types of color schemes are growing in popularity: for convenience in this discussion we shall call
them distinct colorant and photo-ink.
Distinct colorant printing uses a combination of different process colors. For example, in the PAN-
TONE Hexachrome Color Selector system there are six inks: cyan, magenta, yellow, black, orange,
and green. (Other schemes of six or seven distinct colors are possible but this system is well known.)
These colors are chosen as a set to provide a wider gamut than provided by colorants in the established
CMY or CMYK schemes so, for example, the cyan in a six-color system is unlikely to be the same as
the cyan in a typical CMYK system. To avoid confusion a different naming scheme is needed. There is
not a single fixed set of names: HexC or HexCyan are equally valid names for the cyan ink and may
be used by graphics applications creating jobs.
Photo-ink technologies use a different approach. There are different densities (light and dark versions)
of one or more colorants. A capable system is then able to use the light ink in highlight areas and the
dark ink where more colorant is required. A typical set of colors is light cyan, dark cyan, light
magenta, dark magenta, yellow, and black. As in distinct colorant systems, these are not the same inks
as used in the CMYK system and it is important to distinguish between the two systems. Various nam-
ing schemes are possible: a possible example is PhotoCyan Light, PhotoCyan, PhotoMagenta Light,
PhotoMagenta, PhotoYellow, and PhotoBlack.
The Harlequin RIP provides facilities for screening and calibrating both of these color systems, but the
actual availability for use of a distinct colorant or photo-ink color space depends upon there being an
installed output plugin using the new software facilities. Also, some configuration of the files in which
the RIP stores colorant databases may be needed before first use. For example, the Harlequin RIP
allows for jobs to use any of the different color naming schemes discussed for distinct colorant and

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photo-ink systems and to link these to the internal naming scheme used by the RIP. Each new naming
scheme requires some configuration.

13.1.2 Spot colors

Spot colors are used in a job when a particular color is used very heavily or must have a better quality
than is available by mixing the process colors. Typical uses of spot color include colored text, com-
pany logos, and colors that are outside the range available from mixing process colors. Spot colors
may also be used to define effects other than coloring: for example, to place varnishes and glues.

13.1.2.1 The PANTONE MATCHING SYSTEM ®

The Harlequin RIP is able to make use of the PANTONE MATCHING SYSTEM. Colors are identi-
fied as M (matte), C (coated) and U (uncoated). For example, PANTONE 533 M, PANTONE 533 C,
and PANTONE 533 U. Previously, Pantone colors were identified as CV (coated) and CVU
(uncoated). For example PANTONE 533 CV and PANTONE 533 CVU.
From v8.0 The Harlequin RIP is able to make use of the PANTONE Goe coated color system.
® ™

From v8.1 The Harlequin RIP is able to make use of the PANTONE Goe uncoated color system.
® TM

All the Pantone Databases can be found in SW\NamedColor.

To use the PANTONE MATCHING SYSTEM the color names must match exactly the names used in
the job. For information on how to include color separations see Producing separations on page 357.
As previously stated, all the Pantone Databases are in SW\NamedColor.
The PantoneProcess database is found in the SW\NamedColor\Examples folder. To make this
database work, it must be referenced in one of the files in SW\NamedColorOrder. You do this by
editing the Intercept, Recombine and Roam files. If you want to produce all Pantone colors by
their CMYK equivalents, put PantoneProcess before PantoneU in the files. Putting Pan-
toneProcess at the end of the file (that is, after PantoneMatte) will mean only the PC Pantone
colors will be found (that is, PantoneU and PantoneV colors will still be converted to XYZ).

13.1.3 Types of color jobs

There are two common types of color jobs:
• All the color information is in one job. This is a full-color job, also known as a color compos-
ite.
• The color information has been separated into a page for each color ink. This is a preseparated
job. These pages may be parts of one job or separate jobs.
Composite jobs offer the greatest flexibility in handling jobs and targeting them to different output
devices, but many workflows are built around preseparated jobs. The RIP can recombine many pre-
separated jobs, provided that the separations are supplied as one job. (Color PostScript language jobs
on page 351 and Preseparated jobs on page 352 describe the details of using composite and presepa-
rated jobs with the RIP.)

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13.1.4 Harlequin RIP

This chapter describes how you can produce output from documents for use in CMYK color printing.
You can also produce output for other color systems, such as RGB and N-color, and output for jobs
that include spot colors. The Harlequin RIP accepts either full-color jobs or preseparated jobs as input,
and outputs them correctly.
The Harlequin RIP also provides some extensions to the PostScript language specification: for exam-
ple, the ability to recognize spot colors in documents defined using the PostScript Level 1 language.

13.1.5 Harlequin ColorPro

Harlequin ColorPro extends the color handling capabilities of the RIP. For example, you can use Col-
orPro to intercept CMYK color definitions and convert them to device-independent color using input
profiles. The extra facilities and changes of procedure associated with ColorPro are described in the
separate manual Harlequin ColorPro User’s Guide.

13.2 What color separations are

Color printing using this color-mixing method is done using color separations. These are sets of sin-
gle-color images that yield a full-color image when combined appropriately. Figure 13.1 shows how
four single-color images can be combined to produce an image in different colors. In this grayscale
figure, different shades of gray represent the various colors.
Separations produced in four process colors

Cyan Magenta Yellow Black

The Magazine
a weekly review

Overlay process yields full color images

The Magazine
a weekly review

Figure 13.1 How separations can form a color image

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 13.2 What color separations are

The image in the figure shows the cover page of a fictional magazine. It is mostly black, but has a
small color illustration on the right that consists of some land (in green), over which there is a road (in
pure black), and in the sky (not colored) the sun (in pure yellow) is shining.
Color images are not produced from separations by mixing inks before application to the page.
Instead, the illusion of a full-color image is produced by seeing different proportions of the four inks
laid together on the page. Each separation adds one color component to the image‚ (cyan, magenta,
yellow, and black in turn) and, when they are overlaid correctly, they form a full-color image.
A color separation is, strictly speaking, a monochrome (that is, one color) image. It is called a color
separation because it is the result of separating one color from the others in the color system. For
example, the yellow separation in CMYK is a version of the image that shows only the yellow part of
it, separated from the cyan, magenta, and black. (You can control how colors will be separated from
the others in an image.)
Seen in isolation, a single separation may not look much like the full-color image of which it will form
a part but it is usually possible to identify some features of the final image. In Figure 13.1, the yellow
separation shows the sun, which is pure yellow. It also shows a small amount of yellow in the ground
part of the image, which will combine with the cyan separation to form the grass color. However, it
does not contribute to the road or the text, and so it is empty in those places.

13.2.1 Knockouts and overprinting

Suppose we have a very simple image that is a pure magenta background with a pure yellow square in
the middle. The separations produced will be those in Figure 13.4.

Separations for a yellow square on a magenta background

Cyan Magenta Yellow Black

Figure 13.2 Color separations for a simple image, with knockouts

Since the yellow and magenta inks can portray yellow and magenta quite adequately on their own, the
cyan and black separations are empty.
The yellow separation shows a square in the middle and nothing else. The square signifies the pres-
ence of yellow in the image at that point. The magenta separation shows a white square on a magenta
background. So, magenta will be printed in every part of the image except for that square.
Because magenta will not be printed in the white square, only yellow will appear there when the sepa-
rations are put together. This is important, since if magenta was printed there too, it would mix with
the yellow, and produce a square that was not pure yellow, but red. Equally, no other inks will overlap

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 Color Separation

the magenta background, because no separations other than the magenta one contribute any color to
that region.
An area of a separation that is made empty so that it does not interfere with a graphic object repre-
sented by a color or colors in other separations is called a knockout. This is because the colored area
has been knocked out of the separation.
One problem with using knockouts is that if the separations are not overlaid accurately enough, there
may be a white gap at the edge, as shown in Figure 13.3. This effect is the product of misregistering
the separations, that is, misaligning them when they are combined. Nevertheless, in cases where print-
ing one ink on top of another would produce the wrong color, producing separations with knockouts is
essential. Generally, graphic and page design applications produce knockouts automatically.
Inaccuracies caused by misregistered knockouts can be overcome by using special printing effect such
as trapping. The RIP provides some support for trapping. See Trapping features on page 374.

Figure 13.3 Misregistered separations with white gaps

Suppose we have another simple image that is a pure magenta background with a black square in the
middle. Figure 13.4 shows the separations that can be produced.

Separations for a black square on a magenta background

Cyan Magenta Yellow Black

Figure 13.4 Color separations for a simple image, with black overprinting

In this case, we do not need to make a knockout on the magenta separation, because the black ink
should be strong enough to overcome the influence of the magenta ink beneath it. So we may choose

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not to let the black separation cause a knockout in the magenta separation. This effect is called over-
printing, and is the opposite of a knockout. Overprinting eliminates the risk of finding gaps in the final
output, but cannot be used unless the overprinted ink is strong enough to overcome the effects of the
ink or inks beneath it. When overprinting is not possible, trapping remains a possibility.

13.3 Producing color images from separations

In the RIP, depending on the output format, you can print separations together as a composite page,
colored separations, or each separation as a monochrome page.
If you print a set of monochrome separations for use in the printing process, these separations can be
put together to form a color image. The separations are carefully placed one on top of the other until
all the color details can be seen. How is this achieved?
Typically, color pictures do not consist only of areas drawn in full-intensity primary colors. Most of
the picture is usually be in various shades and tints. Most printing presses require screened halftones,
so these varying intensities are achieved by using halftone dots. Each separation, therefore, is usually
composed of a pattern of halftone dots. (See Chapter 6, Screening, for details of halftoning.)
In halftoning strategies, continuous tone gray or colored images are imitated by combining dots of dif-
ferent sizes and colors. They are combined in such a way that, to the human eye, they mix, and the
observer sees the intended color image.
To ensure that the colors combine correctly, the positions of the dots on each separation are calculated
carefully. The grids, or halftone screens, for each separation are aligned at different angles, to avoid
moirЩ patterns.
Once each separation has been produced, the final image can be constructed by printing the separa-
tions directly on top of each other. The intermediate stages are progressive proofs. In the CMYK
model, this is usually done by printing yellow first, then magenta, cyan, and finally black. Figure 13.5
and the following figures show the stages involved when printing color in this way for the example
image in Figure 13.1, on page 347.

Blank paper Yellow separation Yellow

Figure 13.5 Yellow separation

Figure 13.5 shows how yellow ink for the yellow separation is printed on blank paper. You can also
preview separation printing on screen in the RIP. See Roaming separations on page 376.
Next, the magenta ink for the magenta separation would be printed on the paper, but since the separa-
tion is empty for this image, nothing is printed.

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 Color Separation

Yellow Magenta separation Yellow + Magenta

Figure 13.6 Yellow and (empty) Magenta separations

Next, the cyan ink for the cyan separation is printed. To the eye, the pattern of cyan and yellow dots in
the area of land will appear green as simulated in Figure 13.7.

Yellow + Magenta Cyan separation Yellow + Magenta + Cyan

Figure 13.7 Yellow, Magenta, and Cyan separations

Finally, the black ink for the black (K) separation is printed. All of the separations have been com-
bined, producing a full-color image as simulated in Figure 13.8.

The Magazine The Magazine

a weekly review a weekly review

Yellow + Magenta + Cyan Black (K) separation Full CMYK image

Figure 13.8 Yellow, Magenta, Cyan, and Black separations

13.4 How color separations are produced

Each job may specify color images in one or more different color spaces, for example: CMYK, RGB
(red, green, and blue), HSB (hue, saturation, brightness), or an N-color space. No matter how a job is
specified, the RIP separates that job into one output format, to suit the output device. Again, in this
discussion we will concentrate on CMYK separations as an example.

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13.4.1 Color PostScript language jobs

Composite color jobs are not described as a series of separations. Instead, each object on the page is
described just once, in full color.
Importantly, the PostScript language method of describing color is device independent. That is, no
matter what color space is used to describe an image, it can be rendered on any properly color-cali-
brated output device that your RIP supports. The same color job can thus be used to produce, for
example, full-color output on an RGB color printer, or a set of monochrome separations ready to be
used in the printing process. Some devices, typically desktop printers and proofing systems, can
accept continuous tone input.
Note: If you have ColorPro available, you can apply it to CMYK separations as well as to color com-
posite CMYK jobs. The separations must be suitable for use with the Recombine preseparated jobs
option described on page 360.
The RIP can take full-color jobs as input, and interpret them once to produce separation information
for each color in the space. In CMYK, this creates four monochrome output pages, each correspond-
ing to a different color separation. When the full-color image is to be produced, the colored parts of a
separation show where inks should be applied, and the white parts where not. Alternatively, the RIP
can print the separations together as a composite.

13.4.2 Preseparated jobs

Having the RIP produce separations from composite color jobs is not the only means of producing
separations. The job could be separated into one or more PostScript language documents before it
reaches the RIP. This might be done by the application program in which the job was composed, or by
a special separator program that took the output of the composition program and produced PostScript
language separations from it.
However, these methods are not optimal. If you preseparate the job, you commit yourself to printing
the job on a device that can recombine the separations it produced: the documents become device
dependent. A process that commits a job to a particular device is not desirable, because you may need
to output your job on a number of different devices. The RIP can recombine certain classes of presep-
arated jobs: see the description of the Recombine preseparated jobs option on page 360 for details.
There some circumstances where you must use recombination with preseparated jobs in order to use
features of the RIP, and some of these circumstances apply even when you wish to produce separa-
tions. These features are:
• Output to a composite proofing (or final output) device.
• Color management, using ColorPro.
• Trapping, with the in-built options in the RIP.
• Output to progressive separations.
• Output of separations in a different order.
All these features require the RIP to have access to the complete color of all objects on a page. To
ensure that this is possible for preseparated jobs, select Recombine preseparated jobs. Alternatively,
where other settings in the Page Setup prohibit recombination, select Reject preseparated jobs.

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 Color Separation

Note: Both colored separations and progressive separations require the output color space to match
that of the separations. For example, it is not possible to produce colored separations or progressive
separations from a job preseparated to CMYK if the output device uses the PhotoInk color space.
The RIPs separation facilities allow you to preserve device independence in your jobs right up until
you wish to interpret it for output on a particular device. However, you can present device-dependent,
preseparated jobs to the RIP if you wish, and it will process and output them correctly.

13.5 Creating and managing separations

Separations information is saved together with screening information in a separations style, which can
be used in several Page Setups. A separations style is defined for a specific device, color space, and
output format. Selecting a separations style in the Edit Page Setup dialog box determines the color
space of the Page Setup.
Separations styles are created and managed in the Separations Manager.

13.6 Separations Manager dialog box

The Separations Manager appears when you click the Separations Manager button in the Edit Page
Setup dialog box, or choose the Color > Separations Manager command.

Figure 13.9 Separations Manager dialog box

The Separations Manager displays a list of all existing separations styles for the current device, show-
ing the name of each separations style, the corresponding color space, and the output format.
To display the list of separations styles for a different device, select a device name from the Device
pop-up menu. When you use a device for the first time, the RIP generates a set of separations styles
for that device. Some devices can support simple styles only. Others, like TIFF, can produce many dif-
ferent styles, so the names of the styles are chosen to avoid ambiguity.
You can edit these separations styles to suit your installation or create new ones.

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13.6.1 Controls and actions

The controls below the list allow you to create separations styles, and to edit, copy, or delete existing
separations styles.

Edit Select a separations style and click this button to edit it in the Edit Style dia-
log box. A shortcut is to double-click a separations style.
Note: To rename a separations style, copy it and save the copy with the
desired name, before deleting the original.

New Click this button to create a new separations style. The New Style dialog box
appears, as described in New Style dialog box on page 354.
Once you have set the color space and output format, you cannot change
them for the named separations style.

Copy Select a separations style and click this button to edit a copy. The New Style
dialog box appears, as described in New Style dialog box on page 354.

Delete Select one or more separations styles and click this button to delete them
together. You cannot delete a separations style if it is used in a Page Setup.
You cannot delete the only separations style in a list.

Select This button is available if you opened the Separations Manager from the Edit
Page Setup dialog box and a separations style is selected.
The Select button confirms the changes you have made and exits the dialog
box. In addition, the Select button displays the selected separations style in the
Edit Page Setup dialog box.
You can also select separations styles and reorder them by dragging them to new positions in the list.
The order in the Separations Manager is the order of appearance in menus where you choose a separa-
tions style.

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 Color Separation

13.6.2 New Style dialog box

The New Style dialog box appears when you click the New or Copy button in the Separations Manager.
Note: If you clicked Copy to display this dialog box, you can change only the style name: this ensures
that the new style is a true copy of the original. Once you have named the copy and clicked Create, you
can modify individual settings in the Edit Style dialog box.

Figure 13.10 New Style dialog box

Style name Type in a name for the separations style. The style name must be unique and
can be up to 30 characters long.

Color space Select the color space from the pop-up menu. You can select any color space
known by the RIP, not just the color space of the target device. Monochrome,
RGB, and CMYK are always available. If you have installed an N-color
device, you can also use its color space, even if you are not printing to that N-
color device. This choice determines the process colorants specified in the
separations style. The output format specifies how the colorants will be
printed on the output device.

Output format Once you have selected the color space, select an output format from the pop-
up menu. This specifies how to generate the output on the target device. The
available options depend on the selected output device and the setting for
Color space. For example, with a typical CMYK device operating in its own
color space, you can generate output as monochrome separations, as colored
separations (either single or progressive proofs), or as a composite. For an
RGB output device, you can convert CMYK or N-color separations to RGB
output, and so on. When an arrow appears in the output format name, it indi-
cates that the color space does not match that of the output device.
Note: Once you have set the color space and output format, you cannot change them for the named
separations style.
Click the Create button to open the Edit Style dialog box, described in Edit Style dialog box on page
356. Click Cancel to discard your changes immediately.

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 13.7 Edit Style dialog box

13.6.3 Selecting several separations styles

You can select multiple separations styles when you want to delete or reorder them. Use the following
keys:

Shift
To select a block of separations styles that appear together in the list, select the first style in the block,
then, while holding down the Shift key, select the last style in the block.

To select several separations styles, regardless of whether they form a continuous range, hold down
the Command key while selecting the styles you wish to delete.

13.6.4 Closing the Separations Manager

You must close the Separations Manager before you can use any tool bar buttons or menu options in
the RIP.
Click OK to confirm all the changes you have make in the Separations Manager and Edit Style dialog
boxes. The OK button saves the changes you have made and closes the Separations Manager. If you
opened the Separations Manager from the Edit Page Setup dialog box, you can also save the changes
by clicking the Select button. In addition to saving the changes, the Select button displays the selected
style in the Edit Page Setup dialog box. Click Cancel to discard all changes.
Note: If you open the Separations Manager from the Edit Page Setup dialog box, changes that you
make in the Separations Manager are independent of the Edit Page Setup dialog box. For example, if
you create a separations style, and close the Edit Style dialog box with OK, and the Separations Man-
ager with OK or Select, the new style will remain even if you click Cancel in the Edit Page Setup dialog
box.

13.7 Edit Style dialog box

The Edit Style dialog box appears when you create or edit a separations style in the Separations Man-
ager. It contains the options related to separations and, where appropriate, to screening. There are two
forms of the dialog box:
• If the output format of the separations style supports screening controlled by the RIP, the Edit
Style dialog box contains options that allow you to set up defaults and override the screening
parameters requested in a job. See Chapter 6, Screening for a description of these screening
options: try starting with Figure 6.2, on page 157.
• Otherwise, a more compact dialog box displays only the options for separations, as shown in
Figure 13.11. This form of the dialog box suits contone output and also output to devices and
processes that do their own screening.
The remainder of this section describes the separations options appearing in both forms of the dialog
box.

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 Color Separation

Note: There are also controls for black generation for CMYK output and overprinting in the Color
Setup dialog box, accessed from the Color Setup Manager or the Separations, Screening, and Color sec-
tion of the Edit Page Setup dialog box. (See Color Setup on page 363.) Also, trapping options are
available from the Separations, Screening, and Color section of the Edit Page Setup dialog box. (See
Trapping features on page 374).

Figure 13.11 Edit Style dialog box

This dialog box contains a list showing the separations that the RIP can produce. There are initially
separations for the process colors in the selected color space. In Figure 13.11 there are separations for
the four process colors in the CMYK color space.
If the chosen output format supports additional colorants, you can control the printing of spot color
separations using the (Other colors in job) entry, or you can add a separation for a specific spot
color.
You can rename or delete spot color separations. You cannot delete the standard process color separa-
tions from the list, nor can you change their names. You may, however, ask the RIP not to produce a
certain separation.
For particular jobs, you may want to vary the settings in the interests of efficiency or to ensure com-
patibility with PostScript language code that uses Level 1 operators. For example, the default settings
produce separations for all process colors, so you may want to turn off some process colors if a job is
mainly defined in spot colors. Also for example, if you need to reprint just a single separation (and it is
not saved in the Output Controller), you can turn off all the other separations.
The Print option in the Edit Style dialog box determines which separations are produced. The RIP pro-
duces all those separations marked as Yes and the non-blank separations marked as Not Blank.
Note: If you are printing a preseparated job, and you wish to not produce some separations, select
Recombine preseparated jobs, even if you then wish the RIP to produce output separations. The RIP
produces all separations of a preseparated job except when recombining.
If you are producing screened separations, you can control the screening of process and spot colors by
using the screening options in the Edit Style dialog box. See Chapter 6, Screening for a description of
these options.
Note: The separations shown in this dialog box always take effect for jobs that do not specify their
own separations. If the job attempts to specify separations, you must select the Override separations in
job check box if you want to produce the separations shown here.

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13.7.1 Producing separations

The boxes below the list of separations allow you to control the printing of process color separations
and change the ink type. If the chosen output format supports additional colorants, you can also con-
trol the printing of spot color separations. Any spot color not explicitly listed is controlled by the
(Other colors in job) settings. With the default settings, if a job calls for spot colors not named
in the list of separations, the RIP converts those spot colors to the appropriate combination of process
colors.
To change the settings for an existing colorant, select the colorant from the list and edit the values in
the boxes below.
Note: If the output format of the separations style supports screening, you can also change the screen
angle of the process color or spot color separation. See Section 6.5.1 Changing angles for separations
for details.

Separation The name of the separation. To rename a spot color separation, type the new
name into the text box. You cannot rename process color separations.
Warning: The name you enter for the spot color must match the one used in
the job in every respect: upper and lower case, use of embedded space char-
acters and any trailing CV or CU suffixes. For example: a typical Pantone
specification is PANTONE 386 CV but applications may report this in differ-
ent ways.

Print If this option is set to Yes, a page will be produced for the separation, even if
the separation is blank. If this option is set to No, the page will be omitted,
although any effects it might have on the others are still calculated. You
might use this feature to suppress process color separation for a job using
spot colors only. If the option is set to Not Blank, the RIP will produce a
page for that separation as long as the separation is not blank.
For example, to produce only the process colors and convert all colors
defined as spot colors in the job to process colors, set each process color to
Yes and set (Other colors in job) to No. These are the default settings.
To produce a separation for every spot color requested in the job and for each
of the process colors, set each process color to Yes and set (Other colors
in job) to Yes. Then any calls for unlisted spot colors in a particular job
mean that the RIP produces the required separations automatically for that
job.
Warning: When Simple Imposition is being used, the Print option must be
set to Yes if you wish to see color patches on either the proofing or the plate
colorbars. Using the Not Blank option will omit color patches for that color.
If you want to produce a separation for a specific spot color and to convert all
other spot colors which may be included in the job to process colors, set the
specific spot color to Yes and set (Other colors in job) to No.

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Of these ways, the one you choose is likely to be dictated by the characteris-
tics of your output device and process, such as the number of inks available in
one pass.

Angle This box appears only if you are editing a halftone (screened) style. Enter the
screen angle you want to use for this separation. See Screen angles on page
163 for more details of screen angles.
Note: This box defines a default value, used if the job does not set its own
screen angles. If you wish to use angles entered here even when the job
requests other values, select the check box Override angles in job, also in this
dialog box.
Note: If you have one of the optional TrapPro features enabled, you can create sets of trapping rules
and apply them within the RIP. From the Eclipse Release of the Harlequin RIP, the ink set options
have been removed from the Edit Separations dialog and placed within their own Ink Set Manager.
TrapPro and the Ink Set Manager options are fully described in the separate TrapPro User Manual.

New Use this button to add a separation for a spot color to the list. A new row
appears in the list of separations. Type the name of the spot color into the first
text box below the list, to replace the text New Color. If required edit the set-
tings for Print.
Warning: The name you enter for the spot color must match the one used in
the job in every respect: upper and lower case, use of embedded space char-
acters and any trailing CV or CU suffixes. For example: a typical Pantone
specification is PANTONE 386 CV but applications may report this in differ-
ent ways.

Delete Use this button to delete the selected spot color separation. The separation
disappears from the list. You cannot delete process color separations.

13.7.2 Other options

There are some other controls in the Edit Style dialog box, not linked so closely to individual separa-
tions.

Override separations in job

The separations shown in the Edit Style dialog box always take effect for jobs
that do not specify their own separations. If the job attempts to specify sepa-
rations, you must select the Override separations in job check box if you want
to produce the separations shown here.

Use Level 1 spot colors

Spot color is not a standard part of the PostScript Level 1 specification. It is a
widely used convention that was defined later. If you wish to separate com-
posite jobs using this spot color convention, select this box.

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Warning: We strongly advise you not to select this box when defining a sep-
aration style to which you will supply preseparated jobs. The box is only
enabled if you using a CMYK separation style and not recombining, but you
might use a style with these settings and submit preseparated jobs in order to
override screen angles or other settings. (You cannot select this box when you
are using a monochrome separation style or you have selected the Recombine
preseparated jobs box.)
When you select this box, the RIP converts conventional representations of
spot colors in PostScript Level 1 language documents to the current Post-
Script Language compatibility level. By default, the RIP converts the spot col-
ors to LanguageLevel 3. To convert the spot colors to LanguageLevel 2 style,
change the PostScript Language compatibility level in the Page Setup Options
dialog box.
This check box has an effect only when producing spot colors.

Override angles in job

This box appears only if you are editing a halftone (screened) style. Select
this box if you want to ignore any screen angles set in the job. See Screen
angles on page 163 for more details.
This option is automatically selected when Recombine preseparated jobs is
checked.

Reject preseparated jobs

If you select the Reject preseparated jobs check box, the RIP will not process
preseparated jobs. If this check box is selected, then the Recombine presepa-
rated jobs check box is disabled.

Recombine preseparated jobs

The Recombine preseparated jobs check box allows you to recombine certain
classes of preseparated jobs. Recombining may be useful or necessary in a
variety of cases: for example, when proofing on a full-color device or retar-
geting from one kind of final output device to another kind. See Recombina-
tion on page 360 for details of the suitable jobs.
From Eclipse Release SP3, this option will activate Recombine 2.
Note: When using this option, the RIP cannot paint partial page buffers;
expect jobs with pages requiring large amounts of memory to fail if you have
not allocated enough physical memory. Also when Recombine is enabled the
PDF Retained Raster feature is disabled and a warning message is displayed.

13.7.3 Recombination
From the Harlequin RIP Eclipse Release a single method of recombination known as ‚Recombine 2 is
used. Recombine 1 is replaced completely with Recombine 2 which uses both object and raster meth-
ods where appropriate.

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 Color Separation

Recombine version 2 provides the following main benefits:

• Improved accuracy of object placement.
• Improved accuracy of the recombined color.
• Considerable performance improvements for complex jobs.
• Improved accuracy of color management; color management happens after overprints and
recombination has occurred.
The additional functionality may result in a performance overhead proportionate to the area covered
by those objects present in separations which are not being output and instead converted to process.
Recombine 2 is active as the default.
There are some limitations on the jobs that the RIP can recombine. There are also some classes of jobs
where you should make additional settings.
Note: When Recombine is enabled the PDF Retained Raster feature is disabled and a warning mes-
sage is displayed.
The limitations listed below apply to Recombine 2:
• The job must consist of process separations, suitable spot colors, where suitable is defined in
this section, or both. (It is also possible to submit most composite jobs to a Page Setup using
recombination, but see the comments in Recombination and composite jobs on page 362. This
ability minimizes the number of Page Setups that you must create and maintain but has no
intentional effect on the composite jobs.)
• The names of suitable spot colors must be unambiguous. If the job supplies a CMYK equiva-
lent for a spot color and the name is recognized by the RIP, that is sufficient for use with
recombine.
• When the job does not contain a process equivalent for a spot color, recombine can still be used
if the RIP can find a correct equivalent name in a RIP named color database. The RIP searches
several files in the SW/NamedColor folder for an equivalent. These files define several com-
monly used names, including: other process colors, such as Red, Green, and Blue; spot colors
produced by some common job-creating applications; and the CV and CVU names defined in
PANTONE Colors.
Note: Some common names. For example, Pink or Mauve can have slightly varying definitions
in different jobs, because either the creating application or the designer has used a conflicting
definition. One solution is to add a CMYK equivalent in the job where such a name occurs.
In short, CMYK equivalents for spot colors must exist either in the job or in a RIP named data-
base.
• The job must contain all the required separations in one file or AppleTalk connection. It is not
possible to recombine jobs where each separation is in its own file.
• Where the job contains more than one set of separations, separations from each set (or page)
must appear contiguously; for example, each page (or set) should appear in the order,
KCMYDE (where D and E represent spot colors). That is, KCMYDE for the first page,
KCMYDE for the second page and so on. The pages must not appear ordered by colorant. For

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 13.7 Edit Style dialog box

example: the order KKK…CCC…MMM…YYY… DDD… EEE… is not allowed.

Where there is only one set (or page) of separations in the job, the order of separations in the
job is unimportant: for example, CMYKDE and KCMYED are both acceptable.
• When Recombine is enabled and a preseparated PDF job is provided that contains Separa-
tionInfo objects (a dictionary containing color separation information for the page from PDF
v1.3), the RIP will treat each set of separations as a logical page. For example, a job containing
16 separations of CMYK, CMYK and so on, is handled as four (recombined) pages. If Sepa-
rationInfo is missing or Recombine is disabled, the RIP will treat the job has having 16
pages.
The additional settings for recombined jobs are:
• The Override angles in job option is automatically selected when Recombine Preseparated jobs is
selected. It is highly recommended you leave it selected. In the Edit Style dialog box set the
angle you require for each separation. See Screen angles on page 163 for details.
• It is highly recommended that the Override dot shape in job option is selected.
• It is highly recommended that the Override frequency in job option is selected.
• You can also override other screening features if you wish.
Note: Multi-page imposition cannot be used with recombine. However, Crop Marks, or other uses of
the One-Up, single-sided imposition scheme, (for example, when adding a color bar), can be
used with recombine.

13.7.4 Recombination and composite jobs

Recombination is a powerful capability of the RIP. In many cases, it is possible to submit both com-
posite and preseparated jobs to a Page Setup that has Recombine preseparated jobs selected. However,
there are cases where the nature of the job or other settings made within the RIP mean that it is neces-
sary to create separate Page Setups for composite and preseparated jobs.

13.7.5 Recombine 2 issues

This section contains points to note when using Recombine v.2. It uses much of the same code as is
used for PDF 1.4 Transparency and therefore has similar issues:
• Color management of DeviceRGB colors with equal color values, that is R=G=B, are color
managed using the CMYK input profile and not the RGB input profile for all object types
except images and shaded fills.
• When recombining preseparated files the Overprint process colors options have no effect, even if
selected.This means that the OverprintProcess, OverprintWhite, OverprintGray and
OverprintBlack user parameters are not applied to recombined objects. Instead, the over-
print effect is equivalent to the result of outputting the separations of the job on a press. That is,
the separations are individually processed (without recombine) and the results are overprinted‚
much the same as using ROAM for all separations for a given page together.
• When recombining composite files (that is, composite files that have been input to a recombine
setup), the settings of the Overprint process colors options in the GUI are obeyed.

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 Color Separation

• If composite jobs are put through a recombined setup using Recombine v2 and color manage-
ment, the color management is implemented after any compositing for transparency and after
any overprints have been resolved.

13.7.6 Closing the Edit Style dialog box

You must close the Edit Style dialog box to save your changes. You must also close the Separations
Manager before you can use any other part of the RIP.
Click OK to confirm all the changes you have made in this use of the Edit Style dialog box, including
any deletions. This confirmation is provisional: you must also click OK or Select in the Separations
Manager to finally save your changes. Click Cancel to discard your changes immediately.

13.8 Color Setup

If you wish to create a setup with Color management including, ICC profiles, custom rendering intents
or perform press emulation on a proofer, you should use the Harlequin ColorPro option. This option is
activated by a password and you should contact your dealer for more information.
If you do have Harlequin ColorPro activated in your Harlequin RIP and you wish to create a setup
with color management, you should consult the Harlequin ColorPro User Guide.

13.8.1 Define color setups (no color management)

Follow these steps to create a customized color setup. Note that a color setup corresponds to a particu-
lar device and color space.
1. Choose Color > Color Setup Manager. The Color Setup Manager dialog appears.

Figure 13.1 Color Setup Manager dialog box

2. In the Color Setup Manager dialog box, select the device for which you want to create a color
setup. If you are creating CMYK Separations (halftone), you should select Printing Press
in this option.
3. If necessary, select the color space for which you want to create this color setup. Note that when
you create a Page Setup, the separations style you choose determines the color space of the Page
Setup.

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4. At this point you have the option to select either, New ‚ No Color Management setup, or New
ColorPro setup (which is only available by use of a password). If you can select New ColorPro
setup, you should consult the Harlequin ColorPro User Guide for more details.

Figure 13.2 New Color Setup dialog box

The following tables describe the options available in this dialog.

Table 13.1 Input Document Controls in the New Color Setup dialog box

Fields Description

Override color Select this check box to override any color management
management in job supplied in the job and use the options set in this dialog
box.
If you do not check this box, the Harlequin RIP searches
the job for a color space array, embedded ICC profile, or
a color space resource. If there is such an element, the
Harlequin RIP uses it to transform the relevant object on
the page and then treats the object as defined in device-
independent color. See Appendix B, Jobs Containing
Color Management Data for details.
Note: A PDF/X-3 file containing an OutputIntents
dictionary will be color managed using the ICC profile
indicated by the OutputIntents dictionary, as long as
the job uses a device independent color space and the
Override color management in job option is not selected.

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 Color Separation

Table 13.1 Input Document Controls in the New Color Setup dialog box (Continued)

Fields Description

Override overprint A PostScript language operator called

mode in job setoverprintmode which is the PostScript language
equivalent of the PDF gstate OPM flag.
If an object is set to overprint and OPM or
setoverprintmode is on, the Harlequin RIP drops any
colorants which have a zero value. This is called implicit
overprinting.
If the Override overprint mode in job option is checked, the
Overprint process colors option (described below) is
always honored and any overprintmode and OPM
parameter in the job is ignored. If it is not checked, any
overprintmode and OPM parameter in the job will be
used and the Overprint process colors setting will be used
as the default value.
Overprint process If this option is selected and overprinting is switched on
colors for an object, the RIP overprints any process color
component defined as 0 in the CMYK color space, or as
1 in the RGB color space. That is, the component is
treated as transparent.
When this option is not selected, a process color compo-
nent produces a knockout on the separation. However, if
overprinting is switched on for an object, the RIP over-
prints colorants that are explicitly set to overprint using
the Harlequin extension to setcmykcolor.
Drop white objects When Overprint process colors is selected, Drop white
objects determines how the RIP handles white objects:
objects defined as 0 0 0 0 setcmykcolor,
1 setgray, or 1 1 1 setrgbcolor.

If this option is selected and overprinting is switched on

for that object, the white object simply disappears from
the separations.
If this option is not selected, the white object knocks out
underlying objects, even when overprinting is
switched on.
By default, this option is not selected.

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Table 13.1 Input Document Controls in the New Color Setup dialog box (Continued)

Fields Description

Overprint grays Select this object to enable the Cyan, Magenta, and
Yellow colorants to be overprinted rather than knocked
out when a color is specified as gray (with the PostScript
language setgray operator or spot color converted to a
gray level) and the job requests overprinting. This
behavior is not defined by the PostScript language, and
though it is unusual for a job to rely on it, sometimes a
job will assume this, especially when the gray tint arises
from a named Black spot color which is converted to
process.
Overprint gray Overprint behavior changed from Harlequin RIP version
images 4.1 to 5.x and beyond. While the old behavior is deemed
incorrect, there is a desire to selectively use the old
behavior because of the un-predictability of some graphic
applications and to provide for end-users the ability to
handle legacy work.
The user parameter is called OverprintGrayImages,
with a default of true which when set overprints gray
images. If it is set to false, gray images will knock out
of CMY backgrounds.
Overprint 100% When this option is selected, the RIP overprints 100%
black black rather then generating knockouts in the other sepa-
rations. The black channel or separation is generated as
normal but, depending upon the characteristics of the
other inks, may need to be applied last in the combination
process so that it overprints all colors necessary. If this
option is selected, overprinting occurs regardless of
whether overprinting is switched on for that graphics
object. How the overprinting of the other separations is
done depends on the Image only black option.
There is no performance penalty incurred by using this
feature; in fact, it may be slightly faster to overprint,
given that knockouts do not have to be calculated.
This feature only applies to black objects, not to indi-
vidual pixels of a continuous tone image that happen to
be 100% black.

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 Color Separation

Table 13.1 Input Document Controls in the New Color Setup dialog box (Continued)

Fields Description

Image only black This option controls whether solid black objects appear
in the process color separations other than Black when
the Overprint 100% black option is selected. If this box is
selected, the RIP ignores the other process color compo-
nents of black objects and no trace of the objects appears
in those separations. If this box is not selected, then the
other process color components are taken into account. If
this box is not selected, the objects appear in any separa-
tion where the color component is defined as non-zero in
the CMYK color space (or not 1 in the RGB color space).
Process color components defined as 0 in the CMYK
color space or 1 in the RGB color space are always over-
printed.
Use late color Color management modules prior to the Harlequin RIP
management Genesis Release instigated color management at the
TM

front-end of the process, (with the exception of recom-

bine jobs where color management was applied at the
back-end of the process). Applying late color manage-
ment gives better quality results with blended colors.
Note that late color management is disabled when cali-
bration strips are printed.
See Notes on Use late color management on page 369 for
more information.

Table 13.2 Input Separation Detection angles in Job options in Color Setup dialog box

Fields Description

Detect input separa- The RIP sometimes needs to identify which colors are
tions by screen angle represented in jobs: for example, when recombining a
preseparated job. Most pre separated jobs have Plate-
Color comments. Therefore, separation detection by
angle has been turned off by default. Where there is not
an obvious identifier, most likely in legacy jobs, the RIP
can use the screen angle as one of the items that the RIP
analyzes.
Turn this option on to detect separations by screen angle.

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 13.8 Color Setup

Table 13.2 Input Separation Detection angles in Job options in Color Setup dialog box

Fields Description

Cyan The angles specified in these fields help the ColorPro

Magenta application detect the individual plates within a job. The
default angles will usually work.
Yellow
Black If you do change one of these values, for example Cyan
to 30¬×, and the incoming job has Cyan at 15¬×, you
will encounter problems.

Table 13.3 Output Controls for RGB options in the New Color Setup dialog box

Fields Description

Black generation This is the process of computing how much, and where,
black should be added to the image.
This option determines how much black ink should be
used to reproduce colors. Select Ignore, Minimum,
Light, Medium, Heavy, Maximum or UCR from the
menu.
Undercolor removal (UCR) is the process of reducing
the amount of other colors present where the black is
added.
Override black Rarely, a job will specify black generation itself. You can
generation in job force the scheme set in the Color Setup dialog box to
override those set by the job, by selecting this check box.
Max. ink This value constrains the maximum amount of all four
CMYK colors that will be generated in the conversion
process. Similarly, colors specified explicitly as black are
not affected by this.
Max. black This value is the maximum amount of black ink that will
be generated by the color conversion process. Note that
colors specified explicitly as black are not affected by
this setting.
Convert RGB to true Some applications, and especially Microsoft Word, use
®

black RGB colors for everything, including solid black‚ coded

as 0 0 0 setrgbcolor (or 0 0 0 in a DeviceRGB
color space). You should choose this option to force the
RIP to intercept blacks coded in this way and convert
them to (0 0 0 1 in) a CMYK color space.

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 Color Separation

After setting options in the New Color Setup dialog box, click Save As and assign a name to this color
setup. The Color Setup Manager dialog box displays the new color setup that you have created. Note
that you can also Edit, Copy, and Delete color setups from the Color Setup Manager.
5. Click OK to confirm all the changes you have make in the Color Setup Manager and New Color
Setup dialog boxes.
The OK button saves the changes you have made and closes the Color Setup Manager. If you opened
the Color Setup Manager from the Edit Page Setup dialog box, you can also save the changes by click-
ing the Select button. In addition to saving the changes, the Select button displays the selected color
setup in the Edit Page Setup dialog box. Click Cancel to discard all changes.

13.8.2 Notes on Use late color management

The Use late color management option has been introduced in the Harlequin Genesis Release to over-
TM

come problems with color managing blended colors. In this context, blended colors means both the
compositing of transparency in PDF jobs, and also the overprinting of opaque objects in PostScript
language and PDF files.
In order to color manage blending correctly, the blending must be performed in the same color space
that the designer worked in when creating the job. For example, SWOP with a range of Pantone col-
ors. In theory, if this type of job is printed on a SWOP press that supports all the Pantone colors
present in the job, the rendering of the blends will be correct.
Problems arise when the job is printed to a device with different characteristics to the color space the
designer worked in. A typical usage is the need to color manage the job when printing to a proofing
device. In this case, to reproduce the blending the designer intended, the blending should be per-
formed in SWOP and result then color managed to the proofing device. Historically, this has been dif-
ficult to do accurately without using a form of ouble pass RIP processing. That is, the job is RIP
processed once to (for example) TIFF, in which the blending is in SWOP. The second RIP pass then
color converts the TIFF and outputs the result to the proofing device.
When the Use late color management option is off, the Harlequin RIP will perform color management of
colors in the job before blending of either transparency or overprints. The RIP performs blending by
using the available information to make a best guess at the blended colors, but at a late stage in the
RIP process and without full knowledge of the color values and other graphics state attributes. This
method usually makes the blended regions visible, although they are not correctly color managed.
And if spot colorants are converted to process colors, overprinting of these objects is disabled by
default.
When the Use late color management option is selected, color managed blending is performed in a sin-
gle pass of RIP processing with its obvious efficiency benefits. The Use late color management option
is available on both ColorPro and No color management color setups.
The option is available in No color management setups to achieve better rendering of overprinted spot
colors. For accurate proofing of jobs containing transparency and/or overprints, it is recommended
that the Use late color management option is used.

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Please note the following points when using late color management:
• The definitions of tint transforms of spot colors in the job (which are used to derive the CMYK
equivalents) will only be used to derive the CMYK equivalent of the 100% color value. Tints
will be rendered with CMYK values derived from the 100% spot.
• If a job contains multiple color spaces of the same spot color, and where there are multiple def-
initions of the tint transform, only the first tint transform encountered will be used; as above.
• Special treatment of DeviceRGB and device independent colors in the job is currently required.
That is, the RIP will first color manage these color spaces to a CMYK color space defined by
the CMYK input profile. If this is not defined, or a No color management setup is used, SWOP
(CGATS TR001) will be used. The downside of this method is that the CMYK input profile
may restrict the gamut of the colors in the job for these color spaces to less than the gamut of
the output device.
• Late color management is forced on when used with recombine and also when outputting to a
DeviceN device, such as a Hexachrome device.

• Late color management is disabled when calibration strips are printed.

• Using the Preserve 100% process black option at the same time as Use late color management will
sometimes give undesired results.

13.8.3 Overprinting controls

Where 100% process black is present and in other circumstances, you may wish to perform overprint-
ing rather than causing knockouts in the other separations. This applies both to composite color output
and to screened output. (See Knockouts and overprinting on page 348 for an introductory discussion.)

13.8.3.1 Color managed overprints for DCS

DCS (Desktop Color Separation) jobs that contain spot color data must be overprinted for good qual-
ity output. If the output device does not support those spot colorants, the resulting output will be inac-
curate, with a warning that the spot color is missing.
With the introduction of backdrop rendering the RIP has the ability to interpose a virtual device which
does support those spot colors, and where correct overprinting will result. The RIP can then color con-
vert the backdrop to the final output producing accurate results.
A way of using backdrop rendering is to set Recombine within the RIP user interface. For more infor-
mation see Recombination and composite jobs on page 362. You should note that RIP performance is
affected by backdrop rendering because the RIP implements color managed overprints by compositing
rather than direct rendering.

13.8.4 Black generation and undercolor removal

With regard to the CMYK color space, in principle, all colors can be represented with cyan, magenta,
and yellow. In practice, however, the theoretically correct combination of these three colors will not
produce the color expected when printed, because of the limitations of inks.

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 Color Separation

To overcome this practical problem, pure black ink is used to improve color reproduction on the
printed page. This is the role of the K or black separation. Black is added to produce pure black on the
page, because using a combination of cyan, magenta, and yellow usually gives dark brown, rather than
black, when printed. Therefore, black text is printed with black ink.
Black is also added in color regions of an image to strengthen color tones. The application of black
can often be very effective for improving an image. The amount used can be varied according to the
effects you wish to achieve.
Black generation is the process of computing how much, and where, black should be added to the
image.
Note: If you have Harlequin ColorPro available, it is able to add black in ways more subtle than the
controls described here, using Color Rendering Intents. See the separate Harlequin ColorPro User’
Guide for details.
When converting color descriptions expressed in RGB (or in HLS, device-independent color, or other
spaces which end up as RGB) to CMYK for printing, the RIP must decide how much of a color is to
be represented by black ink, and how much by the others. Because a perfect theoretical description of
the color image is provided by the CMY components, if black is added without the appropriate
removal of some of the cyan, magenta, and yellow, the color produced on the printed page will not be
the one intended.
Undercolor removal (UCR) is the process of reducing the amount of other colors present where the
black is added. The legend ucr represents undercolor removal in the graphs later in this section.
Note: The black generation settings in this dialog box operate in the RIP without Harlequin ColorPro.
With ColorPro enabled, an alternative method is normally used. The settings made here are used with
ColorPro only when sending RGB data direct to a four-color device, without first converting to a
device-independent color space.

13.8.5 Black generation

You can specify how black generation and undercolor removal should be done in the New Color Setup
dialog box. The settings in this dialog box control the way the RIP will apply black by constructing
internal calls to the PostScript language operators setblackgeneration and setundercolorre-
moval. The dialog box offers a number of black generation schemes. Factors that you should take into
account when selecting a scheme include the qualities of the various inks (discussed in Ink densities
on page 374) and printing media.
The scheme used is controlled by the Black generation pop-up menu. The options are:
• Ignore
• Maximum
• None (the default)
• Light, Medium, and Heavy
• UCR
Sections 13.8.5.1 through 13.8.5.5 describe these options.

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Rarely, a job will specify black generation itself. You can force the scheme set in the dialog box to
override those set by the job, by selecting the Override black generation in job check box.

13.8.5.1 Ignore
This option does not set black generation and undercolor removal. It replaces as much color as possi-
ble with black, while maintaining the intended color, irrespective of ink densities. Because no Post-
Script language code for performing undercolor removal is generated, it is the fastest method.

13.8.5.2 Maximum

K, ucr

CMY

This option introduces a lot of black, taking into account the maximum black ink density. Specify the
maximum black ink density in the adjacent Max black text box as a percentage value, as described in
Ink densities on page 374.

13.8.5.3 None
CMY

K, ucr

This option performs no black generation or undercolor removal. Black is represented as a mixture of
cyan, magenta, and yellow, leaving only those colors expressed explicitly in the PostScript language
job as black‚ rather than as a mixture of red, green, and blue, or as device independent color‚ to be
rendered on the black separation.

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 Color Separation

13.8.5.4 Light, Medium, and Heavy

Light Medium Heavy
K K K

CM ucr
CMY
ucr
CM
ucr

These options introduce black gradually, according to exponential functions, with proportionately
smaller amounts of black added and color removed for the lighter colors than the darker ones. This is
again subject to the constraints of maximum ink densities, specified in the adjacent boxes. See Ink
densities on page 374 for details of controlling these ink densities.

13.8.5.5 UCR
K

CMY

ucr

Instead of an exponential curve, this option adds no black until the maximum colored ink density is
reached and then adds black linearly up to its maximum. The maximum colored ink density is the
maximum ink density value minus the maximum black density value. See Ink densities on page 374
for details of controlling these ink densities.

13.8.6 Ink densities

Most of the black generation styles are affected by the ink densities set in the two Max ink and Max
black options in the black generation section of the Color Setup dialog box.
You should select these values with consideration for paper and press characteristics.

13.9 Color separation angles in job

The RIP sometimes needs to identify which colors are represented in jobs: for example, when recom-
bining a preseparated job. Often there are well structured identifiers that give the answer directly and
unambiguously, and most pre separated jobs have PlateColor comments. Therefore, separation detec-
tion by angle has been turned off by default.
Where there is not an obvious identifier, most likely in legacy jobs, the RIP analyzes the contents of
the job to decide a likely color. The screen angle is one of the items that the RIP analyzes.
A switch labelled Detect input separations by angle on the New Color Setup dialog (with or without
color management), allows you to turn separation detection by angle on.

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 13.10 Trapping features

Set the Cyan, Magenta, Yellow, and Black text fields to the screen angles that the incoming job uses for
these colors.
Note: The angles in this section are the screen angles expected in the incoming job, not the angles
used for output. The angles used on output are set in the Edit Style dialog box, and can be entirely dif-
ferent.

13.10 Trapping features

Trapping options are found in the Trapping section of the Edit Page Setup dialog box and gives some
control over trapping; that is, overprinting edges of objects in the output to avoid white gaps showing
when printed due to slight misregistration.
If your copy of the RIP has the one of the optional TrapPro features enabled, you can create sets of
trapping rules and apply them within the RIP. TrapPro is fully described in the separate TrapPro User
Manual. (You must enable TrapPro by obtaining a keyword and selecting the TrapPro item while
following the procedure described in Switching on HSL on page 180 of this manual.)
Making full use of trapping in the RIP can require the choice of appropriate options both in the appli-
cations creating the PostScript language job and in the RIP.
From Harlequin RIP Eclipse SP1, PDF jobs containing PJTF (Portable Job Ticket Format) structures
that detail trapping parameters are supported with respect to making the parameters available to Trap-
Pro. Previously, PJTF structures were ignored. Therefore, if TrapPro is enabled (that is, just the pass-
word entered, not necessarily any parameters set established via the GUI), a PDF job containing
trapping parameters (via PJTF structures), will be trapped as dictated by those parameters.

13.10.1 Trapping and QuarkXPress

The Harlequin RIP supports trapping facilities provided by QuarkXPress and its settrap PostScript
language extension.
QuarkXPress has the ability to generate arbitrary trapping. It can do so in either of two ways:
• By including explicit overprinted borders in the PostScript language page description it pro-
duces. This method works on all RIPs but may produce large job files.
• By indicating that a capable RIP should generate the trapping. The RIP can do this if you select
the settrap (Quark) option. The QuarkXPress operator must use a printer description file
declaring that the RIP supports this feature. Using this option allows QuarkXPress to generate
more compact PostScript language code, which saves disk space and may lead to faster inter-
pretation by the RIP.

13.10.2 Controls in the Harlequin RIP

The Trapping pop-up menu in the Trapping section of the Edit Page Setup dialog box always provides
the following options:

None This option performs no trapping.

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 Color Separation

settrap (Quark)
Use this option to have the RIP generate overprinted borders according to
instructions embedded in suitable jobs by QuarkXPress. See Trapping and
QuarkXPress on page 375 for details of how to produce suitable jobs.
If your copy of the RIP has one of the optional TrapPro features enabled, there may be extra entries in
this list and you also can create new sets of trapping rules that also become entries in this list, as
described in the separate TrapPro User Manual.

13.11 Pages in the Output Controller

In general, the RIP treats separations the same way whether they are the result of processing a presep-
arated job or the result of separating a composite color job within the RIP.
Depending on the separations style, each page of a composite color job can produce several pages, one
for each separation. Once these pages are in the Output Controller, the RIP handles them in the same
way as any other pages.
The pages are tagged with their color, which appears after the name in the Output Controller. For
example, the job picture.ps separated for CMYK printing would have four entries in the queue, as
follows:
picture.ps (C)
picture.ps (M)
picture.ps (Y)
picture.ps (K)

Cyan, magenta, yellow, and black are abbreviated to C, M, Y, and K respectively. Red, green, and blue
are abbreviated to R, G, and B respectively. Spot color separations are tagged with the full name of the
separation.

13.11.1 Roaming separations

When you view a separation on a color display, using Roam, it is displayed in the appropriate color, at
least until you choose to change that display color. The Roam window also displays the title of the
page, an abbreviation for the color, and the resolution. Cyan, magenta, yellow, and black are abbrevi-
ated to C, M, Y, and K respectively. Red, green, and blue are abbreviated to R, G, and B respectively.
An asterisk character ( * ) indicates a spot color separation, and a percent character ( % ) indicates
grayscale.

Shift
You can view a block of several separations at once. Click to select the first one, then hold down the
Shift key and click to select the last one.
When you view multiple separations, the colors are overlaid to give an impression of how they will
look when combined on paper. For example, in a high-resolution screened picture, you should be able
to see the rosettes of the screen pattern. (See Chapter 6, Screening, for more discussion of viewing
superimposed screens.)

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 13.11 Pages in the Output Controller

You can roam a separation in a different color, which can be useful, for example, if you want to see the
differences between two separations of the same color. To highlight the differences, change the roam
color of one page and then roam the pages together. For details of changing the roam color, see
Changing the color in Roam on page 376
For more information on roaming, see Roam and Preview windows on page 89.

13.11.2 Roaming composite pages

When you view a composite page using Roam, by default the RIP shows all the separations in the
composite page together.
You can reduce the number of separations that you can see in the Roam or Reduced Roam window
using the Roam Options dialog box. See Roam Options and Preview Options dialog boxes on page 90
for details.

13.11.3 Changing the color in Roam

You can inspect and change the colors displayed in the Roam window for the colorants in individual
separations and composite page buffers. To do this, select a page buffer in the Output Controller, click
Info, and in the Info dialog box click Change roam color. Figure 13.12 shows the dialog box that
appears.
Note: You cannot inspect or change the roam color while you are roaming a page buffer from any
page in the same job.

Figure 13.12 Change Roam Color dialog box

The Change Roam Color dialog box appears with a table displaying all the colorants present in the
selected page buffer. The columns in the table are:

Colorant This is the name of the colorant in the page buffer. In a separation, there is
only one colorant. In a composite page buffer, all the included colorants
appear. (Typical composite page buffers contain only process colors but, for a
small number of output plugins, there can also be spot colors.)

Red This is the red component of the roam color, in the range 0 (zero) through 1.0.

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 Color Separation

Green This is the green component of the roam color, in the range 0 (zero) through
1.0.

Blue This is the blue component of the roam color, in the range 0 (zero) through
1.0.

Roam Color This is the name of the roam color. In an unchanged page buffer this is the
same name as appears in the Colorant column. In a changed page buffer, the
color is the last one chosen for this colorant. You can substitute any other
color by choosing from a list of common colors or by typing new values.
To change a color, first select it by clicking on its row in the table. The boxes at the foot of the table
display the RGB values and the name of the roam color for the selected colorant. You can choose
named colors from a list or specify any other color by RGB values:
• To select a named color, use the pop-up menu for Roam Color. The listed values are any special
colors represented in this page buffer, a list of default colors for the RGB and CMYK spaces
(Default Red and so on), and an entry called Other. You cannot select Other: it shows only
that you have edited the RGB values to a color not in the menu. To return to the original roam
color for a colorant, use the list to select the name that appears in the Colorant column.
• To specify any color not in the pop-up menu, edit the values in the fields for Red, Green, and
Blue. Once you have edited a value then, as soon as you move to another field (or select a dif-
ferent row in the table), the Roam Color name for the edited colorant changes to Other. If you
want to edit another color, click on its row. (You can do this for all colorants if you wish; each
can have its own value for Other.)
Click OK in this dialog box and OK again in the Info dialog box to save your changes to roam colors.
Click Cancel in either dialog box to abandon your changes.

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Appendix A

Troubleshooting
0

This appendix provides solutions to common problems that can occur when running the RIP.
The first sections contain information about the warning messages that can appear. They are grouped
according to where the messages appear in the RIP.
Section A.1 Warning messages and what to do, gives a list of some of the major error messages
that may occur when running the RIP. All of the messages in this section appear in dialog boxes.
Section A.2 Warnings in the RIP Monitor, describes the warnings that appear in the system
monitor. They are grouped according to the type of problem.
Section A.3 Warnings within the progress box, describes the messages that appear in the
progress box. The progress box is part of the Output Controller in either of the multiple modes,
or a separate window in either of the single modes. This list does not include the warnings gen-
erated by output plugins.
The remaining sections provide additional information on specific topics.
Page imposition and media saving on page 388 contains information on imposition and media
saving.
Seybold timings on page 388 describes Seybold test timings.
TIFF/IT troubleshooting on page 389 describes solutions to problems when imaging TIFF/IT
files.
PDF troubleshooting on page 390 describes solutions to problems when imaging PDF jobs.
Network troubleshooting on page 394 describes solutions to network problems when configur-
ing the RIP.
Spool folder problems and considerations on page 395 describes how to set the access permis-
sions for the spool folder.

A.1 Warning messages and what to do

The following is a list of some of the major error messages that may occur when running the RIP. All
of the messages in this section appear in dialog boxes.

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A.1.1 Problems with starting the Harlequin RIP
Table A.1 Start-up messages

Message Problem Things to try

Disk needs DiskFirstAid The hard disk may have Use DiskFirstAid to carry
been corrupted. out any repairs necessary.
DiskFirstAid is supplied
with your Macintosh operat-
ing system.

Eve Dongle not plugged in The RIP has not detected a Check that the dongle is
valid dongle. installed and plugged-in cor-
Fatal error: Fatal security
rectly, and that the EvE Init
device failure
start-up document is
installed in the system
folder. If this does not help,
shut the Macintosh down,
disconnect the dongle com-
pletely, and reconnect it.
Power-up the Macintosh
again.

The RIP failed on bootup An error has occurred while Reset the RIP to the factory
the RIP was starting up. defaults.

The RIP startup failed An error occurred while Reset the RIP to the factory
starting up the RIP. defaults. Reboot the
machine. If this does not
help, reinstall the RIP.

A.1.2 Problems involving memory or disk space

Table A.1 Memory or disk space messages

Message Problem Things to try

Application size The RIP has Change this by choosing Get Info… from the
is too small been configured Finder menu, or by pressing Command-I, with the
with a default RIP icon selected.
memory size of
It is theoretically possible to run the RIP with a
less than
memory size of smaller than 15360 KB, but perfor-
15360 KB.
mance may decline. The amount can be increased to
much higher values if necessary.

Not enough The system and Reduce the amount of memory being used.
memory to run other software
the RIP running on the
Macintosh are
consuming too
much memory.

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 Table A.1 Memory or disk space messages (Continued)

Message Problem Things to try

Warning: The RIP cannot The warning message describes the best corrective
Memory is get- obtain enough action: display the Configure RIP Options dialog
ting low and memory (RAM) box by clicking Options. in the Configure RIP
your RIP is run- to operate cor- dialog box; increase the Minimum memory left for
ning out of rectly. system (512 KB is the suggested minimum), quit
system memory. the RIP, and restart the Macintosh before restarting
Warning: The
Therefore … the RIP again.
underlying fault
(continues)
condition can Alternatively, you can reduce the required memory
occur in all pre- (specifically the heap) by removing any plugins
vious revisions, which are installed but not actually being used.
without a mes-
sage appearing
but causing a
variety of prob-
lems.

A.1.3 Problems with resources

Table A.2 Resource messages

Message Problem Things to try

Could not access a resource The plugin driver for the Reset the RIP to the factory
for the current plugin device current device seems to have defaults.
driver been moved.
Move a copy of the device
driver into the Devices
folder in the SW folder.

Could not access a Setup The setup file has been cor- Reset the RIP to the factory
resource rupted or is missing. defaults.

There are no devices There are no devices Reinstall the RIP.

installed in the setup file installed in the devices
folder, and the application
resource fork has been cor-
rupted.

A.1.4 Problems with files

Table A.3 File messages

Message Problem Things to try

Could not open the newly This probably means that Close some files.
created RIP setup file there are too many other
files open.

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 Table A.3 File messages (Continued)

Message Problem Things to try

File too deeply buried inside The file pathname is too Move the file that you are
folders long for the RIP to cope trying to access to a point
Move it somewhere else with. higher up in the file system
so that the full pathname
becomes shorter.

Incompatible version of the The setup file you are using Find and install a copy of
RIP setup file used/ is associated with a different the correct setup file that
Old RIP setup file used version of the software. was supplied with the ver-
sion of the RIP that you are
running (this file must be
placed in the SW folder) or
reinstall the RIP.

Problem finding file; maybe The RIP cannot find a file. Try running a disk repair
disk is damaged utility.

A.1.5 Problems with sockets

Table A.4 Socket messages

Message Problem Things to try

No communication Suspect a bad configuration Check that both applications

in the receiving or sending are using the same port and
application. that the sending application
is using the expected proto-
col: basic TCP/IP socket
stream or Xinet PapConnect,
as configured in the Socket
Configuration dialog box.
Next check the network con-
nectivity using ping or an
equivalent network utility
program.

Bad jobs at the receiving The sending application Check that the sending
end may not be using the correct application is using the
protocol. expected protocol: basic
TCP/IP socket stream or
Xinet PapConnect. Check
that no other machine is
already using the same port
and sending something that
is not a PostScript language
job.
Check that the sending
application is using the
expected protocol.

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 Table A.4 Socket messages (Continued)

Message Problem Things to try

Missing, bad, or corrupted The Socket plugin or the Check that the RIP Socket
status messages at the send- port is not configured cor- plugin is configured to
ing machine rectly. return the PostScript lan-
guage standard output on the
correct port (Address).
Check that no other machine
is already using the same
port and sending something
that is not the standard
output from a PostScript
language job.

A.2 Warnings in the RIP Monitor

The following warnings all appear as messages in the RIP Monitor. Again, the warnings are grouped
here according to the type of problem.

A.2.1 Problems involving disk space

Table A.5 Disk space messages

Message Things to try

System warning; insuffi- Create more free disk space before reprocessing the job that
cient Disk workspace gave the warning.

Error VMerror Offending This appears after a partial paint fails.

Command: renderbands
Make sure that compression is turned on in Configure RIP.
If this does not help, free-up some disk space on the Macin-
tosh.

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 Table A.5 Disk space messages (Continued)

Message Things to try

System Warning: Free disk The RIP waits for some disk space to be freed.
space gone below requested
This is not a fatal error. It can happen, for example, if the
limit
RIP is outputting pages, or has pages waiting to be output in
the Active Queue. When these pages have been output, they
are deleted automatically and the RIP continues with its cur-
rent job.
If there are no pages waiting to be output, free up disk space
by doing some of the following things:
Delete some files.
Turn on page compression in the Configure RIP dialog box.
Reconfigure the PageBuffers folder by placing it on another
disk with more free space.
Ensure that there are no locked pages in the Output Control-
ler.

A.2.2 Problems involving fonts

Table A.6 Font messages

Message Things to try

Error: invalidfont; Offend- Check that the RIP has installed the font correctly.
ing Command: <command>
Try proofing the fonts using the Proof Fonts option on the
Fonts menu. If the font fails to proof it may be corrupt. If the
fonts proof correctly, the job itself may be corrupt.
If any job requires a particular font which is not installed, the
RIP attempts to use Courier as a substitute.

<FontName> Font not The font specified in the PostScript language file is not actu-
found; using Courier ally loaded into the RIP. Courier is the default font in this
case.

Courier Font not found; If this message appears, the RIP currently has no fonts
using Courier loaded at all. Use Install fonts to install some fonts; the min-
imum font set that must be installed is Courier, Times, Hel-
vetica, and Symbol. Alternatively, reinstall the RIP.

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Table A.7 File messages

Message Things to try

ERROR IN CONFIG FILE The RIP failed to finish interpreting the file.
For example, you will see this message if you try to print a
TIFF file that is corrupt, unsupported, or of an unrecognized
type.
This can also occur if a file in the spool folder is locked by
another application. Close the file and try again.

Inappropriate compression This message appears if you try to print a file that has an
inappropriate compression format. For example, a color or
grayscale TIFF file with CCITT compression. CCITT com-
pression is only suitable for monochrome TIFF files.

A.3 Warnings within the progress box

When appropriate, the progress box may show the following warning messages, together with the
accompanying icons. The progress box is part of the Output Controller in either of the multiple modes,
or a separate window in either of the single modes.
Output plugins can supply their own warnings and icons, which are not listed here.

Table A.8 Progress box messages

Buffer full
The page buffer on the output device is full

Buffer space low

The output device is running out of buffering memory

Busy
The output device is working on another job

Busy or off-line
The output device is either busy or off-line

Communications failed
Communication between the RIP and the output device has either been
broken or was never established

Cover open
The cover of the output device is open

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 Table A.8 Progress box messages (Continued)

Data transfer failed

Image data transfer between the RIP and the output device has either
been broken or was never established

Data underrun
The output device has not received data from the RIP when it was
expected

Deleted cassette
The required cassette has been deleted, in the Cassette Manager.

Ink low
The ink supply to the output device is running low

Ink out
The ink supply to the output device has been exhausted

Interface card failed

Communication between the RIP and the interface card in the machine
has either been broken or was never established

Invalid clipping
An invalid clipping was requested of the output device

Invalid resolution
An invalid image resolution was requested of the output device

Laser diode failed

The laser diode of the output device is not working satisfactorily

Low power
The output device is low on power

Misplaced cassette
The required cassette is in another output device.

Missing cassette
There is no cassette in the output device

No cassette
The input media cassette requested is not available

No power
The output device has no power

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No take-up cassette
There is no take-up cassette for the output device

Not ready
The device is not ready, for an unspecified reason‚ perhaps unknown
or too complex to show. Look for an extra message in the Monitor
window.

Off-line
The RIP cannot communicate with the output device

Page stop-started
The RIP has supplied data quickly enough, but the device has
stop/started

Paper jam
Media has jammed in the output device

Paper low
The paper or film supply to the RIP output device is running low

Paper out
The paper or film supply to the output device has been exhausted

Printer caught up
There was a data underrun, and stop-start was either not selected or is
not supported by the printing device

Take-up full
The take-up cassette is full

Take-up space low

Space in the take-up cassette for the device is running low

Toner low
The toner supply to the output device is running low

Toner out
The toner supply to the output device has been exhausted

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 Table A.8 Progress box messages (Continued)

Unknown error
An unknown condition has caused an error

Warming up
The output device is preparing itself for communication with the RIP

Wrong cassette
The wrong cassette is in the output device

A.4 Page imposition and media saving

On wide printers, using the media saving option (described under Printing effects on page 129) can
save both time and media. You must ensure that you set the media width for the cassette being used
correctly, because it is the media width that is used to determine if the rotated page would fit on the
media. See Monitoring media on page 254 for details of how to set this information.
Some pages may have surplus white space at the sides, and this could mean that film saving will not
rotate the page. You can force the rotation in the Edit Page Setup dialog box, and also tell the RIP to
center the page if appropriate, so that only the white space is clipped.
It is possible to set up automatic operations such as printing 4-up or 8-up. This is done by adding frag-
ments of PostScript language code into the system that specify where to lay out the pages. This could,
for example, automatically fill a large sheet of film with pages. This form of imposition only works
within a single job.

A.5 Seybold timings

The Seybold test timings have to cover a large range of resolutions, so, for example, two printers, with
resolutions of 2000 and 2540 dpi respectively, would be compared to one another directly. However,
remember that there is more data in a higher resolution bitmap; a 2540 dpi bitmap contains 62.29%
more data than a 2000 dpi bitmap. The time taken to generate the 2540 dpi job, while probably not as
much as 62% longer, is certainly substantially longer.
If you really must reduce timings to be comparable across different resolution printers, the only solu-
tion is to use the lowest resolution possible.

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A.6 TIFF/IT troubleshooting
Various problems may occur and warning messages may appear when imaging TIFF/IT files with the
RIP. These are described and explained below.
Missing, duplicated, or partial images
A typical page is described by several files, which can go missing or be in unexpected places.
The RIP finds files most quickly if the FP file and the subfiles are in the same folder. It helps to
use the correct file extension for each file type.
Duplicated (partial) images may be the result of printing subfiles independently. Select only the
FP file, not its subfiles, when you want to print a final page.
Poor image quality
Files have an embedded resolution, which the RIP must match in its Page Setup if you want
high-quality results. The best way to find the embedded resolution (and page size) is to use a
dedicated TIFF file analyzer.
If you try to use too high an output resolution, you will see the following message:
Output resolution too high for this file. It should be no greater than <number>
DPI

Clipped images
The RIP does not take a page size from TIFF/IT files. You must select a suitable Page Setup
before printing the file. Use a TIFF analyzer to discover the page size.
Failure to produce output
open: the TIFF 6.0 or TIFF/IT file
is either corrupt, unsupported, of an unrecognised
type or the appropriate file type is not enabled
in Configure RIP / Extras

The RIP displays this message if you attempt to image TIFF/IT data types that it does not sup-
port or to image files that do not conform to the TIFF/IT-P1 profile.
If you attempt to print TIFF/IT-P1 files when the TIFF/IT option is not enabled, then the TIFF
6.0 input option may attempt to process the parts of the file that it recognizes as TIFF. If this
message appears then the TIFF 6.0 input option does not recognize any part of the file as TIFF.
Poor performance / Long imaging times
Text in the TIFF/IT file can lead to large numbers of line segments and very large files. See the
comments made in Installation and requirements on page 238.
Also, if the computer running the RIP is running other applications at the same time, the other
applications may be using memory that the RIP could use to operate more quickly. Shut down
any programs that you do not need, then stop and restart the RIP to be sure that it is using as
much memory as possible.

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Problems with SCID files
Standard Color Image Data (SCID) primary data files are incompatible with the TIFF/IT sup-
port in the RIP, but SCID alternate data is compatible. SCID primary data is incompatible
because it uses the dot range 28 through 228. (See the Glossary on page 409 for an explanation
of dot range.) The ISO document DIS 12640 describes the dot ranges and other differences
between the primary and alternate formats, but the next paragraph is sufficient to identify both
types of data.
Primary data files are named N1 through N8 and S1 through S10, and each is visibly labeled
ISO 400 in the image. The alternate data is calculated from the primary data, has a lower spatial
resolution, and is visibly labeled ISO 300 in the image. The names of the alternate data files end
in the letter A, resulting in the names N1A, S1A, and so on.

A.7 PDF troubleshooting

The methods of control provided by the PDF Options dialog box mean that it is possible to reject PDF
files that are valid, but that fail to meet strict criteria such as the PDF/X-1 specification. It is also pos-
sible for PDF jobs to be badly constructed or for required external files to be missing or in the wrong
location. Always inspect the RIP Monitor window or log file if you see problems with printed output.
You may see the following effects or messages.
No pages printed
Check in the PDF Options dialog box that the PDF job is of the required type (for Accept type(s))
and that it contains at least one page matching the pages or ranges in the Pages field.
Poor color matching
Check that you have an appropriate match of color spaces and management in the PDF job and
in the Page Setup in use. If the problem appears in an image, also check that it is not a low-reso-
lution OPI preview being used to substitute for a missing OPI high-resolution image.
Areas missing from the page or printed at low resolution
Check that any files referenced by OPI are present and that OPI is enabled in the RIP. (Files ref-
erenced by OPI must be embedded in a PDF/X-1 file.)
%%[ Warning: Skipping page 1 - not in requested page range ]%%

This is not an error. It is a reminder that the options chosen in the PDF Options dialog box have
caused a page to be omitted from the PDF job being printed. This omission may be intentional.
%%[ Error: invalidaccess; Offending command: pdfexec ]%%

The PDF files may have been saved with security settings that require a password to be entered
for printing. Obtain the password (from the supplier of the PDF job) and enter the password in
the text field in the Password section of the PDF Options dialog box. Passwords are case-
sensitive.
If you enter the correct password (in the Harlequin RIP) and still see this error, check that you
have not entered one or more white space characters at the end of the password. Another possi-
ble cause of this error is that the password uses characters from an extended (non-ASCII) char-

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 acter set. The way in which these characters are represented can vary from platform to platform
and the PDF password may have been set on a platform different from the one on which you are
running the RIP. Request a new file using a simpler password.
Finally, the PDF file may be damaged. Try using another application to view or print the file,
taking note of any messages given by that application.
High resolution file is embedded in PDF job file.

This is not an error nor a warning. It is information about the structure of an OPI job. This mes-
sage is most likely to occur when processing a PDF/X-1 job, but could occur for a basic PDF
file.
****** PDF/X-1 Error: text explaining the reason

The job is not a valid PDF/X-1 job. See the following messages for explanations of the various
reasons that can appear in messages of this form. The RIP may be able to process the job as a
PDF 1.3 file, if you have allowed this by a choice in the Accept type(s) list.
Note: If you have used a creating or editing application that claims to be compliant with
PDF/X-1:1999, you should report these errors and warnings to your supplier of that tool. The
RIP performs strict checking of referenced files as well as the basic PDF content of a PDF/X-1
job.
****** PDF/X-1 Warning: Clipped out 'stroke' operator in EPS

The job deviates from the file PDF/X-1 standard‚ in this example because of a PostScript lan-
guage operator used in a referenced EPS file. (The operator is illegal in an EPS file referenced
from a PDF/X-1 job but harmless in this context.) Any message starting ‚PDF/X-1 Warning:‚
has some problem, for the reason given in the rest of the message, but will not cause the RIP to
abort the PDF job.
****** PDF/X-1 Error: Invalid TIFF compression

An embedded TIFF file uses a compression method not allowed by PDF/X-1. Many TIFF files
use LZW compression, which is not allowed. Ask the creator of the file to recreate the file using
an allowed compression method; PDF/X-1 allows an embedded TIFF file to be compressed
using the CCITT or (new) JPEG methods.
Note: The new JPEG method is given the TIFF tag value Compression=7 and is expected to be
adopted as part of the forthcoming TIFF 7 specification. The new method was designed (by the
Independent JPEG Group) to overcome severe problems in the method of JPEG compression as
described in the TIFF 6.0 specification, dated 1992. The old scheme used the TIFF tag value
Compression=6 and several related but separate fields.
****** PDF/X-1 Error: Vector painting operator in EPS: stroke

An embedded EPS file uses a vector painting operator. PDF/X-1 does not allow embedded EPS
files to contain vector painting operators: stroke, fill, show, and so on.

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****** PDF/X-1 Error: Invalid alternativeSpace in Separation
colorspace

****** PDF/X-1 Error: Invalid base colorspace in Indexed colorspace

The PDF job uses an illegal color space. PDF/X-1 places restrictions on the alternative Space of
Separation color space and the base color spaces of Indexed color spaces in embedded EPS
files.
****** PDF/X-1 Error: LZWDecode in EPS

An embedded EPS file uses LZW compression, which is illegal in PDF/X-1.

****** PDF/X-1 Error: Missing Subtype in EF object

****** PDF/X-1 Error: Unknown Subtype in EF object

****** PDF/X-1 Error: Subtype incorrect for embedded file

The PDF/X-1 file must specify the type of an EF object (embedded file) using the Subtype key.
The Subtype key can be TIFF, EPS, DCS, and so on. The RIP checks that the Subtype key is
present, is one of those allowed, and matches the actual type of the file.
****** PDF/X-1 Error: Invalid TIFF PhotometricInterpretation

The PDF job references a TIFF file of an illegal type. Embedded TIFF files must be CMYK,
monochrome, or gray scale. PDF/X-1 does not allow RGB, Lab, or other color spaces.
****** PDF/X-1 Error: PDF referenced from PDF/X-1

****** PDF/X-1 Error: JPEG referenced from PDF/X-1

The PDF job references a file type that is illegal for PDF/X-1. The PDF/X-1 standard allows
only TIFF, EPS, DCS, or TIFF/IT-P1 files to be embedded.
The following messages can appear as Errors or Warnings. They appear as Errors if you have set
up the RIP to accept only PDF/X-1 jobs.
In most cases, understanding the messages requires detailed knowledge of the PDF specification but
all the messages indicate that the job is not PDF/X-1 compliant. If you see these errors when printing
PDF/X-1 jobs, you have two alternatives: one alternative is to ask for the job to be re-created in a form
that is compliant with PDF/X-1 and wait for that job to be supplied to you; the other alternative is to
use a Page Setup that accepts basic PDF (using the option Any PDF <= 1.3 as basic PDF) and
print the non-compliant version. (In rare cases, there may be a more fundamental error in a PDF file
that prevents you printing it at all; in such cases, you must use a different PDF file.)
****** PDF/X-1 Error: unknown PDF/X version

****** PDF/X-1 Error: unexpected PDF/X version

****** PDF/X-1 Error: obsolete PDF/X version

****** PDF/X-1 Error: unexpected PDF version

The PDF version number is too low, too high, or otherwise unsuitable for use with this version
of the RIP and the settings in use.

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****** PDF/X-1 Error: missing Info dictionary

****** PDF/X-1 Error: invalid Info dictionary

PDF/X-1 jobs must have a valid Info dictionary.

****** PDF/X-1 Error: missing trailer ID key

PDF/X-1 jobs must have an ID entry in their trailer object.

****** PDF/X-1 Error: invalid encryption

If encrypted, PDF/X-1 jobs must have a blank User password.

****** PDF/X-1 Error: invalid operator

****** PDF/X-1 Error: invalid HTP in ExtGState

****** PDF/X-1 Error: invalid TR in ExtGState

****** PDF/X-1 Error: invalid RI in ExtGState

****** PDF/X-1 Error: invalid TransferFunction in halftone

****** PDF/X-1 Error: invalid colorspace

****** PDF/X-1 Error: invalid file compression

****** PDF/X-1 Error: invalid function type

****** PDF/X-1 Error: invalid halftone type

****** PDF/X-1 Error: invalid pattern type

PDF/X-1 files have restrictions on the allowed PDF operators, parameters in the graphics state,
transfer functions, color spaces, methods of compression, halftones, and patterns. The job has
tried to use an invalid option.
****** PDF/X-1 Error: missing embedded font

PDF/X-1 jobs can use only embedded fonts. The job has tried to use a font without embedding
it.
****** PDF/X-1 Error: invalid filespec

****** PDF/X-1 Error: invalid embedded filespec

Files referenced through OPI in a PDF/X-1 file must be embedded within the PDF/X-1 file
itself. The job includes OPI references to files that are not embedded.
****** PDF/X-1 Error: invalid external file

PDF/X-1 jobs can use external files only for OPI. The job has tried to use an external file for
some other purpose.
****** PDF/X-1 Error: invalid embedded file

PDF/X-1 jobs can embed a limited number of file types. The job has a file specification that is
badly specified for Macintosh, UNIX, or DOS platforms, is not embedded, or where the Sub-
type of the file indicates that the file is not TIFF/IT, EPS, DCS, or TIFF.

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****** PDF/X-1 Error: invalid PS XObject

A PDF/X-1 job cannot contain a PostScript language XObject (PostScript language code
embedded in the PDF page description).
****** PDF/X-1 Error: missing characterized printing condition

****** PDF/X-1 Error: multiple characterized printing conditions

All data in a PDF/X-1 job must be prepared for exactly one characterized printing condition,
which is identified using embedded ICC profiles. (A job can embed multiple ICC profiles and
each must contain a characterized printing condition but all conditions must be the same.) The
RIP reports the first condition to the Monitor window, in a message similar to this example:
Prepared for printing condition "CGATS TR 001".

A.8 Network troubleshooting

This section covers solutions to network problems when configuring the Harlequin RIP.

A.8.1 Harlequin RIP fails to publish

If the RIP is not publishing on the network, check the following.

A.8.2 Network connections

Ensure that the network cable is connected correctly to your Mac. The easiest way to do this is to
check that the Mac can see other things on the network. For example, are any LaserWriters on the net-
work present? If not, check that connections have not been broken due to connectors being removed.
Look particularly for connectors being removed from either of:
• the Printer Icon socket (LocalTalk)
• the thick/thin net connector from the EtherTalk socket.

A.8.3 Restart the RIP once you have checked the connections and corrected any problems with the
network cable. Start the RIP, make sure that there is a network channel defined in the Input Controller
that is On, and then choose File > Start Inputs.Is the Macintosh system software installed
correctly?
It is difficult to check the correctness of an installation. If you have checked for faulty connections and
other causes, the most reliable procedure is to reinstall the software.
The installer offers you the choice of installing over the running system software or doing a full instal-
lation as if on an empty disk. Try the first option since it is simple and quick to do: if there is no
improvement, do a full installation.

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A.8.4 The Harlequin RIP is not picking jobs up correctly
The System software and network drivers on either the printing Macintosh or the RIP Macintosh may
need reinstalling. Try reinstalling the System software and any special drivers for your network hard-
ware.
If the RIP is published on the network, but jobs do not get processed correctly, check the following:

Spooler problems
Some spoolers check for a specific product name. The RIP is set to Laser-
Writer-Sim. If the spooler does not recognize this, it may not send the job
to the printer. This name has been chosen to minimize such problems.

A.9 Spool folder problems and considerations

In cases where the spool folder is on a file server (for example, a folder accessible from file sharing or
using an AppleShare file server), you must ensure that the RIP has permission to access the shared
folder and all enclosed folders.
Access permission for both file sharing and an AppleShare file server means one of the following:
• The RIP is a registered user on the file server, and is granted access to the folder
• The RIP is a registered user in a group on the file server, and the group is granted access to the
folder
• The RIP is a registered user on the file server, and the RIP user is the owner of the folder
• The RIP is either a guest user or classed as everyone, and the folder has full access permis-
sions
In all cases the granted permissions for the folder must be Read & Write, or on earlier systems: See
Folders, See Files, and Make Changes. Enclosed folders must also have the same permissions:
click the relevant Copy button if your operating system displays one.
Please consult your AppleShare file server administrator guide or file sharing guide for more details.
Also, due to System 7 file sharing performance, it is best not to share the spool folder from the RIP
Macintosh. File sharing can slow down the RIP Macintosh, and cause printer stop/starts. Sharing a
spool folder that is remote from the RIP Macintosh is the best strategy. File sharing may also cause
conflicts with the RIP’s network server mode.
If you are using a TOPS network, the disk with the spool folder on it must be published read/writ

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Appendix B

Jobs Containing Color Management

0

Data
Settings within the RIP, in the job, and in the images themselves can all control the processing of
images in a job. This appendix describes the settings that influence this processing and explains which
setting takes precedence in each particular case. Summary of options on page 398 summarizes this
information.
Important: Different rules apply when you are using Color. See the Harlequin ColorPro User’s
Guide for details.
If you are not using ColorPro, the RIP checks the following for Photoshop and PDF jobs, and allows
independent control of what happens.
When processing jobs containing Photoshop EPS images:
• Is the Override color management in job option selected in the Color Setup dialog?
• Does the image contain a PostScript language color space array?
• Is the UseCIEColor parameter set to true in the job?
See Section B.1 and Section B.2 for details.
When processing jobs containing PDF files:
• Is the Override color management in job option select in the Color Setup dialog?

B.1 Override color management in job not selected

The Harlequin RIP checks for color management information in the image and the job in the
following strict order.
• If the image contains a PostScript language color space array (Photoshop EPS files only):
The Harlequin RIP uses the color space array (CSA) to transform the image. It treats the image
as a device-independent color image.
• Otherwise, if the UseCIEColor parameter set to true in the job:
The Harlequin RIP uses the DefaultGray, DefaultRGB, or DefaultCMYK color space
resources to transform the image colors. It treats the image as a device-independent color image.
Otherwise, if the UseCIEColor parameter is set to false or has no value in the job, the Harlequin
RIP treats the job as CMYK or RGB.

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B.2 Override color management in selected job
• If the current Page Setup does not use a color setup:
The Harlequin RIP checks the setting of the UseCIEColor parameter in the job.
• If the UseCIEColor parameter is set to true in the job:
The Harlequin RIP uses the DefaultGray, DefaultRGB, or DefaultCMYK color space
resources to transform the image colors. It treats the image as a device-independent color image.
• Otherwise, if the UseCIEColor parameter is set to false or has no value in the job:
The Harlequin RIP treats the job as CMYK or RGB.

B.3 Summary of options

Table B.1 Current Page Setup does not use a color management option

Override color Image contains a Job contains Result

management in job color space array UseCIEColor set to
Selected True Use the DefaultGray,
DefaultRGB or
DefaultCMYK color
space resources to
transform image colors

False Treat job as CMYK or

or no value RGB

Not selected Yes Use the CSA to

transform the image

No True Use the DefaultGray,

DefaultRGB or
DefaultCMYK color
space resources to
transform image colors

False Treat job as CMYK or

or no value RGB

Settings within the Harlequin RIP, in the PostScript language or PDF job, and in the images them-
selves can all control the processing of images in a job.
Note: Some options apply only to EPS files produced by Adobe Photoshop.
PDF color management on page 399 describes the cases specific to PDF jobs.

B.4 PostScript language jobs and image files

The Harlequin RIP checks the following when processing jobs containing Photoshop EPS images or
TIFF/JPEG images containing embedded ICC profiles:
• Does the current Page Setup use a color management option?
• Is the Override color management in job check box selected in the Color Setup dialog box?

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 • Does the image contain a PostScript language color space array? (Photoshop EPS files only)
• Does the image contain an embedded ICC profile?
• Is the UseCIEColor parameter set to true in the job?

B.5 PDF color management

PDF jobs can use a variety of color spaces, including device-dependent spaces such as DeviceCMYK.
Typically, when using device-independent color spaces, PDF version 1.2 files use the CalGray and
CalRGB color spaces and PDF version 1.3 files use the ICCBased color space but these usages are
under the control of the creating applications; see the Color tab in Distiller 7.0.
Full use of device-independent color requires ColorPro to be enabled.
Note: A PDF/X-3 file containing an OutputIntents dictionary will be color managed using the ICC
profile indicated by the OutputIntents dictionary, as long as the job uses a device independent
color space and the Override color management in job option is not selected.

B.6 XPS color management

The XPS RIP component provides the following color management:
• An ICC v4 compatible color management engine is integrated within the RIP component. This
allows color management of XPS Documents to an output color space.
• Input color is supported as described in the XPS Specification.
• Vector, text and image data defined in sRGB, scRGB, N-Color and ICC tagged color spaces is
supported and color managed to the output space.
• For RGB output the output color space is sRGB.
• For output the output color space is SWOP (CGATS TR001).
• Output color is 1 or 8-bits per color per pixel.
• All XPS input image formats are supported.

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Appendix C

Using Genlin
0

Genlin is a utility provided with the Harlequin RIP to read calibration targets generated by the RIP.

C.1 Introduction
Genlin supports these measuring instruments:
• X-Rite 408
• X-Rite DTP41 series
• X-Rite DTP32
• X-Rite DTP34
• X-Rite DTP12
• X-Rite 938
• Gretag Macbeth Eye-One
The remaining sections show how to set up and use Genlin, and how to troubleshoot any problems.
• Using Genlin on page 401 describes set up and use
• Troubleshooting on page 405 describes troubleshooting

C.2 Using Genlin

The use of Genlin involves these stages:
• Starting a work session with Genlin on page 402. This section describes the connections and
checks to make before you start measuring targets.
• Measuring each target on page 402. This section describes the steps involved in using Genlin
to measure a target.

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C.2.1 Starting a work session with Genlin
Follow these steps to start a session using Genlin:
1. Connect your measuring instrument to the computer via USB, or using a USB to serial adapter
cable.
USB support is available for the Eye-One, DTP41, and DTP34 devices. If you need to connect
to a serial device, use a USB to serial adapter cable. One example is the Keyspan USA-28X
USB twin serial adapter. With this adapter, ensure that you set the Port in the Configuration
dialog box to the name of the device, as set up by the adapter.
Note: When using the Eye-One device, you must choose Custom from the Port menu in the
Configuration dialog box. This is because Genlin communicates with the device via third-party
software.
2. If necessary, recalibrate the measuring instrument using the correct calibration plaque or other
white reference tool.
You should calibrate the first time you use an instrument with Genlin, or whenever you change
measuring instruments. You should also recalibrate the measuring instrument after periods of
storage or heavy use.
Note: When using the Eye-One device, Genlin sends a request to the spectrophotometer to cali-
brate itself so that Genlin can accurately read a new target. This means that you must place the
Eye-One device on its holder, which contains a built-in white reference, whenever you begin the
process of reading a target. Otherwise, Genlin will display a Calibration failed... error
message when trying to read the target, as described on page 406.
3. Start Genlin by opening the application file located in the Harlequin RIP application folder.

C.2.2 Measuring each target

Note: This procedure assumes that you printed an uncalibrated target.
Follow these steps to measure a target using Genlin:
1. Choose File > Configure to display the Configuration dialog box, as shown in Figure C.1

Figure C.1 Configuration dialog box

Select your desired settings, as explained here, and then click OK.

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 RIP Folder Identifies the SW folder of the RIP installation that you are using to print tar-
gets and import data.
You can read targets that have been created by the RIP running on another
computer if you have network access to the corresponding SW folder. If you
want to do this, click Browse and use the file browser to select the SW folder of
the remote the RIP installation.
The default is the relative path to the SW folder of the the RIP with which
Genlin is supplied (as shown in Figure C.1).

Instrument A list of supported measuring instruments. Choose your desired measuring

instrument and ensure that the correct Port setting is selected.

Measure Measurement types supported by your chosen measuring instrument. Choose

a suitable measurement type.

Media A list of types of media that targets are printed on, including press and imag-
esetter media. Choose the type of media that your target is printed on. For
example, choose Press Paper when using a proofing printer.

Port A list of the interface ports available on your computer. Choose the port to
which your measuring instrument is connected.
2. Choose File > Read Target, select the number of the target that you are reading (printed as Ref-
erence Number: N on the target) and click OK.

3. In the Read Target dialog box, choose which channels you wish to measure, as well as the filter
type and measurement type that you wish to use.

Figure C.2 Read Target dialog box

To do this, select the channel you wish to edit and choose Yes or No from the menu below the
Read? column. If both your measuring instrument and target support more than one measure-
ment system you may also have a choice of alternative filters and measurement types in the
menu below the Measure As column. For example, choose Cyan % Dot, then click Read. See
Values on page 339 for details of measurement types.

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 4. Measure the target by referring to the details for your type of measuring instrument. If you have
repeated problems reading a patch or strip see Troubleshooting on page 405.
In particular, you must follow the screen prompts to measure the target. Note that when using
the DTP32 and DTP34 devices you must click OK in the Confirm to proceed dialog before load-
ing the target. For DTP41 devices, you should click OK after inserting the target.

Strip-readers and other semi-automatic instruments

Ensure that you scan the target in the right direction. When reading strips, the
instrument should be positioned so that approximately an inch of blank paper
is available at the end of each strip. Try to avoid any marks outside the area of
the patches, such as the strip numbers.
You may see a Bad reading message appear if the instrument has been
unable to correctly measure the strip: if so, click OK. If you wish to retry
reading the strip, click Yes, align the strip with the instrument and click OK.
Click No if you wish to abandon measuring the target.

Manual instruments
Follow the screen prompts to measure the target. If you are using a manual
instrument such as the X-Rite 938 you will also see prompts in the display
panel of the instrument to read individual patches within strips. For example,
the prompt Move to: C100 means read the 100% Cyan patch.
Choose File > Abort Target if you wish to abandon reading a target.
5. Click OK when you have finished measuring the target.
At this point, Genlin has created a data file containing all the linearization data for the target, which
you can import into the RIP. (The file is named import and is located in the caldata folder within
the RIP’s SW folder.)
6. Use the menu option Output > Calibration Manager and, in the Calibration Manager, choose the
appropriate Device and Color Space for the target. (See Calibration Manager dialog box on page
331 for details of the Calibration Manager.)
7. The next action depends on whether you are updating an existing calibration set or creating a
new one. Choose the appropriate action:
• If you are updating an existing calibration set, select it in the table listing. This must be the
calibration set that you used to print the target. Click Edit from uncalibrated target. The Edit
Calibration dialog box appears. Go to step 8.
• Click New if you are creating a new calibration set. Then, if there are entries in the Profile
menu in the Edit Calibration dialog box, choose the supplied calibration profile that you
used to print the target. Enter a Name for the new calibration set. You can use the same
name as the supplied calibration profile, but omitting the enclosing parentheses‚( )‚that
supplied calibration profiles use; this makes the link between the two profiles more obvi-
ous.

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 8. Click Import; see the description on page 341 for more details. After importing the data and
making any other settings, exit the Edit Calibration dialog box and Calibration Manager by
clicking OK.
Warning: You must read the values from the data file (or copy the data file to another location) before
measuring another target for the same RIP installation. Genlin uses the same file name for every data
file so any existing measured data is lost when you measure a new target.
Start again from Measuring each target on page 402 to read another target.
Note: If you no longer need to measure any of the targets that you have printed using the RIP, you can
choose File > Purge. This means that the numbering of targets can restart from 1.

C.3 Troubleshooting
This is a list of some possible error messages and symptoms that you may see, together with sugges-
tions for avoiding them.

C.3.1 Error messages

All error messages are preceded by the details of the measuring instrument. For example, you might
see this full message when there is a problem with an X-Rite 938 instrument:
X-Rite 938 Error: No responding device attached to selected serial line

Error: The USB device cannot be found

This message appears if Genlin is unable to locate the chosen USB device. Ensure the measur-
ing device is connected to the USB port and is powered on. Ensure also that you have selected
the correct Instrument and Port in the Configuration dialog box.
Error: No responding device attached to selected serial line
Error: The USB device is not responding
Either of these messages may appear if the measuring instrument does not have any power sup-
ply. Check the power supply to the measuring instrument and ensure that it is switched on. If the
problem persists there may be a fault with the power adapter or cabling.
Error: Number samples received, but Number expected
This message appears if the Eye-One software was unable to correctly detect the boundaries of
each of the patches on the calibration target. That is, the number of patches read does not match
the number of patches expected. You may have scanned the calibration target too quickly or
confused the software by scanning part of the number at the top of a strip, and so on.
When reading strips, the guide should be positioned so that approximately an inch of blank
paper is available at the end of each strip. Try to avoid any marks outside the area of the patches,
such as the strip numbers.

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Error: Calibration failed - place the device on its white reference and
start again
This message may appear when calibrating the Gretag Macbeth Eye-One spectrophotometer.
You must place the Eye-One device on its holder, which contains a built-in white reference,
whenever you begin the process of reading a target. This allows Genlin to accurately read the
target. Refer to the documentation accompanying this device for further details.
Error: Unknown
This message may appear if you have used the File > Abort Target menu option. This message
may also appear if the RIP is unable to recognize the error generated by your measuring instru-
ment. Check any display panel on a manual instrument for more details.
In all cases, you will be asked whether you wish to re-try measuring the target. If the error per-
sists, consider recalibrating the measuring instrument or following advice in the Symptoms sec-
tion.

C.3.2 Symptoms
Failure to communicate with the measuring instrument
This may be due to a mismatch between configuration settings and the actual instrument or
interface port used. A break in cabling, or a failure in software between the computer and the
measuring instrument may also be the cause of a communication failure. Check the connections
and settings in the Configuration dialog box. If these appear to be correct, try switching off or
disconnecting the measuring instrument for 30 seconds and then reconnecting it.
Alternatively, Genlin may not be able to communicate with the measuring instrument due to the
re-configuration of the interface port by another application. If you think this is the case, close
the application that you suspect is causing the conflict. If necessary, shut down and restart your
computer.
Failure to read the correct data from the target
A problem in this area is most likely to be a mismatch between the Target file selected in Genlin
and the type of target you are physically measuring. First make sure that the number you select
in the target list after clicking File > Read Target matches the reference number printed on the
target itself.
If recalibrating, you may have printed the target on the wrong paper type. Otherwise, you may
have read the wrong patches when using a manual instrument, or incorrectly aligned the target
when using a strip-reader. Finally, the target may be incorrectly printed or the measuring instru-
ment may need recalibration.
Failure to transfer correct data to the RIP
Ensure that the RIP Folder specified in the Configuration dialog box is the path to the SW folder
of the RIP installation into which you are importing data.

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 If the RIP Folder is correct, this problem may be due to a problem with the content of the cal-
data folder where target and import data is stored. This is very unlikely event but if it happens,
delete the caldata folder, which is a subfolder of the Harlequin RIP SW folder and print the
target again.
Note: After deleting the caldata folder you cannot use Genlin to read targets created before
you deleted the folder; you must reprint the targets.
The reference number printed on the target does not appear in the list when you click File > Read Tar-
get

This can happen if the target was printed using a different Harlequin RIP installation. Ensure
that the RIP Folder setting in the Configuration dialog box is the correct path to the SW folder of
the RIP installation used to print the target.
This can also happen because the caldata folder was deleted between printing the file and
trying to read it with Genlin; reprint the target and measure the new print.

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408 AG50451 Rev. 9 Harlequin PLUS Server RIP v9.0: June 2011
Glossary

This glossary gives a brief description of many of the important terms and concepts surrounding the
Harlequin RIP. Italics are used to indicate terms with their own entry elsewhere in the glossary.

active device
The active device is the imagesetter or other output device to which the RIP is sending its out-
put. This is the output device specified in the Page Setup for the job. See also menu device.

anti-aliasing
A technique in which intermediate colors or grayscale tones are used to visually smooth bound-
aries between different colors. Anti-aliasing is most useful at low or medium resolutions and
with boundaries between very different colors. The Harlequin RIP TIFF output plugin can per-
form anti-aliasing, with a control offering choices between more smoothing and faster
preparation.

aspect ratio
The height-to-width ratio of a page.

banding
The white bands which can be produced if interpreted data is sent to certain kinds of imagesetter
too slowly (see also data underrun)‚ the result is that media continues to feed through, but no
image is available to print, leading to white bands in the output. The RIP uses a printer buffer
which ensures that data is sent to the imagesetter at a steady rate, in order to reduce the chances
of this problem occurring.
Banding will only occur in imagesetters which cannot stop/start successfully.

black generation
The process of adding black to CMYK images in variable amounts according to printing effects
required.

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cassette
A container for output media. This cassette contains a roll of film or paper and is slotted onto
the top of an imagesetter in such a way that the media can be fed through. Some versions of the
Harlequin RIP include the Media Manager which allows you to monitor the amount of media
left in many different cassettes automatically.
See also current cassette.

choke
The process of overprinting a small border on graphics to make them look smaller. Spread and
choke are often used as part of trapping to protect against misregistration of color separations.

CIP3
CIP3 was a group called International Cooperation for Integration of Pre-press, Press, and Post-
press (CIP3). The CIP3 group developed the Print Production Format (PPF) for files to contain
information about print jobs including administrative data, information about inks and register
marks, comments, and preview images. CIP3 has become CIP4, and maintains a web site at
http://www.cip4.org/.
CIP4 is a similar group called International Cooperation for Integration of Processes in Pre-
press, Press, and Postpress, formed to continue the work of CIP3 and to develop a new file
format called Job Description Format (JDF).

CMYK
A color representation scheme (or color space) where cyan, magenta, yellow, and black are
combined to create full-color images.

color separation
A monochrome image that describes a component of a color image that has been described
using a particular color space. In printing, images are commonly depicted in the CMYK space,
leading to four separated pages for each full-color page.

color space
A scheme of representation for color images, such as CMYK or RGB. Colors are represented as
a combination of a small set of other colors, or by other parameters, for example: hue, satura-
tion, and brightness (HSB).

composite font
A font which consists of more than 256 characters. Composite fonts are indispensable for pro-
ducing images which contain, for example, Japanese text. However, they need to be treated as
separate from ordinary fonts.

core RIP
The Harlequin RIP PostScript language compatible interpreter. This is the program which takes
PostScript language page descriptions as input and produces bitmaps as output.

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crop marks
Marks, printed near the edges of an image, which indicate where the paper should be trimmed.

current cassette
The cassette feeding media to the output device receiving commands. This can be the active
device (receiving a job) or the menu device (receiving commands from options in the Device
menu).

current device
The term current device is ambiguous, because it can refer to two different devices.
The active device is the imagesetter or other output device to which the RIP is sending its out-
put. This is the output device specified in the Page Setup for the job.
The menu device is the output device that provides the name of the Device menu, and receives
the commands generated by choosing options from the Device menu.
See also current cassette.

current color space

When you are creating or editing a Page Setup, the current color space is the color space of the
selected separations style.

data rate
The speed that an imagesetter receives data for imaging. It is important that the RIP sends data
to the imagesetter at approximately the data rate of the imagesetter, otherwise data underrun
may result. You can find out the data rate for a particular imagesetter from the instructions for
that imagesetter.

data underrun
The result of a RIP failing to supply data to an output device quickly enough. If the output
device cannot stop / start successfully, banding or other effects will occur which may cause a
loss of output quality.

DCS (Desktop Color Separation)

DCS is Quark Inc’s method of image substitution in PostScript language jobs. The Harlequin
RIP supports both DCS 1.0 and 2.0, and the similar OPI scheme.

device driver
A piece of software, often provided by an output plugin, that helps the RIP communicate with a
particular printer, imagesetter, or other output device. You can link the RIP with any output
device, given the correct device driver. This driver could have been produced by you, or by
Global Graphics. It is also possible to use device drivers for input devices; see also input plugin.

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device type
The Harlequin RIP’s concept of a multiple device driver means that you can use a single device
driver to run several different imagesetters or other output device, rather than requiring a sepa-
rate device driver for each one. One multiple device driver can run several imagesetters which
have the same device type. The nature of the device type depends on the multiple device driver,
and is likely to consists of groups of imagesetters. For instance, Ultre may be one device type,
and Pelbox may be another.

DLD1 font
The Harlequin RIP’s own font format, into which most fonts can be converted. Operations with
DLD1-formatted fonts can be performed significantly faster than they would be with normal
font descriptions.

dot gain
A printing effect which results in dots being printed larger than they should be. It occurs as a
result of ink spreading on the printed page, and if not compensated for, can lead to an image
appearing too dark.

dot range
The range of numerical values used to represent color values. TIFF/IT-P1 uses a dot range of
zero (0) through 255.
Note: The value 0 may be associated with white and 255 with 100% black or the full density of
a particular ink, but this is not essential: in the MP data type, for example, these end values can
be associated with particular colors and the intermediate values represent proportionate blends
of these two colors.
See also TIFF (Tag Image File Format).

dot shape
The shape in which dots on the image are generated. See Chapter 6, Screening.

dpi
Dots per inch. A measure of the resolution of an output device. Dots per centimeter (dpcm) and
dots per millimeter (dpmm) are also offered by the Harlequin RIP.

Encapsulated PostScript (EPS)

EPS is a subset of the PostScript language which allows images to be described in a format
which can be imported into other documents. EPS images are independent of the format of the
document, and so may be imported into documents using a wide variety of applications, from
within the application itself, or can even be imported into other PostScript language page
descriptions.

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error diffusion
A technique that can be used to screen contone images into a halftone reproduction. The tech-
nique works by calculating the error between the required (contone) value and the achieved
(halftone) value at each point (which might be a single pixel or a halftone cell), distributing that
error to neighboring points, and using the error to modify the contone values for those points.
This is repeated for the errors at all points. The result is an irregular and non-repeating screening
pattern that shows very little color error.
Error diffusion is easy to implement on low resolution devices but can be difficult to use for
high resolution or color output, where the irregularity makes it difficult to predict moire or dot
gain effects. Another problem occurs where the image is rendered in bands, which may be pro-
cessed in an order that is different to their spatial order: this can lead to visible discontinuities.
The Harlequin RIP does not support error diffusion directly but Harlequin Dispersed Screening
has some of the same random visual qualities while remaining predictable with respect to
behavior on physical output devices. Also, output plugins can implement error diffusion screen-
ing in their output, while accepting contone page buffers from the RIP.

executive
A special mode in some versions of the Harlequin RIP which allows you to type in PostScript
language code and to see the interpreted results. You should only use this mode if you are famil-
iar with the PostScript language.

exposure
Some imagesetters (for example, Pelbox) have an exposure setting which can alter the strength
of the laser which produces the image. In these cases, the exposure may be set using the Edit
Page Setup dialog box.

feature
A section of PostScript language code that may be automatically interpreted with any job, spec-
ified using the Edit Page Setup dialog box.

font
A set of type characters for use in a textual printing job. Fonts typically contain alphabetical and
numerical type, as well as common special symbols (such as marks of punctuation). The Harle-
quin RIP is supplied with the industry standard 35 fonts for PostScript Level 2, and some spe-
cial purpose fonts. Users can install third-party fonts as required.

halftone
A complex image which has been broken up into a series of very small dots so as to reproduce
it. A newspaper photograph is a good example of a halftone image. See Chapter 6, Screening.

halftone cell
A single dot in a halftone image.

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hard copy
A physical copy of a document, on media such as paper or film.

hardware feed
Some imagesetters will automatically feed through media whenever a job is completed. In ver-
sions where the Harlequin RIP’s media management facilities are available, the RIP can take
account of any devices that do this.

hinted font
When previewing images on a low resolution screen (or when printing them on a low resolution
printer) text can look odd when rendered, because of the size of the output pixels becoming sig-
nificant when compared to features in the characters. Hinted fonts can improve the appearance
of text rendered at low resolution or at very small sizes on higher resolution devices.

This figure shows a simple example for the letter h in low resolution without hinting (left) and
with (right). Here, the hinting has balanced the width of the vertical strokes.
See also font.

HDLT (Harlequin Display List Technology)

Provides a programmatic interface for customization between interpretation and rendering.
HDLT appears as a password-enabled option but is most likely to be used by your supplier as a
way of providing functionality that is not otherwise obvious in the RIP GUI.

HPS (Harlequin Precision Screening)

A proprietary technique used to reduce the effect of moirЩ interference and improve the qual-
ity of a color separated image when using halftones. See Chapter 6, Screening.

IFD (Image File Descriptor, Image File Directory)

This structure used for each collection of information within a TIFF file, A typical IFD contains
several entries, most of which are pairs of tags and values. There can be several IFDs in a TIFF
file but the only type of TIFF/IT-P1 file to contain more than one IFD is the Final Page (FP) file.
See also TIFF (Tag Image File Format).

input plugin
A device driver which controls an input device connected to the RIP.
Input plugins have several uses. They are primarily used as methods in which input can be sent
to the RIP (for example, using a spool folder), but they can also be used as PostScript language
devices or data manipulation filters, and they can be used to perform asynchronous actions.

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JDF (Job Definition Format)
JDF is an XML-based file format that is becoming the industry standard for the definition of job
tickets in pre-press workflows. Its main purpose is to facilitate the exchange of information
between printing applications and systems.

keyboard accelerator
A set of key presses which have the same effect as a mouse-based operation, such as selecting a
menu item‚ while probably taking less of a user’s time to perform.

lpi
Lines per inch. A measurement of halftone screen frequency. Lines per centimeter (lpcm) and
lines per millimeter (lpmm) are also offered by the RIP.

media
The various materials, such as paper or film, that are used in producing hard copy.

menu device
The menu device is the output device that provides the name of the Device menu, and receives
the commands generated by choosing options from the Device menu.
See also active device.

mirrorprint
An option in the Edit Page Setup dialog box which allows you to produce a mirror-image copy
of your job. See Chapter 5, Configuring Output Formats.

moirЩ pattern
A printing effect that occurs when a color separation is printed with incorrect screen angles. It
is undesirable and can be minimized by the use of correct screen angles. See also HPS (Harle-
quin Precision Screening).

multiple device driver

A device driver which can drive more than one output device. Normally, you need a separate
device driver for each output device you are using. By using a multiple device driver, however,
you can use this one driver to run all devices of the types that it supports. For example, one mul-
tiple device driver might support all your Ultre and ExxtraSetter devices.

N-color
N-color is a name representing a family of systems of process colors other than the conventional
four-color CMYK system (and CMY and RGB). N represents a variable number of inks, which
can be less than four for economy in simple jobs such as forms printing or more than four for
high quality or HiFi color. Examples of N-color systems are the PANTONE Hexachrome Color
Selector system and Photo-ink technologies.

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OPI (Open Prepress Interface)
OPI stands for Open Prepress Interface and was originally specified by Aldus Corporation. Sys-
tems using OPI enable designers to use relatively low-resolution and easy to handle images on
design workstations but to have higher quality images substituted for final output. The RIP sup-
ports both OPI and the similar DCS scheme.

output device
A computer peripheral capable of producing printed copy of a document, such as an imagesetter
or laser printer. See also active device, menu device.

output plugin
A device driver that controls an output device connected to the RIP.

page buffer
A file on disk used to store a page of interpreted output, before it is printed or previewed.
Depending on the page buffer mode in which you run the RIP, it can produce page buffers
always, or only when required. Once produced, page buffers can either be retained on disk, to
allow reprinting; or deleted after printing, to save space on your hard disk.

page imposition
The process of printing several pages, of, say, a pamphlet, on one sheet of media, so as to mini-
mize the amount of trimming that needs to be done. For example, two copies of a four page A5
pamphlet could be produced from a sheet of A3 by printing the A5 pages in the pattern shown in
this figure:
Page 1 Page 4

Page 2 Page 3

The pattern needs to be printed on both sides of the A3 sheet, reversed vertically on one side.
Two copies of the pamphlet could then be produced simply by cutting the paper along the hori-
zontal line, and folding along the vertical line. This process is much simpler than producing and
trimming each page separately and rearranging them so as to form a booklet.
Imposition is one of the applications dealt with in the PostScript language extensions provided
by the Harlequin RIP.

Page Setup
In the Harlequin RIP, a Page Setup is a named collection of settings used to process a PostScript
language job. All Page Setups are visible in the Page Setup Manager, which allows you to create
new Page Setups and to copy or edit existing Page Setups. Using the Input Controller, you can

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 create multiple ways of sending a job to the RIP, each with an associated Page Setup, so that any
user can choose an input that applies the desired settings for each job. For full details, see Chap-
ter 5, Configuring Output Formats.

partial page buffer

An incomplete page buffer. A partial page buffer does not yet contain all of the details of the
page being rendered. The RIP produces partial page buffers when there is insufficient physical
memory to interpret a job while holding a complete page in memory.

PDF
PDF has these meanings:
Portable Document Format. A PDF file describes pages, using graphic capabilities similar to
those in the PostScript language. Compared to PostScript language files, PDF files are typically
smaller and more portable to different printers while producing more predictable output. This is
the most common usage of PDF.
Printer Description File or Printer Definition File. Files, special to a creating application or to
the Netware operating system, that define the characteristics of a printer. Many more applica-
tions support PPD files, which have a similar purpose.

Photo-ink
Photo-ink technologies use different densities (light and dark versions) of one or more colo-
rants. A capable system is then able to use the light ink in highlight areas and the dark ink where
more colorant is required. A typical set of colors is light cyan, dark cyan, light magenta, dark
magenta, yellow, and black.

pica
A unit of measurement in printing. Usually, equal to 12 points or 0.166 inches.

pixel
A single element of a VDU’s display, or of an image.

plug-in module
A software product that can be interfaced with the RIP to provide extra features or customiza-
tions.

point
A unit of measurement used in printing. There are 12 points to a pica. Historically, there have
been several definitions of the point: a common definition is 0.01384 inches, or approximately
72 points to the inch. The PostScript language uses a default user unit which is exactly 1/72 of
an inch (0.01389 inches or 0.3528 mm). This unit is frequently called a point, and this is the def-
inition used by the RIP.

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PPD
PostScript Printer Description. Each PPD is a file that defines the characteristics of a printer.
When installed correctly, a PPD customizes an operating system printer driver or a creation or
page layout application to optimize PostScript language jobs for the printer described by the
PPD. Many imagesetter and printer manufacturers provide PPDs for the printers that they pro-
duce.

precision screening
See HPS (Harlequin Precision Screening).

prep file
A PostScript language header file, which is interpreted before the main job processing in order
to provide a standard setup to be used by a range of different jobs.

preview
To view an interpreted job on the screen before producing a hard copy of it.

profile
In printing and color science, a profile is a description of the color performance of an input or
output device such as a scanner, printer, or display monitor. With suitable software, it is possible
to transfer color definitions between different devices, and to have the same colors appear on
each.
There is an open standard for profiles promoted by the International Color Consortium (ICC),
supported by many device manufacturers and vendors of profile creation tools. The ColorPro
color management options within the
RIP are supplied with several profiles and can install additional ICC profiles. There are several
types of profile; see the Harlequin ColorPro User’s Guide for more details.

progressive proof
A proof or series of proofs in which (some) intermediate stages of laying down the colors are
shown. For example, a CMYK page is usually printed in the order yellow, magenta, cyan, and
finally black. The full set of corresponding progressive proofs would be Y, Y+M, Y+M+C, and
Y+M+C+K. If the page is to be printed with two passes on a two-color press, the most useful
proofs are likely to be the ones representing the product of each pass on the press: Y+M and
Y+M+C+K.

proof
A preview or hard copy of some or all of the characters in a font, or of an image. The RIP can
create various forms of proofs, as composite output, as a set of separations, or as a progressive
proof, to suit the needs of the situation.

Raster Image Processor

See RIP.

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rendering
The term rendering refers to the process of creating a bitmap image or raster from the inter-
preted page description. This bitmap can be used by the output device to produce a visible
image.

resolution
The degree of detail with which an image is reproduced, usually measured in dots per inch (dpi).
The higher the resolution, the greater the detail in which the image will be reproduced. The res-
olution of a computer screen is usually around 72 dpi, whereas an image detailed enough to
print in a magazine may be closer to 2500 dpi.

RGB
A color representation scheme (or color space) where separations in red, green, and blue are
overlaid to create full-color images. The RGB scheme is usually used by computer monitors and
televisions, and by some printers.

RIP
Raster Image Processor. A standard term used to name programs or devices which take an
image of some description such as text, line (vector) drawings, or photographic images‚ and
convert it into a bitmap for display on a computer screen or output on an imagesetter. The final
bitmap is the raster referred to in the name.

roam
To preview interpreted jobs in the Output Controller, available only in either of the multiple
modes. See also preview.

rosette
The pattern in which halftone cells are arranged in a separated image. This figure shows how
the RIP can produce rosettes which either have dark centers (on the left of the diagram) or clear
centers (on the right of the diagram, with the central dot removed).

screen angles
The angles at which the halftone screens are placed in relation to one another.

screen frequency/ruling
The density of dots on the halftone screen, commonly measured in lines per inch (lpi). This is
sometimes called raster or mesh.

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spread
The process of printing a small border just outside the edges of graphics to make them look big-
ger. Spread and choke are often used as part of trapping to protect against misregistration of
color separations.

stop / start
The ability of an output device to stop and restart during printing.

tag
In TIFF or TIFF/IT files, an Image File Descriptor (IFD) contains a number of entries (tags),
each consisting of an unique tag number from 0 to 65535, and its corresponding value or values.
Tag numbers are generally determined by the TIFF 6.0 or TIFF/IT specifications, and each has a
specific meaning. (In TIFF 6.0, tag numbers above 32767 are vendor defined.) For example, the
tag number for the tag named DotRange is 336.

throughput
Generally, the efficiency with which images are interpreted and produced. In the Harlequin RIP
specifically, throughput is another term for Multiple (Parallel) mode, where interpreting and
output are carried out in parallel, and the Output Controller is used to manage the printing of
jobs. See Chapter 4, Harlequin RIP Output Methods.

TIFF (Tag Image File Format)

The basic TIFF file format. Without further details, you cannot assume that something described
as being a TIFF file conforms to the TIFF 6.0, TIFF/IT, or TIFF/IT-P1 standards.
Note: TIFF/IT is sometimes referred to as Transport Independent File Format for Image Tech-
nology. This name refers to the same format as described in Chapter 8, Configuring Input.

trapping
Techniques used to tackle undesirable printing effects caused by misregistration of printed sepa-
rations, optical effects, and so on. See spread and choke. See also Chapter 13, Color Separation.

virtual memory
Virtual memory has these meanings:
In PostScript terminology, virtual memory or VM is a pool of memory used for the storage of
composite objects such as strings, arrays, and dictionaries. PostScript language compatible
interpreters are free to implement VM using all appropriate types of memory in their working
environment.
In computer operating systems, virtual memory is disk memory used as an extension to physical
memory, built-in memory, or RAM. Many operating systems support the use of virtual memory.

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Index

A Configure RIP option 196

Abort if calibration on
Page Setup option 145 B
Abort Printing File command 220 Background reading 162
Abort the job if any fonts are missing Banding 409
page setup option 145 Black generation 371, 409
Accelerators overriding in job 372
hardware processor for the Harlequin RIP 12 Bootlist file 34
keyboard equivalents for menus 6 Bromide. See Media
Accurate color display 91 Buffer full message 385
Acrobat 9 225 Buffer space low message 385
AcroForms 226 Buffers
Active device 409 network 192
Active queue 64 page, defined 416
Add Channel dialog 338 printer 193
Add showpage at end of job Busy message 385
page setup option 145 Busy or off-line message 385
Adding
a new input plugin 204 C
a new page feature 141 Caldata folder 32
See also Installing Calibration
Adjusting tone curves 152 and color process work 308
Advance n inches command 249 calibration sets 311
Advanced Media Saving 119 creating a calibration set 316
Advancing media 248 densitometer use 316
Allow stop /start entering data 318
configure RIP option 190 factors affecting accuracy 324
Allow use of all available memory 197 for positive and negative 322
Always, delete option in Output Controller 69 maintenance strategies 320
Angles printing a target 312
screens expected in incoming job 367, 374 printing presses 325
screens for process colors 164 screen frequencies 322
Anti-aliasing smoothing 319
defined 409 stopping output without calibration set 145
AppleShare file permission access 395 turning on in Edit Page Setup dialog 151, 152
AppleTalk 206 Calibration Manager dialog 319, 331
displayed job names 67 saving calibration sets 323
input plugin 202 Calibration sets
Aspect ratio 409 copying 334
Asynchronous actions 202 creating from imported files 341
Asynchronous Socket creating from published data 340
input plugin 202 editing 321
Asynchronous Socket Quit naming 337
input plugin 203 operating on several sets 334
Automatic cassette selection 120 saving 323
Automatic Prep loading status in Calibration Manager 333

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Cassette Manager dialog 254
Cassette Manager Edit dialog 255
Cassettes 410
changing 72
creating or deleting 254
media management 246
setting up monitoring 254
Categories folder 32
CFF fonts 294
Chain screening 181
Change roam color
button in Info dialog 376
dialog 376
Channels
in calibration sets 337
Character identifier fonts 294
Charstrings folder 32
Choke 410
CID fonts 294
CIDFont folder 32
CIP3
and PPF files 410
defined 410
CMap folder 32
CMYK 20, 347, 351, 410
Color
changing 72
colorrenderings folder 32
device-independent, and ColorPro 327
operators 144
Color management
in a PDF job 397
instructions in a job 397
supplied with an output plugin 151
Color menu
summarized 42
Color process work
need for calibration 308
Color separation 158, 410
controlling separations 356
for HCS and HDS 186
identifying in the Output Controller 67
knockouts 348, 370
labeling pages in Output Controller 375
misregistering separations 348
overprinting 349
producing color images 349
roaming color images 376
roaming in false colors 376
trapping 374
using Level 1 spot colors 359
Color separations
overprinting 370
Color Setup Manager dialog 363
Color space 410
converting with ColorPro 346
in PostScript language jobs 351
reproducing 343
Colored separations 355
ColorPro
and press calibration 325
device-independent color 327
memory required 28
menu commands 42

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Colors
accuracy in Roam and Preview 91
Colorspaces folder 32
Command key 6
Communications failed message 385
Compact font format fonts 294
Compatibility setting
for PostScript LanguageLevel 143
Complete folder 32
Composite fonts 25, 294, 301, 410
CID 294
efficient use of 301
installing 297
memory required 28
preloading 298
Compressing
page buffers 24, 190
setting required compression ratio 191
Config folder 32
Configuration settings
backing up 35
Configure RIP dialog 187
compressing page buffers 384
Configure RIP options
allow stop / start 190
automatic prep loading 196
minimum compression ratio 191
minimum free disk space 197
Startup prep 196
Configure RIP Options dialog 190
Configuring
Configure RIP dialog 187
extras in Configure RIP 194
for features of output devices 117
input plugins 206
minimum free disk space 197
output to PDF Raster files 107
output to TIFF files 93
spool folder 209
Controlling
inputs 203
output of jobs 63
separations 356
Conventions
fonts 7
instructions in text 7
Copies
number printed from page buffer 71
number to print 71
Copy Channel Data dialog 338
Core RIP 411
Cover open message 385
Crdgen folder 32
Crop marks 411
Current cassette 411
Current color space 411
Current device 411
Cut media no feed command 249
Cut media with feed command 249, 253
Cutting media
in Media Manager 252
Cyan, Magenta, Yellow, Black
See CMYK

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D
Data rate 411
Data transfer failed message 386
Data underrun
and printer buffer size 193
avoiding with Multiple mode 76
defined 411
Data underrun message 386
DCS
defined 411
Delete Fonts command 300
Deleting
fonts from the Harlequin RIP 300
input plugins 206
jobs after printing 69
page buffers 69, 189
Densitometer
using for calibration 316
Desktop Color Separation. See DCS
Developer
online processor 260
Deviated frequency 174
Device driver 115, 412
Device Manager dialog 115
Device menu 38
Device type 114, 412
Device-independent color
in PDF jobs 399
Devices
None 92
output, defined 416
Preview 88
preview 92
Raster 107
TIFF 93
Devices folder 33, 381
Dial, progress 48
Dialogs
language used in 198
Directories
structure used by the RIP 32
See also Folders
Disable output check box 65
Disabling
individual inputs 206
media management 251
output of jobs 65
stopping all enabled inputs 206
Disk space left for system option 198
Disks
DiskFirstAid utility 380
failure to RIP to disk 383
preserving free space 197
required data rate 31
DLD1 fonts 295, 412
Don’t let files silently substitute Courier for missing fonts check box 148
Dot gain 412
and screening options 162
compensated by calibration 310
Dot shapes 412
elliptical 166
line 167
round Euclidean 165
setting in Screening Setup 164

426 AG50451 Rev. 9 Harlequin PLUS Server RIP v9.0: June 2011
 square 167
square Euclidean 167
dpcm (dots per centimeter) 412
dpi (dots per inch) 412
dpmm (dots per millimeter) 412
Draft
printing on each page 142
Drag and drop printing 220
Drum recorders 245, 249
time saving 127
Duotones
in Photoshop EPS files 148

E
Edit Calibration dialog 318, 335
Edit Page Setup dialog 82, 255
retargeting press calibration 151
turning on calibration 151, 311
turning on press calibration 151
turning on tone curve calibration 152
types of option 82
Edit Plugin dialog 205, 206
Edit Style dialog 356
extra grays 171
with screening options 157
Editing
calibration sets 318, 321
EDS. See Error diffusion
Elliptical dot shapes 166
Emulate old imagemask behavior
page setup option 144
Emulsion up/down. See Mirrorprint
Enable Feature dialog 238
Enabling
extra features in the Harlequin RIP 180
extra grays in HPS 174
input plugins 206
optional features 195
Encapsulated PostScript (EPS) 413
Encodings folder 33
EPSF
format files 145
Error diffusion
defined 413
in output plugin 156
Error folder 33
Errors. See Problems
EvE Init 380
Executive 26
defined 413
starting up 244
Executive window 244
Exposure 413
changing 72
choosing for calibration 313
Edit Page Setup option 113
Exposure sweeps
printing 314
Extensions folder 33
Extra grays
enabling 174
Extras
enabling optional features 195

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F
Factory Settings folder 32
Fast color display
in Roam and Preview 91
Fast patterns
page setup option 144
Feature check box 140
Features 140, 413
See also Page features
Feeding media in the Media Manager 252
File names
mapping 35
FILEMAP.DAT file 35
FILEMAP.PS file 35
FILERED.PS file 35
Files
adding showpage to EPSF jobs 145
initialization (HqnStart) 298
name mapping from PostScript names 35
Film. See Media
FlatPgbDir folder 33
FM screening 181
Folders
caldata 32
categories 32
charstrings 32
CIDFont 32
CMap 32
colorrenderings 32
colorspaces 32
complete 32
Config 32
Crdgen 32
Devices 33
devices 381
encodings 33
Error 33
Extensions 33
Factory Settings 32
FlatPgbDir 33
fonts 33
FontSet 33
forms 33
halftones 33
icccrd 33
IdiomSet 33
Inputs 33
MediaSavingDir 33
Messages 33
NamedColor 33
NamedColorOrder 33
Page Features 33
Page Setups 32
PageBuffers 34, 189, 384
Passwords 34
patterns 34
PrepFiles 34
procsets 34
ReproductionCriteria 34
Screenin 34
Screens 34
Separation Features 34
Spool 34
structure used by Harlequin RIP 32

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 SW 188
Sys 34
targeteps 34
tmp 34
TrapParams 35
Usr 35
Utilities 35
WorkSpace 35, 188
Font conventions
in this manual 7
instructions in text 7
Fonts 24, 414
CFF 294
CID (character identifier) 294
compact font format 294
composite 25, 294, 298, 301
composite fonts 294
DLD1 format 295
folder 33
hinted 294
installing 295
installing composite fonts 297
listing 298
minimum font set 384
preloading 298
problems with 384
Proof fonts in long format option 300
proofing 299
removing from the RIP 300
response to jobs with missing fonts 145
saving a backup file 35
TrueType 294
Type 0 fonts 294
Type 1 fonts 294
Type 3 fonts 294
Type 32 294
Type 4 fonts 294
Type 42 294
types of 294
FontSet folder 33
Forms folder 33
Frequency Modulation. See FM
Frequency, deviated 174

G
Genlin
configuring 402
introduction 401
Get Info command 380
GIF (Graphics Interchange Format) 236
Gray levels
increasing number with HPS 174
introduction 168
limiting number of 171, 174

H
Halftone 414
cells 158, 414
deviated frequency (HPS) 174
frequency 308
strategies 157
Halftones folder 33
Halftoning 350
description 157

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 See also Screening
Hand speed option 91
Hard copy 414
Hardware feeds 414
using 258
Harlequin Chain Screening. See HCS
Harlequin Color Production Solutions. See HCPS
Harlequin Dispersed Screening. See HDS
Harlequin Micro Screening. See HMS
Harlequin Precision Screening. See HPS
Harlequin Screening Library. See HSL
Harlequin RIP
failure to appear on the network 394
folder structure 32
monitoring 57
quitting 43
resetting to standard configuration 198
starting up 36
HCS
introduction to Harlequin Chain Screening 181
HD Photo files
printing 235
HDLT
password 195
HDLT (Harlequin Display List Technology)
defined 414
HDS
compared to lpi measures 183
HDS-Light 180
introduction 181
varieties of 182
Height
page default 128
Held queue 64
Hex
N-color system 344
Hexachrome
PANTONE Color System 344
HiFi color
N-color system 344
Hinted fonts 294, 414
HMS
calibration for 186
introduction to Harlequin Micro Screening 185
varieties of 185
Hold and Reprint command 76
HPS 415
and gray levels 174
background reading 162
enabling HPS 2.0 176
introduction to Harlequin Precision Screening 173
memory required 28
options dialog 174
performance 179
problems and cures 177
used with pattern screens 178
HqnOEM
initialization file 298
HqnOEM file 34
HqnProduct file 34
HqnStart file 34
HSB 351
HSL
enabling screen sets 180

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 introduction to Harlequin Screening Library 180
problems and cures 186
selecting screen sets 181
Hue, Saturation, Brightness. See HSB

I
ICC
profiles, defined
ICC profiles
definition 20
icccrd folder 33
IdiomSet folder 33
Image interpolation 85
Image replacement 140
imagemask
emulating old behavior of 144
Images
previewing 49
printing color 349
roaming 49
scaling 139
Imagesetters
linearization 309
required data rate 30
selecting output devices 84
See also Output devices
Import Measurements dialog 341
Imposition 140
See also Page imposition
Imposition Manager 264
Info dialog 72
access to Page Layout dialog 129
Ink low message 386
Ink out message 386
Input Channel Edit dialog 206
Input Controller dialog 203
Input methods
JFIF files 235
JPEG files 235
Input Modes
printer problems 394
Input plugins 415
adding new 204
configuring 206
deleting 206
editing 206
enabling 206
introduction to 21
managing 203
types supplied 202
Input Queue mode 54, 57
Input sources. See Input plugins
Inputs
disabling individual inputs 206
starting up 54
stopping 39
stopping all enabled inputs 206
Inputs folder 33
Install Fonts dialog 296
Installing
composite fonts 297
fonts 295
printer interface card 31
Installing Harlequin RIP

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 ability to RIP a job 29
printer data rates 30
spool folders 396
Instructions in text 7
Interface card failed message 386
Interface cards
installing 31
International Color Consortium. See ICC
Invalid clipping message 386
Invalid resolution message 386

J
JDF
and CIP4 410
JDF (Job Definition Format) 415
JFIF files
input methods 235
printing 235
Job Description Format
See JDF
Jobs
altering parameters 70
altering parameters for all pages 73
deleting automatically after printing 69
preserving from deletion 71
reprinting 66
screen settings and overrides 172
timeouts 191
JPEG files
input methods 235
printing 235

K
Keyboard accelerators 6, 415
Keyboard shortcuts 6
Kill Current Job command 220
Knockouts 348, 370

L
Language
choice at first use 36
used in user interface 198
LanguageLevel 1
setting compatibility 143
LanguageLevel 2
setting compatibility 143
LanguageLevel 3 143
setting compatibility 143
Laser diode failed message 386
Late color management 369
Level 1 PostScript language jobs
compatibility setting 143
Level 2 PostScript language jobs
compatibility setting 143
Level 3 PostScript language jobs
compatibility setting 143
Limit number of distinct gray levels 174
Limit screen levels 174
Line screening
in halftoned images 167
Linearization 309
See also Calibration
List Fonts command 298

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Localization
language in user interface 198
Locking page buffers 71
LOGFILE 299
in SW folder 35
messages from Harlequin RIP 58
Low media warnings 258
Low power message 386
lpcm (lines per centimeter) 415
lpi (lines per inch) 415
lpmm (lines per millimeter) 415

M
Macintosh
Help and manuals 6
Margins
setting in Page layout 128
Measurements
choice for calibration data 338
Media 415
advancing 248
cutting 248, 250, 252, 258, 259
feeding 248, 250, 252
hardware feeds 258
low media warnings 258
monitoring 254, 260
remaining length 256
saving (optimization) 127
saving film 142
type 256
width 256
Media management 25
configuring 142
disabling 251
introduction 245
Media Manager dialog 250
Media Monitor 260
Media saving
automatic cassette selection 120
Fill whole drum (for part drum devices only) 123
Margin between jobs 122
Margin between pages 121
Name flat after 124
Order of pages on flat 123
Print Flat 121
Switch roam color to black 123
Time to wait between pages 122
Track flat width (for roll fed devices only) 123
Tracking media width 120
MediaSavingDir folder 33
Memory
allocating 196
increasing 196
problems 380
requirements for disk space 29
requirements for RAM 28
temporary allocation 196
Memory for RIP option 196
Memory reserve for RIP option 197
Memory Statistics 188
Menu device 415
Menus
changes in displayed commands 41
description of 38

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 language used in 198
Messages
in LOGFILE 58
in RIP Monitor 58
language used in 198
warnings and errors 379
Messages folder 33
Minimum free disk space
Configure RIP option 197
Minimum memory left for system option 196, 197
Mirrorprint 415
Edit Page Setup option 129
Misregistering separations
effect 348
minimizing effect 374
Missing fonts
aborting jobs with 145
Modes
Multiple 75
Multiple (Parallel) 75
page buffering in the Harlequin RIP 61
Single 76
Single (If Required) 77
MoirЩ pattern 416
reducing 163
reducing with HPS 173
Monitoring
Harlequin RIP 57
media 254, 260
Monochrome separations 355
Multiple (Parallel) Mode
page buffer modes compared 62
Multiple (Parallel) mode
advanced details 75
and data underrun 193
and Media Monitor 260
compared to Single (if required) 77
Multiple copies
printing 71
Multiple device drivers 114
adding a new device 116
changing configuration 116
defined 416
deleting a device 116
Multiple mode
advanced details 75
and Media Monitor 257
page buffer modes compared 62

N
Name flat after 124
NamedColor folder 33
NamedColorOrder folder 33
N-color
defined 416
N-color systems
distinct colorant 344
HiFi color 344
in job specification 351
introduction 344
output support for 20
photo-ink 344
Negative
calibrating for output 322

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 printing in 71
Networks
Harlequin RIP fails to publish 394
Never, delete option in Output Controller 69
New Page Setup dialog
basic use 82
example of use 45, 55
No cassette message 386
No power message 386
No take-up cassette message 387
None device 92
Number of copies to print
page setup option 146

O
Off-line message 387
Online developer 260
Open Prepress Interface
see OPI 416
OPI
defined 416
OPI, support for 140
Optional features
enabling 195
Output Controller
disabling output 65
labeling of color separation pages 375
warning messages in 385
Output Controller dialog 64, 129
Always option 69
identifying color separations in 67
locked pages in 384
low media warnings in 258
Never delete option 69
numbering of separation pages in 67
warning messages in 385
When necessary delete option 69
Output devices 9
changing 72
defined 416
printing to 112
selecting 84
Output plugins
defined 416
introduction to 21
multiple, defined 416
Overprinting 349, 370
controls 370
Override angles in job 173, 360
Override black generation in job box 372
Override dot shape in job 165, 173
Override frequency in job 168, 173
Override separations in job 359
Overriding job settings 172, 359

P
Pack drum 142
Page buffers
altering all in job 73
altering parameters 70
compressing 24, 190
defined 416
deleting 69, 189
from older versions of the Harlequin RIP 74

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 locking 71
modes 61
moving in Output Controller 66
resubmitting 142
roaming 70
summary of modes 78
Page features
adding 141
Draft 142
Image replacement 140
imposition 140
OPI 140
Pack drum 142
PGB hot folder 142
printing Draft on each page 142
reporting on spot colors 140
resubmitting page buffers 142
saving film 142
Page Features folder 33
Page imposition 26, 140, 388, 416
Page Layout dialog 72, 128
Page Setup
definition 417
exposure 113
Mirrorprint effect 129
negative effect 129
PDF Raster output device 107
Rotate effect 129
saving configurations 83
saving setups 22
TIFF output device 93
Page Setup Manager dialog 80
reordering list of page setups 81
Page Setup Option Extras dialog 147
Page Setup Options dialog 142
abort if calibration does not match 145
abort if fonts are missing 145
add showpage 145
emulate old imagemask behavior 144
fast patterns 144
number of copies to print 146
remove color operators 144
run prep at start of job 143
setting the LanguageLevel 143
Page Setups folder 32
Page size
specifying default 128
Page stop-started message 387
PageBuffers folder 34, 189, 384
Pantone Matching System 345
Paper jam message 387
Paper low message 387
Paper out message 387
Paper. See Media
Partial page buffer 22, 197
defined 417
Passwords folder 34
patterns folder 34
PDF files
color management 397
input methods 233
printing 221
setting options 228
special treatment 233

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 two definitions 417
PDF jobs
color management in 399
PDF Options dialog 228
PDF Raster
Configuring files 107
naming files 109
Output device 107
PDF raster
creating files 107
PDF/VT 222
PDF/X Color management 223
PDF/X standards 222
PelBox. See imagesetters
Per renderer memory 192
Performance
Rainbow Islands test image 78
Seybold Musicians test image 30
PGB hot folder 142
Photo-ink
defined 417
N-color system 344
Photoshop images
processing jobs containing 397, 398
pica 418
Pixel 418
Plug-in module 418
point 418
Portable Document Format. See PDF files 221
Positive. See Negative
Post processing
TIFF files after output 104, 111
Post processing substitution codes 105
PostScript language
access from executive 244
applied to jobs in page features 140
handling Level 1 language jobs 143
handling Level 2 language jobs 143
PostScript Printer Description. See PPD
PPD
defined 418
PPF
file format and CIP3 410
Precision screening. See HPS
Preloading
composite fonts 298
fonts in the Harlequin RIP 298
Prep file 418
PrepFiles folder 34
Preseparated jobs
recombining 360
rejecting 360
Press calibration
alternative uses 327
in Edit Page Setup dialog 151
introduction 325
See also Calibration
Preview
defined 418
images 23, 49
See also Roaming
Preview window 89
Print calibrated press target 329
Print calibrated target 320, 323, 329

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Print Calibration dialog 314, 329
Print exposure sweep 330
Print File command 218
Print File dialog 219
Print File menu 219
Print Production Format
See PPF
Print uncalibrated press target 329
Print uncalibrated target 329
Printer buffer 193
and data underrun 194
and roaming large page buffers 194
Printer Caught Up message 387
Printers
installing interface cards 31
required data rate 31
See also Output devices
Printing
calibration targets 329
color images 349
draft on each page 142
exposure sweeps 314
files 218
HD Photo files 235
in mirror image 129
in negative 129
in rotated orientation 129
JFIF files 235
JPEG files 235
multiple copies 71
PDF files 221
PostScript language files 220
setting PDF options 228
several copies 146
several files 220
TIFF/IT files 239
using a different press 151, 310
using special effects 140
with drag and drop 220
XPS Documents 235
Printing PDF files
Acroforms 226
PDF/X standards 222
PDF/XColor management 223
Printing PDF version 1.4 223
Trapping 223
Problems
curing 379, 389
DiskFirstAid utility 380
failure to RIP to disk 383
with fonts 384
with HPS 177
with HSL 186
with TIFF/IT files 389
Process colors
changing the angles 164
Process work. See Color
Processor, online developer 260
procsets folder 34
Profiles
ColorPro feature 333
defined 418
Progress box 52, 68
media management 257

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 warning messages in 385
Progress dial 48, 53
Progressive proofs
defined 419
Progressive separations 355
Proof Fonts dialog 48, 299
Proofing fonts 299
in long format 300
Proofs
defined 419
progressive, defined 419

Q
Queues
active 64
held 64
transferring pages between 65
Quitting
Harlequin RIP 43

R
RAM. See memory
Raster Image Processor
defined 419
Read dial 49
Recombination
features requiring 352
Recombine preseparated jobs
and composite jobs 362
check box 360
memory requirements 28
suitable jobs 361
Red, Green, Blue. See RGB
Reduced Preview window 89
Reduced roam 50, 71, 89
Reduced Roam window 89
Reject preseparated jobs 360
Remaining length of media 256
Remove color operators
page setup option 144
Removing
fonts from the RIP 300
Rendering 419
Reordering
page setups 81
Reprinting jobs 66
ReproductionCriteria folder 34
Requirements
data rate to printer 31
disk data rate 31
disk space 29
minimum font set 384
RAM 28
Resetting
Harlequin RIP 198
RIP configuration 198
Resolution 419
resolution
setting 85
Resubmitting, page buffers 142
Reverse See Negative
RGB 20, 419
in color composites 351
Right reading. See Mirrorprint

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RIP
defined 419
RIP configuration
PageBuffers folder 189
resetting 198
WorkSpace folder 188
RIP Monitor
example session report 57
installed font list 298
memory reports 188, 197
Ripping to disk
failure 383
Roam button 49, 70
Roam Options dialog 90
Roam window 89
Roam, defined 419
Roaming
accurate color display 91
and disable output 70
changing the displayed colors 376
description of Reduced Roam window 89
description of Roam window 89
hiding separations 90
images 49
large or multiple pages and printer buffer 194
options 90
reduced roam 50, 71, 89
separations 376
setting hand speed 91
several pages 70, 88
Rosette 420
Rotate
Page Setup effect 129
Round Euclidean dot shapes 165
Run prep at start of job
page setup option 143

S
Save Setup dialog 55
Saving
a backup of all fonts 35
all configuration settings 35
media or time 127
page setup configurations 83
separations styles 363
Scaling
the output image 139
Screen angles
definition of 159
expected in incoming job 367, 374
glossary entry 420
Screen frequency 159, 420
and calibration sets 322
and gray levels 169
overriding 168
specified in job 168
Screen levels
limiting 174
Screen sets
selecting 181
Screenin
Screenin folder 34
Screening 162
and separations style 155

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 chain 181
error diffusion 156, 413
extra gray levels 174
FM 181
HDS 181
HMS 185
HPS 173
HSL 180
overview of methods 19
spot functions 164
Screens
defined 159
Screens folder 34
Searching for input symbol 204
Separate spot color duotones, tritones & quadtones to spot color plates check box 148
Separate spot color vignettes to the spot color plate
Illustrator 6 149
Illustrator 7 149
QuarkXPress 149
Separation Features folder 34
Separations 158
changing color 72
colored 355
features needing recombination 352
monochrome 355
page numbering in Output Controller 67
progressive 355
style and screening 155
Separations Manager dialog 353
Setting the PostScript LanguageLevel 143
Settrap 375
Seybold
Musicians test image 30
Rainbow Islands test image 78
Shift key 6
Shortcuts
keyboard 6
Showpage operator 145
Simple imposition 263
activate 264
Annotations 279
Binding options 274
Configuration 265
Custom annotations 280
Example impositions 282
Front and back options 277
Gutter options 276
Input file formats 263
Manager 264
Marks options 279
Page Grid positioning options 278
Page options 272
Perfecting 271
Schemes 267
Surface options 270
Work & Tumble 271
Work & Turn 271
Single (if required) mode 77
compared to Multiple (Parallel) 77
page buffer modes compared 62
Single mode
advanced details 76
page buffer modes compared 62
Socket

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 configuring the input plugin 215
input plugin 202
See also sockets
Sockets
as input to the Harlequin RIP 212
requirements for use with the Harlequin RIP 213
Special effects
applied to jobs using page features 140
applied to jobs using page setup 129
Specifying
default page size 128
image scale 139
Spool folder 34
configuring 209
excluding files from processing 212
input plugin 202
multiple inputs 22
Spool Folder Configuration dialog 209
Spot colors
exact names required 358, 359
reporting on screen 140
Spot functions 164
See also Dot shape
Spread 420
Square dot shapes 167
Square Euclidean dot shapes 167
StandardCharStrings file 32
Starting up
executive 244
Harlequin RIP 36
inputs 54
output of jobs after earlier disabling 65
Startup prep
Configure RIP option 196
Status
area in tool bar 41
of a calibration set 333
Stop / start
defined 420
Stop Executive command 244
Stop Printing File command 220
Stopping
a print job 219
all enabled inputs 206
all inputs 39
Harlequin RIP 43
output of jobs temporarily 65
the computer running the Harlequin RIP 44
Stripping. See Page imposition
Substitute fonts
in jobs from Illustrator 148
or aborting the job 145
SW folder 188
Sys folder 34
System 7 file permission access 395

T
Take-up full message 387
Take-up space low message 387
Targeteps folder 34
TCP/IP 202
Testing
calibration sets 320
Threads

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 option in Configure RIP dialog 191
Throughput
control 23
defined 420
Info dialog 70
system 63
TIFF (Tag Image File Format) 21, 93, 107
Configuring files 93
creating files 93
naming files 94
Output device 93
Post processing output files 104, 111
Post processing substitution codes 105
See also TIFF/IT files
TIFF 6.0 input 240
TIFF/IT files
data types 237
format and history 236
installation and requirements 238
password 195
printing 239
printing with spool folder 210
troubleshooting 389
Time saving (optimization) 127
Timeouts
on jobs 191
tmp folder 34
Tone curves
adjusting 152
creating and using 325
in Edit Page Setup dialog 152
introduction 324
Toner low message 387
Toner out message 387
Tool bar
introduced 38
status area 41
Transparency
PDF Check Abort 225
PDF Check Warning 225
PDF Page Alert 226
TrapParams folder 35
Trapping
defined 421
in QuarkXPress jobs 375
in the Harlequin RIP 374
TrapPro
menu commands 42
Trim Page check box
in Page Setup dialog 127
Trim page check box
in Info dialog 72
Troubleshooting. See Problems
TrueType fonts 294
Type 0 fonts 294
Type 1 fonts 294
Type 3 fonts 294
Type 32 fonts 294
Type 4 fonts 294
Type 42 fonts 294

U
UCR 368, 371
Ultre. See imagesetters

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Undercolor removal 368, 371
Uninstalling
fonts 300
Units of measurement
dpcm 412
dpi 412
dpmm 412
lpcm 415
lpi 415
lpmm 415
pica 418
point 418
Unknown error message 388
Use late color management 369
Usr folder 35
Utilities folder 35

V
Version
file in SW folder 35
Vignettes
defined in spot colors 147
Virtual memory 421
allocating for the Harlequin RIP 197

W
Warming up message 388
When necessary
delete option in Output Controller 69
Width
of media 256
page default 128
Workflows
for maintaining calibration 320
WorkSpace folder 35, 188
Wrong reading. See Mirrorprint

X
XPS Documents
printing 235

444 AG50451 Rev. 9 Harlequin PLUS Server RIP v9.0: June 2011