PDF/X

WORKFLOW

Version 1.0.1
Publication date: May 2016
Revised: January 2020

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 Introduction
Progress
The current Ghent Workgroup 1v4 specification has, for many years, been the de facto standard for the exchange of
PDF documents in the print and publishing industry. Evolving such as standard is always a challenge, but we believe
it’s necessary to keep up with recent technological developments. The new GWG2015 specification, based on the
ISO PDF/X-4 standard, is the result of that necessity.

Transition
The current 1v4 and the new GWG2015 specifications are fundamentally different; we don’t expect an immediate
change. Our expectation is that the GWG2015 specification will be picked up as an acceptable alternative to 1v4
and that the current 1v4 specification will disappear only after a lengthy transition period. This has already been
formulated as the plan to go ahead by a number of national and international branch organizations.

We expect (and hope!) that the complete workflow, including its software, hardware, and operating procedures will
be thoroughly tested to make sure this new GWG2015 specification is correctly supported. Especially when col-
or-managed RGB images are allowed in the workflow.

Goal
The GWG2015 specification as developed and documented by the Ghent Workgroup is dry and terse material, more
suitable for application developers than printers, publishers or creative professionals. This paper explains what the
differences in your workflow need to be between 1v4 and GWG2015 and how you can best take advantage of the
new specification.

If you are in fact an application developer, or if you want to understand the new specification in more technical detail,
this paper can be an introduction, but you shouldn’t stop here. Download the full specification documentation from
the Ghent Workgroup website.

Word of thanks
This paper is an adaptation of a PDFX-ready document; we are grateful to the PDFX-ready organization for their sub-
stantial effort to produce the original document and their kind permission to on build their work. We also hold to thank
the following people for their extensive contribution to this paper:
• BArt Van Looy, BVL Consult
• Didier Haazen, VIGC
• Peter Korsmit, CMBO, Roto Smeets Group
• David van Driessche, Publigence / Four Pees
• Peter Maes, Roularta Media Group

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 Table of Contents

• GWG2015 Workflow overview 4

• The Ghent Workgroup example page 6
• Processing PDF: Today, tomorrow and future... 8
• PDF and PDF/X 10
• PDF limitations, necessary for prepress data creation 11
• Which GWG specification to use? 12
• Process-specific (classic) image editing 14
• Media-neutral image editing 15
• Process-specific (classic) preparation of vector-illustrations 16
• Configuring layout applications: New documents 18
• Configuring layout applications: Existing documents 20
• Live preflight in InDesign 21
• Design & layout 22
• Layout optimization using transparency 24
• Color management: Early, Intermediate & Late Binding 26
• PDF/X creation 28
• InDesign: export as PDF/X-4 CMYK 30
• QuarkXPress: export as PDF/X-4 CMYK 32
• InDesign: export as PDF/X-4 CMYK + RGB 34

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 GWG2015 Workflow
Overview

Image editing and processing Vector art

Process-specific Media-neutral Process-specific

file format file file format

14 15 16

Layout and design

Native GWG2015 PDF/X GWG2015 PDF/X Native QuarkXPress

InDesign file export using PDF export using file
export settings QuarkXPress

PDF/X creation

PDF/X-1a GWG2015 PDF/X-4 CMYK GWG2015 PDF/X-4 CMYK+RGB

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 PDF/X-creation

PDF/X-1a GWG2015 PDF/X-4 CMYK GWG2015 PDF/X-4 CMYK+RGB

GWG2015 PDF/X preflight check

PDF/X-processing

PDF PDF
Optimization Output

PDF/X-workflows: This diagram shows the different steps

and processes that take place in a typical PDF/X workflow:
• Image editing - media-neutral or process-specific.
• Creation of images and illustrations - process-specific.
• Layout and design - media-neutral (use of images) or process-specific.
• PDF/X-export - process-specific or media-neutral PDF/X-creation.
• PDF/X-creation: PDF/X-1a, PDF/X-4 CMYK or PDF/X-4 CMYK+RGB.
• PDF/X-preflight: can be done using a variety of tools.
• PDF optimization and output.

More detailed information about each of these steps is available on the following pages.

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 The Ghent Workgroup example page

The Ghent Workgroup example page (of which a preview

is displayed on the right) shows the advantages of the
Ghent Workgroup workflow; it’s the best way to get all
of the information out of this manual.

You can use the Ghent Workgroup example page:

• to get an insight into how to use the Ghent
Workgroup specifications.
• as a guideline for reliable PDF creation and
processing.
Images: © BArt Van Looy

The ideal is to judge this page in Adobe Acrobat Pro

using separation preview.

You can download the Ghent Workgroup example page

on www.gwg.org. Blend-Modes

A detailed description of the different elements in the

1
Ghent Workgroup example page can be found in the cor-
responding chapters of this manual.
PROCESS
Note: this example page in no way replaces other test
pages. It is merely an additional instrument you can use
VS
for test and demonstration purposes.
SPOT
The publications of the GWG provide guidelines for con-
tent creators and output producers alike; they can help
with creation, processing, and publication of PDF/X-data:
• Content creator: creates document layout and ex-
ports a print-ready PDF/X document.
• Output producer: receives and processes PDF/X
documents for specific output channels

3 … communicates CMYK
without compromises

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 This example page uses the following symbols:
A green check mark indicates that the used PDF functionality or construction is OK. It is allowed within
the GWG specifications and usually does not cause problems in printing.

A red “X” represents a preflight error or problem. It’s a PDF functionality or construction that is NOT
allowed within the GWG specifications. It usually does cause problems in print.

PDF functionalities or constructions that generate preflight warnings are represented by a yellow exclama-
tion mark. These constructions can lead to problems and are best checked visually first.

Information-items are marked with a blue “i”. These offer additional information.

BEWARE: The and signs have been added to the sample page purely as information. If you print the
sample page, these signs will always be printed.

Alpha-Chanel

GWG2015
4 Example page www.gwg.org
RGB

… makes you savvy for handling media neutral data

[ Device ] [ ICC based ] [ ICC based ]

RGB RGB RGB

… conveys the A
2 quality of your
CMYK CMYK CMYK
images into your PDF

GRIJS GRIJS GRIJS

… makes you fit future multi channel publishing

5 RGB

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 Processing PDF
Today, tomorrow and future...

The print and publishing industry has undergone signi- more easily changed for alternate printing processes any-
ficant changes, and the way PDF documents are pro- time in the workflow, and better take advantage of the
cessed has followed suit. The multi-channel publishing enhanced gamut for digital printing techniques.
model takes over more and more from the conventional
way of working where content is prepared for a speci- Within the graphic arts industry, it is now common prac-
fic print condition. Workflows at publishers increasing- tice to use and archive images in a media-neutral way.
ly shift to being media-neutral while at creation time a The Ghent Workgroup supports this way of working in
cross-media approach becomes indispensable. the GWG2015 CMYK+RGB specifications by allowing
images to remain RGB throughout most of the workflow.
In the past decade, PDF has become the defacto Earlier specifications required images to be converted to
standard for prepress workflows. Most of the current the color space for a specific print condition.
RIP-solutions implement native PDF rendering sup-
port; they no longer internally convert to PostScript. The Future versions of the Ghent Workgroup specification
Ghent Workgroup GWG2015 workflow guidelines take will push this concept further by not only allowing me-
full advantage of the PDF capabilities built into modern dia-neutral images but supporting complete media-neu-
RIPs. Using native PDF rendering comes with real advan- tral documents. This is of particular importance for mo-
tages compared to a workflow reliant on conversion to dern publication channels (such as content for mobile
PostScript. You’ll find many of those benefits explained phones and tablets) where it’s ideal to have media-neu-
in this document. tral images, text, and illustrations.

The Ghent Workgroup GWG2015 specification is the first As always, the Ghent Workgroup wants to support the
PDF specification enabling the use of media-neutral RGB changing print and publishing landscape and its novel
image data. Vector artwork (illustrations) and text still technologies in a way that pushes the envelope, yet can
need to be prepared and placed in CMYK; because of reliably be implemented by typical workflows.
this reliance on CMYK for non-image data, this specifica-
tion is not yet a complete media-neutral solution for PDF.

The requirement nor non-image data to remain CMYK

makes GWG2015 CMYK+RGB a way to handle RBG
images in a workflow leading to one or more CMYK
PDFs, rather than a complete strategy for an integra-
ted cross-media PDF solution. It enables PDFs created
with this standard to be more easily used for ePublishing,

today Layout
coated offset PostScript
(sheetfed offset) (CPSI) RIP
used during
output

Layout
uncoated offset
(sheetfed offset)
GWG 1v4
PDF/X-1a
RGB image PDF/X-1a
based
CMYK
sheetfed offset
Layout coated
newspaper print
output condition:
CMYK

Layout
rotation & engraving

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tomorrow

Layout
coated offset
(sheetfed offset) Exclusively
native PDF RIP
processing
PDF/X-4
CMYK
Layout Heatset and
uncoated offset coldset printing
(sheetfed offset) output condition:
GWG2015 CMYK
PDF/X-4
RGB image based

Layout
newspaper print
PDF/X-4
RGB
Heatset and
coldset printing
output condition:
Layout CMYK
rotation & engraving

future

Native PDF
processing and
output specific
rendering

future?
Layout PDF 2.0 based PDF/X-?
RGB image media-neutral on PDF/X-? RGB
media-neutral

output condition:
RGB or CMYK

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 PDF and PDF/X

Through the development of the Acrobat software family eXchange”. It signifies that PDF/X documents are more
and the associated PDF file format, Adobe created a suc- reliable than native documents or plain PDF documents
cessful and universal, platform-independent, mechanism in any workflow involving print products where docu-
for viewing and printing documents virtually anywhere. ment exchange plays a role.

The increasing capabilities of newer PDF versions, PDF/X documents are by their nature self-contained; all
helped by the explosive growth of the Internet, has made necessary elements such as fonts, images, ICC profiles...
PDF the defacto standard for the electronic exchange are embedded in the file itself. They also must include or
of documents. The free Adobe Reader software and define important information such as page boxes, output
a growing number of alternative PDF viewing and ma- conditions and information on whether or not the docu-
nipulation software products have spread all across the ment has been trapped. PDF/X documents are complete
world; they contribute significantly to how we efficiently documents. (Except for certain PDF/X flavors like
create, share and print digital content. PDF/X-4p and all flavours of X-5 who allows
external referenced (linked) data.)
While originally designed with office use in mind, PDF
has increasingly been used in graphic arts to replace the PDF/X-Plus
exchange of native documents and PostScript. Most The Ghent Workgroup bases all of its work on the PDF/X
graphic arts workflows today either rely exclusively on standards from the ISO; the GWG specifications use
PDF or strongly advocate its use over other file formats PDF/X as a foundation to provide common quality checks.
for the exchange of print-ready documents. But because the PDF/X standards have been designed
for the complete graphic arts industry, they cannot go
ISO PDF/X standards for graphic arts into detail for different market segments or production
PDF by design is a very open file format, allowing for methods. And that is exactly what the PDF/X-Plus
example the inclusion of audio and video content. While specifications from the Ghent Workgroup do.
this is essential for the use of PDF in digital media appli-
cations, it can wreak havoc when used in workflows de- The Ghent Workgroup specifications add
signed to output high-quality print content. In such work- requirements for:
flows, PDF documents should only contain elements
• Minimum and maximum resolution of images
that can be printed reliably.
• Maximum ink usage (TAC)
The ISO standards organization developed the ISO 15930
• Minimal line weight and text size
standard (also known as “PDF/X”) to increase the pre-
dictability and reliability of PDF in print workflows. The • Use of overprint and knockout for specific elements
different parts or flavors of this ISO PDF/X standard, de-
fine the requirements and restrictions for specific graphic • Usage of spot colors
arts workflows. • And more

Two of these PDF/X flavors most closely match the cur- In summary: PDF/X was developed for the entire gra-
rent requirements of the graphic arts industry: phic arts industry. The Ghent Workgroup specifications
• PDF/X-1a for traditional print workflows using CMYK are more precise guidelines for individual segments of
and spot colors. that industry.

• P
 DF/X-4 for modern workflows supporting live The illustration on the next page shows the concept be-
transparency, color-managed RGB objects, CMYK hind PDF and the various standards and specifications
and spot colors. adding limitations and “best-use” requirements on top
of PDF. The higher in the pyramid, the more reliable a
No “best of class” document will be for a particular usage.
In the case of PDF/X standards, higher numbers don’t
mean better standards. PDF/X-1a and PDF/X-4 both have
organizations that support and promote it - for good rea-
sons. In some workflows, the transparency flattening in-
herently present in PDF/X-1a workflows is a good thing.
In other workflows, being able to retain live transparency
makes the workflow more powerful.

What is important in PDF/X, is the “X”. This was derived

from the full name for the ISO standard “PDF for blind

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PDF limitations
necessary for prepress data creation

company specific
guidelines or
requirements

Ghent Workgroup (GWG) specifications

hig
ns

he
tio

PDF/X-1a PDF/X-4

r re
(CMYK) (CMYK + RGB)
ita
lim

lia
advertisements advertisements

bil
re

it y
mo

sheetfed offset sheetfed offset

newspaper offset newspaper offset

... ...

PDF/X-1a
PDF/X-4

PDF/X: ISO standard 15930

PDF features restricted for graphic arts
Additional requirements for PDF files in graphic arts workflows
PDF/X-specific metadata

PDF specification: ISO standard 32000

Standard for the PDF file format as a platform, device and application-independent file format for the exchange
of information for graphic arts, the Internet and office workflows.

PDF/X-4:2008 vs. 2010

When ISO releases part of the PDF/X standard, they get a different number (PDF/X-1a, PDF/X-3, PDF/X-4...). Different parts are typically created as technology evolves
and the standard has to be adjusted to take that into account or to support different use cases.
Each part of the standard also receives a publication date number, such as PDF/X-4:2008. That publication date number is the year in which the PDF/X part has been
officially published. In case of PDF/X-4 the publication year originally was 2008.
Sometimes parts of a standard need to be clarified or corrected. In that case, it’s possible that a “correction” publication takes place. For PDF/X-4 that happened in 2010,
when the definition of optional content was improved and a number of ambiguities were removed from the text. That revision was published as PDF/X-4:2010.
There is only one valid PDF/X-4 standard, and it’s called PDF/X-4:2010.

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 Which Ghent Workgroup specification to use?

The Ghent Workgroup has three current For each of these specifications, the Ghent Workgroup
specifications you can choose from: develops quality control guidelines (preflight profiles) and
creation settings for different applications (such as Ado-
• GWG 1v4
be InDesign and QuarkXPress). This makes selecting the
• GWG2015 CMYK correct specification crucial.
• GWG2015 CMYK+RGB
So how do you know which of these three specifications
to use? We created a simple to use flowchart that can
All three specifications are valid, depending on your si-
help to guide you while you make a choice.
tuation and that of the people you work with. GWG 1v4
is based on PDF/X-1a, the GWG2015 specifications on

PDF/X-4. The differences between these specifications
are significant: support for live transparency, optional
content, color-managed RGB...

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 I’m a creator!

Use Use
GWG 1v4 GWG 1v4
I can only handle
flattened
I know my
transparency
output partner.
CMYK (or choose to accept CMYK
+ spot colors only such files).* + spot colors
+ transparency flattened + transparency flattened

Use Use
GWG 1v4 GWG2015 CMYK
My output partner I prefer to receive and
wants or can handle media-neutral
only handle files.
CMYK flattened CMYK
+ spot colors transparency.* + spot colors
+ transparency flattened + live transparency

Use Use GWG2015 CMYK+RGB

GWG2015 CMYK
After consulting with
my output partner,
I can deliver CMYK and RGB
CMYK media-neutral files. for images
+ spot colors + spot colors
+ live transparency + live transparency

Use GWG2015 CMYK+RGB

CMYK and RGB

for images
+ spot colors
+ live transparency

* To know the conformance of a RIP, software, or workflow, contact your vendor or solution provider, or use the test pages from the Ghent Output Suite.
http://www.gwg.org/download/test-suites/ghent-output-suite/

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 Process-specific (classic) image editing

Edit
First of all, the color management Prepare images for a particular To avoid problems during conver-
1 policies are determined. The 2 print condition, by editing them in 3 sion to CMYK, you can visualize
GWG developed Photoshop color RGB on a calibrated and profiled the final result by using the proof
settings; those .csf settings can monitor. preview from Photoshop. Go to
be downloaded from ­w ww.gwg.org. View -> Proof Setup -> Custom.
These settings can be used to synchronize Configure the CMYK working space for
the color settings of all Adobe CS / CC the selected print condition or choose
applications through Adobe Bridge. “Custom” for a different proof preview.

You are advised to adapt the working space ICC profiles and rendering
intent to your specific needs. Do not modify the other settings.

Convert
After image retouching, the conversion to CMYK takes place.
4 Preferably use Edit - > Convert to Profile, to have access to all relevant
options. Though the suggested ICC profiles often give good quality
results, you can also choose different ICC profiles (representing the
same print condition).

Save
Save the final CMYK image as one of the predominant image
5 file formats (TIFF, PSD or JPG). Make sure that the ICC pro-
files used are embedded in the file during save.

While preparing images, a separate CMYK image must be saved for

each print condition. It is also recommended to save the original RGB
image as a master to create additional separations. If the same image
must be prepared for multiple output workflows, this will result in the
creation of multiple different image files and will increase the risk of
errors. A more flexible approach is to perform an RGB to CMYK
export from the design application.


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Media-neutral image editing
The Ghent Workgroup recommends relative colorimetric color conversion using black point com-
pensation (bpc) for all workflows, except for newspaper-print workflows based on ISO-news-
paper26v4. For these workflows, perceptual conversion without blackpoint compensation is advised. R EC O M M
ENDATIO
N

Color Management
First of all, the color management policies are In most cases, it is advised to convert the RGB color
1 determined. The GWG developed Photoshop color 2 space of the image to a specific RGB color space;
settings; those .csf settings can be downloaded from the GWG recommends:
­w ww.gwg.org.
These settings can be used to synchronize the color settings
of all Adobe CS / CC applications through Adobe Bridge. • If no profile is attached to a RGB image, GWG recom-
mends to use sRGB as the default profile
• If a profile is attached to a RGB image, GWG recommends
to preserve this source profile
• For retouching in RGB, GWG recommends to use a profile
with a wider gamut like Adobe RGB or eciRGB_v2. In such
a case it is advised to convert the RGB image to the specific
RGB color space.

Use Edit -> Convert to Profile to perform the conversion.

sRGB

Edit
Editing must happen on a profiled and
ISO Coat
3 calibrated monitor in the image’s RGB ed V2
color space. To simulate the result of 300% (EC
the conversion to a specific print condi- I)
tion, you can use the proof preview functionality
in Adobe Photoshop through View -> Proof
Setup -> Custom.
This visualises how an image will look after color
conversion. The GWG recommends using the
“ISO Coated v2 300% (ECI)” ICC profile for most
common printed material. If you are working for
newspaper or gravure, you should discuss this
with your output partner.

Save
Save the final RGB image as one of the main image file formats (TIFF, PSD
4 or JPG). Make sure that the ICC profiles used are embedded in the file
during save. This master image can now be used for both print and non-print
workflows.
This media-neutral form of image preparation is crucial for today’s and tomorrow’s pub-
lishing workflows. It allows performing the conversion to CMYK in the design application
when exporting to PDF or through a color management server application further down
the workflow, which increases flexibility and final color quality.

Black point compensation

In combination with the “relative colorimetric” rendering intent, black point compensation (bpc) ensures better details in shadow areas of images. When the “perceptual” 15
rendering intent is used, bpc usually has no effect.
Background: black point compensation was developed by Adobe and was available originally only in the Adobe applications. It’s important to realize that this method isn’t
standardized and small implementation differences may occur as a result.
 Process-specific (classic)
preparation of vector-illustrations

First of all, the color management policies are determined.

1 The GWG developed color settings; those .csf settings can
be downloaded from ­w ww.gwg.org.
These settings can be used to synchronize the color settings
of all Adobe CS / CC applications through Adobe Bridge.

For a new document, select the correct CMYK working space.

2

Save the document as an Adobe Illustrator file (AI format).

3 Don’t use the obsolete EPS file format.

Note that in QuarkXPress 9 (or below) placing transparent

objects leads to incorrect results; as such it is advised to use EPS in
that case.


Checking the document color mode

The actual document color mode of an Illustrator document can be checked through the File menu -> Document color mode
This must be set to “CMYK Color” to be correct.

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 3

1
3

2
2

1 2

Use the correct CMYK values to de- Use the gradient tool in Illustra- Always define black and
1 fine colors. Using RGB values forces 2 tor for opaque and transparent 3 shades of gray as pure
Illustrator to convert your colors to objects. This gives better print black (“K” only). Black or
CMYK, potentially causing undesired quality. gray objects defined in RGB
color changes. often lead to impure color separati-
ons.

Illustrator
converts
this to: Illustrator converts
Transparent objects and drop shadows be- this to:
have correctly as long as you save your do-
cuments as Illustrator format. When using
EPS documents, transparency is flattened
and may lead to undesired effects.

Note that in QuarkXPress 9 (or below) pla-

cing transparent objects leads to incorrect
results; as such it is advised to use EPS in
Name spot colors that case.
as spot colors
(not as process Use the proper overprint
colors) settings.

Overprint preview
Adobe InDesign, Illustrator and Acrobat support overprint preview. If this feature is enabled, it allows you to visualise the final printed result. Enabling overprint preview
can be done in the menu through “View”, then “Overprint Preview”.

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 Configuring layout applications
New documents

The fact that images can be linked with an ICC profile, document profile as the output intent profile for the
is not new; what is much less known is that layout doc- PDF. In other words, it is the CMYK document profile
uments can also be linked to a specific ICC profile. Mo- that determines the print condition for the crea-ted
dern layout applications even require two ICC profiles for PDF document. All RGB elements are converted to
each document: one for CMYK and one for RGB. Both CMYK using the CMYK document profile during PDF
profiles are used for newly created documents. What creation.
does this imply for CMYK-based print workflows?
The interaction between the color settings of the docu-
• The RGB profile is used for all RGB objects placed
ment and the PDF export settings, highlights the impor-
without associated ICC profile (source RGB). In theory
tance of a considered color management strategy.
this should never be the case for files created by pro-
fessionals. In those cases where images, coming from
non-professional sources, don’t have an associated RGB
Attention: In QuarkXPress there is no link between the
profile, using the sRGB profile is the best solution.
document and the PDF export settings. This makes it
• The screenshots on this and the following page de- crucial to select PDF export settings matching the docu-
fine the color settings that should be used in InDesign ment and the CMYK elements in the document.
and QuarkXPress. These settings assume that all placed
CMYK elements have been prepared for the selected
print condition before they were placed. If such placed
elements contain a different CMYK ICC profile, that ICC
profile will be ignored. As such, it is extremely import-
ant to make sure all placed CMYK elements (images as
well as vector illustrations) are prepared for the selected
print condition before they are placed; if not, undesired
CMYK to CMYK color conversions will take place. InDesign
(CS6 and higher)
GWG export settings for InDesign honor the CMYK
document profile. This allows creating one generic
export setting, as the PDF export will use the CMYK

The GWG offers the necessary color settings for

InDesign and the other Adobe applications.
You can download these .csf files from the www.gwg.org
website. Those files can also be used to synchronize
your color settings for all CS / CC applications by using
Adobe Bridge.
These color settings implement all basic guidelines you
should follow when creating new documents.

PDF/X output intent

All PDF/X files contain an “output intent”. This output intent defines for which print condition the elements within the document have been prepared. The correct output intent
must be selected when creating a PDF document.

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 QuarkXPress
(version 10 and up)

The GWG offers basic color set-

tings for QuarkXPress; these can
be downloaded from www.gwg.
org. The settings must be loaded
through a “base document”, after
which they can be assigned using
the “Source Setup” dialog window.
More details about the procedure
to follow can be found on the GWG
website.

These color settings should be

used for all new documents (and
will provide correct behavior for
both RGB and CMYK elements in
those documents).

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 Configuring layout applications
Existing documents

Assuming the GWG color settings have been correctly applied, they will provide correct color setup for all newly-created
documents.

For existing documents, not created using these GWG color settings, other base rules can be in effect. Those might
cause the ICC profiles associated with placed elements to be used. To avoid this and obtain the same effect as when the
GWG color settings would have been used, a manual correction is required.

Preferred color adjustment methods

InDesign
(CS6 and higher)
Open the existing document, and go to “Edit” ->
“Assign Profiles...”. Change the RGB and CMYK color
spaces to the suggested GWG color spaces. Doing
so, will update the document color settings. Next,
check whether the ICC profiles associated with placed
elements (both RGB and CMYK) are consistent with
the newly set document color spaces.

This step is important when using InDesign as the

PDF export uses the document color spaces and the
ICC profiles associated with placed elements. Because
of this, all color space must be consistent with the
intended print condition.

QuarkXPress
version 10 and up

In QuarkXPress, go to “Preferences” -> “Default Print Layout” -> “Color

Manager” and adjust the “Source Options” to the correct GWG output
style (which must be installed ahead of time).

As in InDesign, it is crucial to also correctly color manage all placed

elements (both images and vector elements).

Checking the source profiles of an InDesign document Recommended color conversion methods
Use the “Edit” -> “Color Settings” menu item to check what the currently assig- The GWG recommends using relative colorimetric color conversion using
ned document color spaces are. If you don’t want to change anything, make sure blackpoint compensation for the complete workflow. An exception is made for
to always back out of the dialog window using the “Cancel” button. workflows based on ISO-newspaper26v4, where perceptual conversion without
blackpoint compensation is advised.

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 Live-Preflight in InDesign
Preflight results are reported in the Preflight
Panel, with further explanations in the “Info”
section of the panel.

The GWG also offers preflight profiles for the Live Pre-
flight functionality in InDesign (based on the work of the
VIGC). These preflight profiles enable quality control du-
ring the design phase and help make sure you construct
documents correctly.

InDesign’s live preflight is an interesting tool to detect

many common problems while still being in the design
phase; in other words, before a PDF has even been ge-
nerated. The preflight tool in InDesign reports only er-
rors; it’s not possible to create preflight rules that indicate
warnings. As a result, not all problems reported by the
GWG preflight profile should be interpreted as an error
that will cause problems during print. For each result,
you will rather need to evaluate separately, whether this
could be an issue in the rest of the workflow.

InDesign’s Live Preflight does NOT replace PDF pre- The preflight results are also shown at the
bottom of the document window.
flight! Don’t forget also to validate your PDF documents
after they have been created from InDesign. This can be
done using the GWG preflight profiles in Adobe Acrobat
or a similar preflight tool.

The reason you also need to preflight your PDF docu-

ments is that the PDF export process from InDesign can
have a significant influence on the quality of your docu-
ment. Some problems can only be detected after a PDF
document has been created. So always carefully check
your PDF documents as well.

The InDesign Live Preflight profiles can be downloaded

together with installation instructions from the GWG
website at www.gwg.org.

You can import and activate the GWG Live Preflight profiles
through the Preflight pane (“Window” -> “Output” -> “Preflight”).
Double-click a result to select the corresponding element in the
document.

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 Design & layout

In the layout phase, there are two different approaches

possible:

• P
 rocess-specific (prepared for or optimised for
a specific print condition): All images must be
converted to CMYK, specifically to the selected
output intent. The selected print technique is key in
determining which CMYK color space is used for the
document and the elements placed in the document
(see page 16).
• M
 edia-neutral (not prepared for or optimised for
a specific print condition): Images are not con-
verted to CMYK; they are preserved in their original
RGB color space as they are placed in the document.
During export of the document to PDF or in a later
workflow step, all content is converted to CMYK.

In both cases, all other printed elements are laid out in

CMYK (and for some workflows possibly using spot co-
lors). Always use CMYK values that correspond for or
are optimised for the intended print technique or output
intent. In case of doubt, it’s advised to create a soft- or
hard-copy proof.

Workflows where all elements (text, vector and images)

are media-neutral (RGB), are considered too risky and im-
practical at the moment. Regardless of the method you
select for images, the layout document itself will always
be print or medium specific.

The example layout on the next page, illustrates both me-

thods mentioned above.

R EC O M M
ENDATIO
N

What are the optimal values?

Whether or not particular CMYK values are suitable for a specific print technique,
mainly depends on the colorimetric and technical properties of that print tech-
nique. Typical examples of such properties include registration accuracy, gamut
values, minimal printable line widths, smallest reproducable tone values, raster
frequency and maximum ink coverage.

Problems with Pantone colors in Adobe CS6 and CC

If the CMYK values used are suitable for all relevant properties, we can define
such CMYK values as optimal for the specific print process. Important recommen- Starting with Creative Suite 6, Adobe includes the PANTONE+ color libraries in
dations: their applications. These color libraries define spot colors using LAB rather than
CMYK. This improves the color reproduction of these spot colors on screen, but
• Only use black (K) for black text. when converted to CMYK these new libraries can lead to significant color changes
as compared to the older color libraries.
•  void tone values under 10%. Lower values lead to less stable print behavior
A
and thus less consistent color.
Instructions to (re)install the old PANTONE color libraries in Adobe InDesign and
•  pply UCR or GCR to optimise black generation. Replacing CMY by black
A Illustrator CS6 and CC can be found on the PDF/X Ready website:
results in more neutral colors and more consistency throughout the complete
print run. Example: CMYK= 0/0/0/50 instead of CMYK= 45/36/36/0). http://www.pdfx-ready.ch/index.php?show=538 (German)

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 3

1
3
2

Use optimal CMYK values Define spot colors as a true Placed images must either be:
1 (including for black and gray) for 2 spot color in the layout appli- 3
all (vector) illustrations. Don’t cation. Don’t define them as •P
 rocess-specific as described
use RGB values, especially process colors. on page 14. They should then use
not for elements that have to be printed CMYK suitable for the selected
in pure black. Conversion from RGB to output condition.
CMYK leads to unpredictable and often
unsuitable color values!

Special note for Newspaper: • O

 r media-neutral by placing them
Define as CMYK (since if more as RGB, as described on page 15.
than 1 spot = Error) The conversion to the correct CMYK
color profile will be done during
generation or processing of the PDF
file.

Conversion result

Place all vector elements as

CMYK (optionally with spot R EC O M M
colors) elements as explained on ENDATIO
N
page 14.

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 Layout optimization
using transparency

In those cases where it’s not possible to retain live trans- Dropshadow and text frames
parency, you have to work using the GWG 1v4 specifi- A typical layout challenge is to have an anchored image
cations. The GWG recommends optimising your layout and text with a dropshadow in a text frame. To optimise
to get the best possible transparency flattening results. this scenario the GWG advises building a “sandwich”. At
the bottom of the stacking order (in the back of the docu-
Even if you can use live transparency in your document, ment) is an empty frame that has a drop shadow applied
layout optimization is still a good idea. Regardless of to it. The next layer in the stacking order contains the text
whether you are using the process-specific GWG 1v4 or and the top layer in the stacking order contains the image
media-neutral GWG 2015 specifications, the quality of frame with the placed image. The end result of this op-
your PDF files will be improved, and they will become timization is identical to the non-optimised scenario, but
less sensitive to errors further down the workflow. when transparency flattening is now applied, the text is
not converted to outlines or rastered into an image and
Adjusting object z-order you end with a higher quality PDF file.
The rules used to perform transparency flatten-
ing are identical for QuarkXPress and Adobe Avoid overlapping frames
InDesign; transparencies are always resolved from the In many cases, the transparency flattening
front to the background. That is why the z-order (their po- process isn’t triggered by the content itself,
sition in the stack of objects) of objects is so important. but by the frame containing that content (whether it’s
To avoid unnecessary transformations (eg. text or vec- text, an image or an illustration). As soon as a frame
tor elements that are converted into an image), opaque overlaps a transparent object, it’s possible that the object
(non-transparent) objects should always be placed on top is flattened, even if the content itself does not overlap
of (in front of) transparent objects (see also the check- anything else. To avoid this, avoid overlapping frames as
mark and text in the example below). The use of layers much as possible and make frames as small as possible
can be useful to separate objects and to make sure the (in other words, the size of its content).
z-order of all objects is correct.

1 2 Text with shadow

Text
nnC with shadow

Text in
foreground white box with black text
green checkmark incl. shadow

image of man

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By combining both techniques - adjusting the object In QuarkXPress, the transparency blend space is deter-
stacking order and avoiding overlapping frames - it’s pos- mined by the PDF output style. The GWG settings for
sible to avoid lots of problems. QuarkXPress always use CMYK as transparency blend
space.
Transparency and color management
Even if you don’t use transparency flattening, and you
With the use of live transparency, you introduce
export to a PDF version 1.4 or higher (that supports live
an extra complexity level regarding
transparency), setting the transparency blend space cor-
color management: different objects using different
rectly is still important as the document may go through
color spaces can also have a range of transparency
transparency flattening or color conversion later in the
effects applied. Of course, the goal is to have a predict-
workflow.
able result. A typical example is having an RGB image
that overlaps with a CMYK drop shadow. What happens
with the parts of those two objects that overlap? Spot colors and transparency
Will the result be RGB or CMYK? Spot colors may only be used if they will also effective-
ly be printed as separate inks. Converting spot color to
That decision is controlled by the “transparency blend CMYK once the PDF has been transparency flattened
space”. In InDesign the selected transparency blend is difficult to impossible; the correct color must already
space influences the whole page; in QuarkXPress, it only have been selected in the layout phase of the workflow.
has an effect on those objects that are part of that parti- When using PDF files with live transparency, converting
cular transparency group. spot colors in a later stage of the workflow remains pos-
sible; another advantage of keeping transparency live if
In InDesign, you can set the transparency blend space possible.
by using the menu item “Edit” -> “Transparency Blend
Space”. You can then select either “Document RGB” or
“Document CMYK”. The GWG recommends using the
latter.

Shadow 100% K

causes conversion

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 Color management
Early, Intermediate & Late Binding

The term “Binding” refers to when in the workflow co- All vector or text elements in the PDF are specified
lor conversion (from RGB to CMYK for example) towards as CMYK, grayscale or spot color. RGB images are
the wanted print condition takes place. either converted to CMYK when a PDF is created from
the layout application (intermediate binding) or are con-
Although the term “Binding” is a widely used Pre- verted only later by the workflow or output system (late
press-term in this chapter it should be read in the context binding).
to image and layout color conversion.
Converting images at the beginning of the workflow
For a typical graphic arts workflow there are three (early binding) is a more conventional and conservative
possible binding stages: way of working. It offers full control over the separation
to CMYK, but it requires separate images for individual
• Early print conditions.
• Intermediate
When converting images to CMYK, keep following
• Late recommendations into account:

The discussion that follows is limited to practices for • Use relative or colorimetric rendering intent
pixel-based elements (images) because those normally
• Use black point compensation
are the only elements that can be placed as RGB under
the GWG recommendations. As such those are the only • Include the ICC source
elements that would need to be converted from RGB to profile (the RGB profile) R EC O M M
ENDATIO
N
CMYK.
• Select the correct source
profile (and output intent)
Early Binding
Raster images are converted to CMYK immediately after The GWG recommends the use of intermediate
the retouch phase, for example with Adobe Photoshop. binding. Intermediate binding enables the use of a sin-
As the user, you have full control over the color conver- gle RGB image as master file. This helps to reduce er-
sion by selecting the ICC profile, rendering intent and rors, specifically errors related to the conversion from
black point compensation settings. RGB to CMYK for specific print conditions.

Intermediate Binding Early binding must be used if:

The images are retouched and remain media-neutral
(RGB); they are placed as such in the layout application. • Image corrections on the CMYK image are required
The images are converted to CMYK when a PDF is cre- • T
 he conversion needs to be done using specific
ated from the layout application (they are converted from settings
their source RGB ICC profile to the document CMYK ICC
profile). As the user, you have control over the color con- • A
 source profile is used that creates a specific black
version by controlling the application settings, document or reflects the same underlying print conditions
color settings and PDF export settings and you are able (generic separation). This is typically the case with
to examine the final PDF. documents coming from Microsoft applications or for
textile reproductions.
Late Binding
The RGB images are placed in the layout application and When using intermediate binding, it’s important to make
remain RGB even as the PDF is created. To ensure prop- sure the correct color settings, document profiles (out-
per color, all images are tagged (they are associated with put intent), and export settings or styles are used at all
individual source ICC profiles). The final conversion for times.
print is done by the workflow system. As the user, you
have little control over the actual conversion because it Intermediate binding has the advantage that RGB images
is influenced only by the settings of the output system. are automatically converted to the correct print condition
as that is controlled by the layout document settings. It’s
Process-specific data exchange not necessary to keep multiple versions or copies of ima-
ges for different output conditions. Using intermediate
The GWG 1v4 and GWG2015 specifications are de- binding makes it easy to change the output intent of the
veloped for process-specific exchange of print-ready PDF export whenever that is necessary. Just keep in
documents. Documents are always prepared for a specif- mind that vector elements and text will be prepared for a
ic output condition (with a specific CMYK output intent). specific print condition.

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 Attention!
R EC O M M
ENDATIO
If you select the “late binding” method,
N you should make proper arrangements
with the receiver (printer).

Early Binding Intermediate Binding Late Binding

Photoshop – Image editing in

Photoshop Photoshop Photoshop

Conversion to CMYK Keep RGB Keep RGB

Layout – Document design

Images – CMYK Images – RGB Images – RGB

Layout – CMYK Layout – CMYK Layout – CMYK
Vector-illustrations – CMYK Vector-illustrations – CMYK Vector-illustrations – CMYK
PDF-Export – 1:1 PDF-Export PDF-Export – 1:1
Conversion to CMYK

PDF/X-Document

Images – CMYK Images – CMYK Images – RGB

Layout – CMYK Layout – CMYK Layout – CMYK

PDF-Output PDF-Output PDF-Output

Conversion to CMYK

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 PDF/X creation

Many different settings influence how a PDF/X file will The GWG recommends preparing images for the wanted
be created. The recommended settings constitute a effective resolution and the dimensions in the layout.
compromise between getting the highest possible qua- This will lead to images of better quality while avoi-
lity and obtaining maximum predictability. The following ding overly big files. If that is not or not always possi-
pages define basic terminology and provide guidelines ble, downsampling can be used. A good approximation
to create high-quality PDF/X from both QuarkXPress and of the intended effective resolution can be calculated as
Adobe InDesign. They also contain helpful explanations follows: resolution = screening x 2.54 x quality factor.
about the consequences of the recommended settings.
Depending on the required quality level, two different
settings are available from the GWG:
Marks and Bleed • GWG2015_..._250ppi
1 All printer marks, such as registration and bleed
marks, are used only for visualisation purposes. • GWG2015_..._350ppi
Modern tools use the page boxes defined in the PDF file
to obtain correct dimensions for the document. The trim For FM screening, the resolution can be dialed in higher.
box, for example, defines the desired dimensions of the As a rule of thumb, the resolution for images with high
document after cutting. levels of contrast should be higher than the resolution for
images with low contrast levels.
Compression
2 a. Downsampling b. Downsampling method
Downsampling determines the effective resolu- Different methods to apply downsampling exist. In most
tion to which images are recalculated. That effective re- cases, bicubic downsampling provides the best image
solution is determined both by the intrinsic resolution of quality.
the image and how that image is used in the design. For
example, a 600 ppi resolution that is scaled down to 50% c. Downsampling threshold
has an effective resolution of 1200 dpi. Downsampling It makes no sense to downsample an image if it’s only
is triggered by a downsampling limit; all images above just over the downsampling limit (a 304 ppi image if the
that limit are downsampled. Not using downsampling limit is 300 ppi for example). To stop this from happen-
would result in big PDF files as images would then ing, a downsampling threshold can be selected. Down-
retain an unnecessarily high resolution. sampling is done only for images above that threshold.
When using a downsampling threshold, the GWG ad-
vises setting its value to double the downsampling limit.

1 2

28
In other words, if you set the downsampling limit to Color settings for PDF export
300 ppi (you want images to be downsampled to 300 In Adobe InDesign, the GWG recommends
ppi), you should set the downsampling threshold to 600 using “Convert to Destination (preserve num-
ppi. The effect is that images under 600 ppi will not be bers)” with all ICC profile definitions set to
touched.This avoids problems by downsampling images “Document CMYK”. This result in flexible PDF export
too close to the downsampling limit and makes sure your settings, as InDesign uses the CMYK document profile
document never contains images higher than 600 ppi. as destination profile. All RGB images will automatically
be converted to that same destination profile during out-
d. Compression method put. QuarkXPress uses the document profile if the out-
Not using compression for images while creating a PDF put intent is not possible. Be careful to use the document
file results in unnecessary big files. The type of compres- profile while exporting the PDF file.
sion to use depends on both personal preferences and
technical requirements. The ISO PDF/X-4 standard sup- Font embedding threshold
ports two types of lossless compression: ZIP and JPEG- The font embedding threshold percentage defines what
2000. Additionally, it allows the more conventional JPEG percentage of characters of a particular font must be in
compression which is always lossy to some extent. use in a document before the font will be completely em-
The GWG does not recommend the use of JPEG-2000 bedded. As you always want fonts to be subsetted (this
at this time; instead, it recommends using “Automatic means that only the used characters will be embedded),
(JPEG)” compression with the quality level set to “max- this value should be set to “100%” so all fonts are sub-
imum”. InDesign then uses a mechanism that analyzes setted.
the image contents for each image to determine the op-
timal compression method. Images with low contrast le-
vels are compressed using JPEG compression while
high contrast images are compressed using the lossless
ZIP method.
Technical drawings or screen captures will profit from
this; as they are compressed using ZIP compression,
there will be no quality loss around sharp edges in the
images. If those images were compressed using the
lossless JPEG method, the JPEG compression algorithm
would introduce so-called “halo” effects around sharp
edges, mainly found in illustrations, text and so on.

JPEG-2000
JPEG-2000 is a newer image compression technique that is supported in PDF files starting with PDF version 1.5 and higher. It usually provides better quality and higher com-
pression rates than traditional JPEG compression. Even though that makes JPEG-2000 a superior compression technique, it also comes with challenges. Uncompressing
images compressed with JPEG-2000 takes a lot more time; you can easily experience this in Adobe Acrobat or mobile PDF applications for example. And because there are
also some workflow applications and RIPs that don’t properly support JPEG-2000 yet, the GWG currently doesn’t recommend it.

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 InDesign
Export as PDF/X-4 CMYK

When using the classic PDF/X-4 CMYK export me- GWG PDF export settings
thod, all ICC-based color spaces, as well as CIELAB and for Adobe InDesign
RGB are not allowed. The only supported color spaces Starting with PDF version 1.4, PDF supports a number
are CMYK, gray and spot colors. That is why all RGB of features that are no longer compatible with Adobe
elements have to be converted to CMYK, either in the re- PostScript (the prime example being live transparency).
touch phase (in Photoshop for example) or while making Because PDF/X-4 also supports these more advanced
the PDF from the layout application. If CMYK elements features, it is essential that you use the direct PDF ex-
in the InDesign document are tagged with CMYK ICC port from Adobe InDesign, rather than passing through
profiles, those profiles are ignored; all CMYK elements a PostScript file that is then distilled into PDF using Ado-
must be prepared (separated) using the CMYK document be Acrobat Distiller. Because of this, the GWG only de-
profile before they are placed in the layout application. livers PDF export settings that use the direct PDF export
mechanism in Adobe InDesign; Acrobat Distiller based
This (CMYK) workflow method is very well understood settings are no longer supported.
and widely used. It is considered to be a safe and pre-
dictable way to prepare PDF files for print. The GWG2015 PDF export settings are an evolution of
the GWG 1v4 PDF export settings. They differ from
those previous settings, in two important aspects:
PDF/X workflows
• They are based on the PDF standard PDF/X-4
The GWG2015 specification builds on the ISO PDF/X-4
standard. At the moment, only Adobe InDesign (starting • They generate PDF files compatible with PDF
with version CS 6) and QuarkXPress (starting with ver- version 1.6 (Adobe InDesign CS 6 or later)
sion 2015) support reliable PDF/X-4 export directly from
the application.

N
ENDATIO
R EC O M M

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The GWG CMYK 2015 PDF export settings are such that
all printable elements in the document are converted
to the document CMYK color space. Elements which
already are CMYK, are exported without conversion
(“preserve numbers”). And transparency is fully retained
during export, which means the exported PDF will con-
tain live transparency. These PDF export settings are
suitable for either early or intermediate binding work-
flows (see page 24).

Transparency blend space

ICC-based transparency blend spaces are not allowed in
GWG2015 workflows. CMYK transparency blend spaces
that aren’t aligned with the document CMYK color space
will be changed to that color space during PDF export.
Because that change is not considered to be an expli-
cit color conversion, such a mismatch, and the resulting
change, will be announced by InDesign with a warning
dialog window. (as illustrated on the right).

Changing the transparency color space, could result in

a different visual appearance. As such the GWG recom-
mends adjusting images before the PDF export process.
If that is not possible, the generated PDF file (with the
changed transparency blend space), can be checked us-
ing a soft-proof or hard-copy proof.

Warning!
If you place PDF documents using RGB based transparency in InDesign, the application won’t issue a warning;
InDesign will simply use the active color space. The first warning you will receive, is when exporting the layout
document to PDF (at least if InDesign is set to use the document CMYK profile as transparency blend color
space). Because of this, it’s important to check the transparency blend color space of PDF files you are about
to place in InDesign. This can be done in Adobe Acrobat 9 or later using the “Output Preview”; by checking the
“Blending Colour Space”.

Correct result using an ICC-based RGB transpa- Incorrect result from changing the tranparency blend
rency blend color space color space to CMYK

For more information, also read the “PDF File Aggregation: What You Need to Know” white paper on
how to combine multiple files; it can be downloaded on the GWG website at www.gwg.org.

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 QuarkXPress
Export as PDF/X-4 CMYK

When using the classic PDF/X-4 CMYK export method, GWG PDF export settings
all ICC-based color spaces, as well as CIELAB and RGB for QuarkXPress
are not allowed. The only supported color spaces are Starting with PDF version 1.4, PDF supports a number of
CMYK, gray and spot colors. That is why all RGB ele- features that are no longer compatible with Adobe
ments have to be converted to CMYK, either in the re- PostScript (the prime example being live transparency).
touch phase (in Photoshop for example) or while making As QuarkXPress 9 (and below) understands only
the PDF from the layout application. If CMYK elements in PostScript constructs and converts imported PDF files to
the Quark document are tagged with CMYK ICC profiles, PostScript under the hood, using QuarkXPress 9 or
those profiles are ignored; all CMYK elements must be below is not recommended in PDF/X-4 based work-
prepared (separated) using the CMYK document profile flows. The main disadvantage of this export method is
before they are placed in the layout application. related to elements containing transparency that were
placed in QuarkXPress. The transparency in such placed
This (CMYK) workflow method is very well understood elements is flattened by QuarkXPress, which may result
and widely used. It is considered to be a safe and predict- in undesirable output.
able way to prepare PDF files for print.
Using QuarkXPress 2015 and up will result in PDF files
PDF/X-workflows that contain live transparency, pass PDF/X-4 tests and
The GWG2015 specification is based on the ISO are capable of meeting the demands of PDF/X-4 based
PDF/X-4 standard. Starting with QuarkXPress 2015, workflows.
there is a reliable export to PDF/X-4 directly from
QuarkXPress. With QuarkXPress 10 you can create PD-
F/X-4 compliant files, however the exported PDF file will
have to be further corrected. This can be done by using
the fixups in Adobe Acrobat preflight or a similar preflight
application.

N
ENDATIO
R EC O M M

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The GWG has the following recommendations: The GWG2015 PDF export settings are an evolution of
the GWG 1v4 PDF export settings. They differ from
• Use QuarkXPress 2015 or higher. those previous settings, in two important aspects:
• U
 sing QuarkXPress 2015 and up will be more straight • Preflight: no standard is selected, as there is no
forward, as no additional correction is needed to get support for PDF/X-4.
valid PDF/X-4 files.
• Transparency: native export is selected.
• Transparency: Select native transparency in the PDF
Export settings. Transparency is fully retained during export, which
• Choose PDF/X-4 certification when using QuarkX- means the exported PDF will contain live transparency.
Press 2015 and up. These PDF export settings are suitable for either early or
intermediate binding workflows (see page 24).
• This can be done using the profiles on GWG web-
site:http://www.gwg.org/application-settings/ Converting the QuarkXPress 10 PDF to PDF/X-4
Because the PDF created by QuarkXPress 10 is not a
If you need an output intent not immediately supported
valid PDF/X-4, it has to be further optimized, or “fixed”.
by the provided profiles, it’s easy to adjust an existing
This can be done using an Acrobat preflight “fixup” pro-
profile to your needs. Keep in mind that you can’t change
file or by using a profile from a similarly capable preflight
the actual color of elements using these profiles; that is
application.
why it is so important that all elements of the layout are
properly prepared for the intended output condition.
This can be done using the profiles on: ­
• GWG: http://www.gwg.org/application-settings/

QuarkXPress 10 only
- If you are importing a vector EPS that contains overprint information, then the overprint information will be lost upon export. Please convert your EPS to AI or PDF
before importing it into QuarkXPress 10 to address this issue. This error does not occur when you use QuarkXPress 2015 or higher.

QuarkXPress 10 and 2015:

- As there is no downsampling happening in the export of the GWG settings, your resulting PDF might be larger than expected. Please either downsample images
before importing them into QuarkXPress or downsample the resulting PDF in the post process.
- If you are importing an 8-bit image with an indexed color space and the color index uses only one color, then please be aware that QuarkXPress will optimize this image
and convert it to 1-bit. Depending on the image resolution this might result in a warning or error when checking against GWG settings, as the image resolution then is
valued against the threshold of 1-bit images. To overcome this, please convert such images beforehand into 1-bit images (line arts).

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 InDesign
Export as PDF/X-4 CMYK + RGB

The GWG2015 CMYK+RGB variant is not limited to The GWG2015 specification is based on the ISO PDF/X-4
CMYK and spot colors as the classic GWG2015 CMYK standard. At the moment, only Adobe InDesign (starting
variant is. with version CS 6) and QuarkXPress (starting with ver-
This enables media-neutral (not process-specific) sion 2015) support reliable PDF/X-4 export directly from
color use for CIELAB and ICC-based RGB images. the application.

GWG PDF export settings

for Adobe InDesign
Attention! Starting with PDF version 1.4, PDF supports a number
of features that are no longer compatible with Adobe
To avoid incorrect CMYK separation in the final out- PostScript (the prime example being live transparency).
put, ICC-based gray and ICC-based CMYK images Because PDF/X-4 also supports these more advanced
cannot be used. features, it is essential that you use the direct PDF ex-
port from Adobe InDesign, rather than passing through a
PostScript file that is then distilled into PDF using Adobe
All CMYK elements must be prepared (separated) Acrobat Distiller. Because of this, the GWG only delivers
for the intended output condition before they are PDF export settings that use the direct PDF export me-
placed in the layout application. chanism in Adobe InDesign; Acrobat Distiller based set-
Media-neutral color use is only allowed for images (raster tings are no longer supported.
images or bitmaps); it is not allowed for text and line-art.
This is also the case for images that may combine raster To export to PDF files with RGB images, the “GWG2015
and vector elements (as possible in Photoshop and Illu- CMYK+RGB” PDF export setting has to be used.
strator). The underlying reason is that the text or line-art
present in such images may lead to undesired effects
during the transparency flattening process.
This PDF export setting for InDesign avoids unwanted
PDF/X workflows color conversions; the resulting PDF file will contain RGB

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images tagged with the associated ICC profiles. These might ask why this is the best way of doing things
export settings are only suitable in late binding work- and what the advantage is.
flows (see page 24).
The best print result is obtained when color conversi-
Transparency blend space ons are done once the final output condition (method) is
The ISO PDF/X-4 standard allows RGB-based color known. In a PDF/X-4 file, that final output condition is de-
spaces for all elements, including text and line-art. The fined by the output intent and its associated ICC profile.
GWG 2015 specifications however only allow CMYK and As soon as the PDF/X-4 file has been created, the output
spot colors for text and line-art. Also, make sure that the intent (and thus the ‘recipe’ to convert any RGB elements
transparency blend space is always the same as the in- in the file to CMYK) is fixed. It is then still possible to
tended output color space. change the output intent of the PDF/X-4 file later, taking
the following into account:
RGB workflow • If a proof of the original PDF/X-4 file has been crea-
The prime advantage of an RGB workflow is that the ted, it will no longer be valid once the output intent
RGB color gamut can be retained much longer before ICC profile has been changed.
the content is finally converted to CMYK (see also: late
• T
 ransparent elements may be recalculated to diffe-
binding on page 24). This means that the full color gamut
rent CMYK values as the calculation of transparency
of images can be used to address the properties of diffe-
effects is done using the output intent ICC profile.
rent printing techniques.
• F
 or images using ICC-based RGB or CIELAB, the
While this is advantageous for images, the same techni- output intent ICC profile is used. When changing the
que is currently not recommended for text and line-art, output intent, it is possible to get a better conversion
as undesired separations may be generated when tho- result for that particular output condition.
se elements are converted from their RGB source color
• T
 ext, line-art and any other elements already sepa-
space to the output condition color space; hence, the re-
rated to CMYK in the layout document, won’t match
quirement to use CMYK or spot color for these types of
the changed output intent. They have to be color
elements.
converted from the old to the new output intent.
Every PDF/X file contains an output intent with an asso-
If there is no valid reason to keep media-neutral
ciated ICC profile. If an element in the PDF/X file is tag-
images in your PDF documents, the GWG recom-
ged with an ICC profile, the conversion from that profile
mends not doing so and creating PDF documents
to the output intent profile is influenced by:
fully separated towards the final output condition
• the source ICC profile the element is tagged with ICC profile.
But the GWG also suggests taking a look at using
• the actual pixel values of the tagged element
images in ICC-based RGB or CIELAB in your PDF do-
• the rendering intent cuments, as in some workflows there are real ad-
vantages to doing so (see also the explanations on
• the destination output ICC profile as determined by
page 13).
the PDF/X output intent

In other words, when discussing the color aspects of

An example of a workflow where it can make sense to
the elements in such a file, the final (possibly converted)
keep ICC-based RGB images in a PDF document is when
CMYK values are what is important. These CMYK values
output devices with a very large gamut are involved. Ty-
can and should be used for any further color transforma-
pical examples would be large-format print workflows or
tion, whether it is for proofing or to a final print condition.
workflows outputting to enhanced gamut digital devices.
If an element is part of a transparency group, the calcula-
Converting images to a standard CMYK output intent is
tion of the transparency effects is done using the CMYK
not suitable for such workflows as it will convert the lar-
values.
ge color gamut of RGB images to a much too small color
There is only one exception to this rule: in isolated trans-
gamut of such a standard CMYK output intent. In such a
parency groups where an element of the group is labe-
workflow, it is better to discuss with your output partner
led with an ICC-based color space, the conversion of all
whether you can deliver media-neutral images.
elements of the group will be done to that specific ICC
profile.

Because the final CMYK values for all RGB elements

are explicitly defined within such a PDF/X-4 file, one

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