ORIS PDF Tuner Version 4.4.8 User Manual - image2output - Support

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ORIS PDF Tuner 

Version 4.4.8 

User Manual 

For Windows and Mac OS 

CGS Publishing Technologies International GmbH 

Hainburg, Germany 

3. November 2010 

Image2Output Limited Unit 19 IO Centre Hearle Way Hatfield Business Park Hatfield Herts AL10 9EW 

Tel: +44 (0)1707 282 710 Fax: +44 (0)1707 269 764 sales@image2output.com





Copyright 

© 2010 CGS Publishing Technologies International GmbH. All rights reserved. 

This document or any part of it may not be reproduced, published, translated or transmitted, in 

any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without 

the prior consent of CGS Publishing Technologies International GmbH. 

Trademarks 

ORIS PDF Tuner, ORIS Color Tuner, ORIS Works, ORIS Press Matcher and ORIS Ink Saver 

are registered trademarks of CGS Publishing Technologies International GmbH. 

Microsoft and Windows are trademarks of the Microsoft Corporation. PostScript is a trademark 

of Adobe Systems, Inc. HKS is a registered trademark of HKS-Warenzeichenverband e.V. 

Mac and the Mac logo are trademarks of Apple Computer, Inc., registered in the U.S. and other 

countries. 

PANTONE® Colors displayed in the software application or in the user documentation may not 

match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate 

color. PANTONE®, PANTONE® Goe and other Pantone, Inc. trademarks are the property 

of Pantone, Inc. © Pantone, Inc., 2003. 

Pantone, Inc. is the copyright owner of color data and/or software which are licensed to CGS 

Publishing Technologies International GmbH to distribute for use only in combination with ORIS 

PDF Tuner. PANTONE Color Data and/or Software shall not be copied onto another disk or into 

memory unless as part of the execution of ORIS PDF Tuner. 

All other trademarks referenced in this manual are the property of the respective owners. 

Disclaimer of Warranty 

To the maximum extent permitted by applicable law, in no event shall CGS Publishing Technologies 

International GmbH or its suppliers be liable for any damages whatsoever (including without 

limitation, special, incidental, consequential, or indirect damages for personal injury, loss of 

business profits, business interruption, loss of business information, or any other pecuniary 

loss) in connection with or arising from the use or inability to use this product, the accompanying 

manuals, or any related product. In any case, the entire liability of CGS and its suppliers 

under any provision of this agreement shall be limited to the amount actually paid for the software. 

The information contained in this document is subject to change without notice. 




Contacting CGS 

www.cgs-oris.com 

North and South America, contact: 

Europe, Asia, Africa and Australia, contact: 

CGS Publishing Technologies 

International LLC 

Trevor Haworth, President 

100 North Sixth Street - Suite 308B 

Minneapolis, MN 55403 USA 

Tel.: +1 (612) 870 0061 

Fax: +1 (612) 870 0063 

info@cgsusa.com 

sales@cgsusa.com 

support@cgsusa.com 

CGS Publishing Technologies 

International GmbH 

Trevor Haworth, President 

Kettelerstr. 24 

D-63512 Hainburg, Germany 

Tel.: +49 6182 9626 0 

Fax: +49 6182 9626 99 

info@cgs-oris.com 

sales@cgs-oris.com 

support@cgs-oris.com 

Regional Office: 

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445 Apple Creek Boulevard, Suite 120 

Markham, Ontario L3R 9X7 Canada 

Tel.: +1 (905) 475 3632 

Toll Free Tel.: +1 (866) CGS-ORIS 

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Toll Free Fax: +1 (866) CGS 7755 

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sales@cgscanada.com 


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Tel.: +33 1 4493 9751 

Mobile: +33 629 442 047 

Fax +33 1 4493 8768 

serge@cgs-oris.com 


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Tokyo 102-0074, Japan 

Tel.: +81-3-3288-0311 

Fax: +81-3-3288-0312 

moto.nagai@cgsjapan.com 




Table of Contents 

1 Introduction ...................................................................................................... 1-1 

Getting Started with ORIS PDF Tuner............................................................... 1-1 

Conventions Used in This Manual ..................................................................... 1-2 

Mouse Buttons............................................................................................... 1-2 

Software Evaluation ........................................................................................... 1-2 

Getting Online Help............................................................................................ 1-3 

Displaying Opening Screen of Help............................................................... 1-3 

Getting Help on a Dialog................................................................................ 1-4 

‘What’s This?’ Help ........................................................................................ 1-4 

Navigation in Online Help Document............................................................. 1-4 

Other Help Resources ....................................................................................... 1-5 

User Forum (ORIS Board) ............................................................................. 1-5 

CGS Hotline................................................................................................... 1-5 

Import/Export 

2 Importing PDF and PostScript Files............................................................... 2-1 

Note on DCS Files ............................................................................................. 2-2 

General Import Parameters ............................................................................... 2-2 

PS/PDF file name .......................................................................................... 2-2 

Select page number/All pages....................................................................... 2-3 

‘Expand/Collapse’ Button............................................................................... 2-3 

‘OK’ Button..................................................................................................... 2-3 

‘Page’ Tab.......................................................................................................... 2-4 

Layout name .................................................................................................. 2-4 

Use Quark or InDesign page numbers .......................................................... 2-4 

Define page size and offset by ...................................................................... 2-4 

User Input .................................................................................................. 2-4 

PostScript/PDF MediaBox (Crop/Trim/BleedBox) ..................................... 2-5 

Gross Size (including crop marks)............................................................. 2-5 

Net Size (without crop marks).................................................................... 2-5 

ORIS PDF Tuner Version 4.4.8 User Manual 

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Bounding Box of page contents................................................................. 2-5 

Keep current layout size ............................................................................ 2-5 

Page size X/Y, Page offset X/Y ..................................................................... 2-6 

Rounding values ............................................................................................ 2-6 

Mode.............................................................................................................. 2-6 

Expected resolution ....................................................................................... 2-7 

Include embedded fonts into page................................................................. 2-7 

Apply PDF orientation.................................................................................... 2-8 

Omit inactive Acrobat layers .......................................................................... 2-8 

‘Images’ Tab ...................................................................................................... 2-8 

Keep image spot color separations ............................................................... 2-8 

Keep Photoshop V2.5-4 image spot color sep. ............................................. 2-8 

Compress images.......................................................................................... 2-9 

Keep single-colored images .......................................................................... 2-9 

‘OPI’ Tab............................................................................................................ 2-9 

Use OPI comments........................................................................................ 2-9 

Image Overview........................................................................................... 2-10 

Automatic Search .................................................................................... 2-10 

Searching Method.................................................................................... 2-10 

Modifying OPI Image Path Names .............................................................. 2-11 

‘Transparencies’ Tab ....................................................................................... 2-12 

Use overprint commands............................................................................. 2-12 

Use trapping ................................................................................................ 2-12 

Complex transparency for overprinting grayscale images........................... 2-12 

Set grayscale images to overprint ............................................................... 2-13 

Apply overprint also to grayscale tints ......................................................... 2-13 

Ignore overprint for process colors in PS files ............................................. 2-13 

Apply overprint to ICC-based CMYK tints.................................................... 2-13 

‘Check’ Tab ...................................................................................................... 2-13 

Preflight Check Criteria................................................................................ 2-15 

Missing Fonts........................................................................................... 2-15 

RGB Data ................................................................................................ 2-15 

Lab images .............................................................................................. 2-15 

Embedded ICC Profiles ........................................................................... 2-15 

Use of Hairlines ....................................................................................... 2-15 

Overprinting White Tints .......................................................................... 2-15 

Other Colors Than K100 Overprinting ..................................................... 2-16 

Missing High-res OPI Images .................................................................. 2-16 

Image Resolution Below/Above… ........................................................... 2-16 

Additional Preflight Check Criteria ........................................................... 2-17 

Color Values Exceeding...% ................................................................ 2-17 

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Page Size ............................................................................................ 2-17 

Bleed Margins...................................................................................... 2-17 

PDF Version ........................................................................................ 2-17 

PDF/X Standard .................................................................................. 2-17 

Font Usage .......................................................................................... 2-17 

Spot Color Usage ................................................................................ 2-18 

Multiple CMYK equivalents.................................................................. 2-18 

Warnings During JPEG Decompression.............................................. 2-18 

Use of PDF 1.4 Transparencies .......................................................... 2-18 

‘Correct’ Tab .................................................................................................... 2-18 

Minimum width for lines ............................................................................... 2-18 

Always knock out white tints ........................................................................ 2-18 

Increase size of tints and image clipping paths ........................................... 2-19 

Convert RGB tints to CMYK ........................................................................ 2-19 

Ignore checksum mismatch of… ................................................................. 2-19 

Repair faulty Illustrator gradients… ............................................................. 2-19 

Use Acrobat compatibility mode .................................................................. 2-19 

Replacing Imported PDF/PS/EPS Files ........................................................... 2-20 

Editing Texts of Imported PDF or PS Documents............................................ 2-20 

About Font Names....................................................................................... 2-21 

About Embedded Fonts ............................................................................... 2-21 

If Fonts are Unavailable............................................................................... 2-21 

Automatic Font Substitution......................................................................... 2-22 

Syntax Description................................................................................... 2-22 

Miscellaneous .................................................................................................. 2-23 

Gradients ..................................................................................................... 2-23 

Layer Modification........................................................................................ 2-23 

Images ......................................................................................................... 2-23 

PostScript Page Size ................................................................................... 2-23 

PostScript Printer Driver .............................................................................. 2-24 

QuarkXPress ............................................................................................... 2-24 

Syntax Description for ‘OPIPathRules.dat’ ...................................................... 2-24 

...................................................................................................... 2-25 

....................................................................................................... 2-25 

........................................................................................................ 2-25 

....................................................................................................... 2-25 

..................................................................................................... 2-25 

..................................................................................................... 2-26 

.................................................................................................. 2-26 

Examples ..................................................................................................... 2-26 


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3 Exporting Layouts ........................................................................................... 3-1 

General Notes on Export ................................................................................... 3-2 

Note on PDF output ....................................................................................... 3-2 

Note on Flat PostScript Format ..................................................................... 3-2 

Note on EPS and DCS Files.......................................................................... 3-2 

Note on Spot Colors ...................................................................................... 3-2 

Note on Linework Colors ............................................................................... 3-3 

General Export Parameters ............................................................................... 3-3 

Output format................................................................................................. 3-3 

Layout name .................................................................................................. 3-3 

Destination..................................................................................................... 3-3 

Profile............................................................................................................. 3-4 

Expand >>>/Collapse



No color correction on RGB objects ............................................................ 3-13 

Spot color correction via *.SCG file ............................................................. 3-13 

Color correct images only ............................................................................ 3-13 

Keep K100 of tints and…............................................................................. 3-14 

‘Control’ Tab..................................................................................................... 3-14 

Cancel Output if... ........................................................................................ 3-14 

Page EPS .................................................................................................... 3-15 

‘Data Format’ Tab (PS, EPS, Flat PS, Flat EPS)............................................. 3-15 

Linework ...................................................................................................... 3-15 

Gradients ..................................................................................................... 3-16 

Embed PostScript Fonts .............................................................................. 3-16 

Convert fonts to paths.................................................................................. 3-16 

Use page size .............................................................................................. 3-17 

PostScript .................................................................................................... 3-17 

Data format .................................................................................................. 3-17 

Minimum path size....................................................................................... 3-17 

Compression................................................................................................ 3-18 

Create white tints underneath K100 linework... ........................................... 3-18 

‘Data Format’ Tab (PDF, Flat PDF) ................................................................. 3-19 

PDF/X .......................................................................................................... 3-19 

Data format .................................................................................................. 3-19 

PDF version ................................................................................................. 3-20 

Linework ...................................................................................................... 3-20 

Gradients ..................................................................................................... 3-20 

Compression................................................................................................ 3-20 

Embed PostScript fonts ............................................................................... 3-20 

Convert fonts to paths.................................................................................. 3-21 

Create white tints underneath K100 linework…........................................... 3-21 

Output Intent ................................................................................................ 3-21 

Use output intent embedded in PDF file .................................................. 3-22 

ICC profile, Description, Information........................................................ 3-22 

‘Data Format’ Tab (TIFF, TIFF/IT) ................................................................... 3-22 

TIFF/IT ......................................................................................................... 3-22 

Image compression ..................................................................................... 3-23 

Quality.......................................................................................................... 3-23 

File Size ....................................................................................................... 3-24 

LW compression .......................................................................................... 3-24 

‘Images’ Tab .................................................................................................... 3-24 

Reduce image resolution ............................................................................. 3-24 

Adjust images to output resolution............................................................... 3-25 

Interpolate images ....................................................................................... 3-25 


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Compression................................................................................................ 3-26 

Quality...................................................................................................... 3-26 

File Size ................................................................................................... 3-26 

Sharpen images........................................................................................... 3-26 

Sharpening factor for all images .............................................................. 3-27 

Factor for scaled images only.................................................................. 3-27 

Exclude marked layers from sharpening ................................................. 3-28 

‘Modify’ Tab...................................................................................................... 3-29 

How to Modify Colors................................................................................... 3-29 

Standardize Pantone and HKS names .................................................... 3-30 

‘Page’ Tab........................................................................................................ 3-31 

Use resolution of original page .................................................................... 3-31 

Resolution.................................................................................................... 3-31 

Resolution.................................................................................................... 3-32 

Resolution.................................................................................................... 3-32 

High resolution............................................................................................. 3-32 

High resolution factor................................................................................... 3-32 

T1 Linework ................................................................................................. 3-33 

NLW format.................................................................................................. 3-33 

Orientation ................................................................................................... 3-33 

Scale proportionally/Width/Height................................................................ 3-34 

DCS format .................................................................................................. 3-34 

Preview ........................................................................................................ 3-34 

With composite image ................................................................................. 3-35 

OPI............................................................................................................... 3-35 

Separated output ......................................................................................... 3-35 

Output in/Convert to/Keep original............................................................... 3-36 

Directly convert spot colors… ...................................................................... 3-36 

Quality.......................................................................................................... 3-37 

File Size ....................................................................................................... 3-37 

Anti-aliasing ................................................................................................. 3-37 

Anti-aliasing (CT and LW)............................................................................ 3-37 

Anti-aliasing ................................................................................................. 3-38 

LW background transparent ........................................................................ 3-38 

CT in separated files.................................................................................... 3-38 

LW in separated files ................................................................................... 3-39 

‘Page Format’ Tab ........................................................................................... 3-39 

Number of copies......................................................................................... 3-39 

Output Pages............................................................................................... 3-40 

Export as single pages ................................................................................ 3-40 

Crop size...................................................................................................... 3-41 

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Area format .................................................................................................. 3-41 

‘Page Marks’ Tab............................................................................................. 3-41 

Page marks/Bleed page .............................................................................. 3-42 

Info line ........................................................................................................ 3-43 

Job name ..................................................................................................... 3-43 

Separation names........................................................................................ 3-43 

Crop marks .................................................................................................. 3-44 

Corner Offset ............................................................................................... 3-44 

Register marks............................................................................................. 3-44 

Color control bar .......................................................................................... 3-45 

Bleed page................................................................................................... 3-45 

Unit of measurement ................................................................................... 3-45 

Dummy text marks....................................................................................... 3-45 

Output guides .............................................................................................. 3-46 

‘Screening’ Tab ................................................................................................ 3-46 

Use screening values .................................................................................. 3-46 

List of Separations ....................................................................................... 3-47 

Screen ruling/Screen angle/Dot shape ........................................................ 3-47 

‘Select’ Tab ...................................................................................................... 3-48 

Select mode................................................................................................. 3-48 

Text, Images, Linework… ............................................................................ 3-49 

Color, to color, Tints, Text............................................................................ 3-50 

How to Specify Colors ............................................................................. 3-50 

‘Trapping/Soft Edges’ Tab ............................................................................... 3-51 

Soft Edges ................................................................................................... 3-51 

Area inside/outside .................................................................................. 3-51 

Apply to.................................................................................................... 3-52 

Black overprint ............................................................................................. 3-52 

Trapping....................................................................................................... 3-53 

Exclude CopyDot images from trapping .................................................. 3-53 

Trapping Profile List................................................................................. 3-53 

Mode........................................................................................................ 3-54 

To define the way the LW is trapped to the CT ................................... 3-54 

To define how LW colors are trapped against each other ................... 3-54 

Area ......................................................................................................... 3-55 

Defining Trapping Rules and Exceptions......................................................... 3-55 

Profile........................................................................................................... 3-55 

Trapping Parameters/‘Exceptions’ Tab........................................................ 3-56 

Trapping Parameters/‘Basic Settings’ Tab .................................................. 3-58 

White threshold........................................................................................ 3-59 

Black threshold ........................................................................................ 3-59 


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Luminance ............................................................................................... 3-59 

Minimum tolerance .................................................................................. 3-59 

Maximum tolerance ................................................................................. 3-59 

CT background color ............................................................................... 3-60 

‘Save as’, ‘Export’ and ‘Delete’ Buttons ....................................................... 3-60 

Using Bleed Pages .......................................................................................... 3-60 

Predefined Bleed Page................................................................................ 3-61 

Adding a Bleed Page ................................................................................... 3-61 

Creating Your Own Bleed Page................................................................... 3-61 

Defining Page Format and Bleed Margins............................................... 3-62 

Adding Document Information ................................................................. 3-62 

How to Position Elements on a Bleed Page ............................................ 3-63 

Example............................................................................................... 3-64 

Creating Bleed or Trim Margin Lines ....................................................... 3-66 

Layout Design 

4 Quick Start to Page Assembly........................................................................ 4-1 

A First Look at the ORIS PDF Tuner Window.................................................... 4-1 

Sample Layout................................................................................................... 4-2 

Defining Layout Structure with Guides............................................................... 4-2 

Creating Guides ................................................................................................. 4-3 

Creating Layout Elements with Paths and Masks.............................................. 4-3 

Creating Paths ................................................................................................... 4-4 

Activating Paths ................................................................................................. 4-5 

Modifying Paths ................................................................................................. 4-6 

Creating Tints..................................................................................................... 4-7 

Drawing Pixel Masks on a Layout...................................................................... 4-8 

Creating Gradients............................................................................................. 4-9 

Loading Images ................................................................................................. 4-9 

Positioning Images (‘in the Background’)......................................................... 4-10 

Creating Cut-outs............................................................................................. 4-11 

Positioning Cut-outs (‘in the Foreground’) ....................................................... 4-13 

Writing Headlines............................................................................................. 4-14 

Inserting Dummy Text...................................................................................... 4-15 

Activating Layers.............................................................................................. 4-15 

Creating Soft Edges......................................................................................... 4-16 

Changing Stacking Order................................................................................. 4-16 

Creating Transparency .................................................................................... 4-17 

Modifying Layers.............................................................................................. 4-18 

Correcting Layers Using Creation Function ..................................................... 4-18 

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Three Ways of Modifying Background Images ................................................ 4-19 

‘Correct’ Function......................................................................................... 4-19 

‘Transform’ Function .................................................................................... 4-20 

‘Layer Path’ Function ................................................................................... 4-21 

Layout Reference List...................................................................................... 4-21 

5 Creating and Opening Pages.......................................................................... 5-1 

Creating a New ORIS PDF Tuner Layout .......................................................... 5-1 

Opening Documents .......................................................................................... 5-2 

Opening ORIS PDF Tuner Layouts ............................................................... 5-2 

Opening Images as ORIS PDF Tuner Layouts.............................................. 5-2 

Opening TIFF/IT and Handshake Files.......................................................... 5-3 

Inserting Layouts and Images Into a Layout...................................................... 5-4 

Annotations.................................................................................................... 5-4 

Saving ORIS PDF Tuner Layouts ...................................................................... 5-5 

Overwriting Original File ................................................................................ 5-5 

Saving Under a Different Name..................................................................... 5-5 

Exporting a Duplicate..................................................................................... 5-5 

Restoring Previous Version of a Layout............................................................. 5-6 

Closing and Quitting........................................................................................... 5-6 

‘Layout Parameters’ Dialog................................................................................ 5-7 

Format, Width, Portrait................................................................................... 5-7 

Origin point .................................................................................................... 5-8 

Bleed.............................................................................................................. 5-8 

Expected Production Resolution.................................................................... 5-9 

Fine/Coarse ................................................................................................. 5-10 

Automatic scale 1 ........................................................................................ 5-10 

Guides snap area ........................................................................................ 5-10 

Keep layer paths.......................................................................................... 5-11 

6 Using Guides.................................................................................................... 6-1 

Defining Guide Color.......................................................................................... 6-1 

About Snapping ................................................................................................. 6-2 

Snap Area...................................................................................................... 6-2 

How Snapping is Indicated ............................................................................ 6-2 

Creating Guides ................................................................................................. 6-3 

Horizontal and Vertical Guides ...................................................................... 6-3 

Inclined Guides .............................................................................................. 6-3 

Circular Guides .............................................................................................. 6-3 

Changing Snap Area ..................................................................................... 6-4 

Parallel and Perpendicular Guides ................................................................ 6-4 


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Guide Points .................................................................................................. 6-5 

Automatic Guide Points ................................................................................. 6-5 

Guide Grids.................................................................................................... 6-5 

Invisible Guide Grid ....................................................................................... 6-6 

(De-)Activating Invisible Grid ..................................................................... 6-6 

Modifying Invisible Grid.............................................................................. 6-6 

Modifying Guides ............................................................................................... 6-7 

Correcting Guides.......................................................................................... 6-8 

Activating and Deactivating Guides ............................................................... 6-8 

Annotations................................................................................................ 6-9 

Deleting Guides ............................................................................................. 6-9 

Hiding and Displaying Guides........................................................................ 6-9 

Switching Snapping Off/On.......................................................................... 6-10 

Saving and Importing Guides........................................................................... 6-10 

7 Creating Standard Paths ................................................................................. 7-1 

Rectangle Editor ................................................................................................ 7-2 

Creating Rectangles ...................................................................................... 7-2 

Modifying Rectangles with Handles............................................................... 7-3 

Changing Rectangle Corners ........................................................................ 7-3 

Changing Corner Lengths: Example.......................................................... 7-4 

Changing Rectangle Width and Height.......................................................... 7-4 

Rotating and Skewing Rectangles................................................................. 7-5 

Moving Rectangles ........................................................................................ 7-5 

Creating Inclined Rectangles ............................................................................. 7-5 

Creating Grids.................................................................................................... 7-5 

Creating Lines.................................................................................................... 7-6 

Inclined Lines................................................................................................. 7-6 

Straight Lines................................................................................................. 7-6 

Connected Points .......................................................................................... 7-6 

Connected Points: Angle and Length ............................................................ 7-7 

Connected Points: Arc ................................................................................... 7-7 

Smooth Lines by Connecting Points.............................................................. 7-7 

Smooth Lines with Points and Angles ........................................................... 7-8 

Creating Parallel Lines................................................................................... 7-8 

Creating Circles And Ellipses............................................................................. 7-9 

Circle: Center and Radius.............................................................................. 7-9 

Circle: 2 Points............................................................................................... 7-9 

Circle: 3 Points............................................................................................... 7-9 

Ellipses .......................................................................................................... 7-9 

Creating Polygons and Arcs ............................................................................ 7-10 

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Stars ............................................................................................................ 7-10 

Polygon: Center And Point .......................................................................... 7-10 

Polygon: Side Length................................................................................... 7-10 

Arc ............................................................................................................... 7-11 

Framed Arc (‘Fan’)....................................................................................... 7-11 

Correcting Standard Paths............................................................................... 7-11 

Special Creation Methods For Paths ............................................................... 7-11 

Closing Paths Accurately............................................................................. 7-11 

Using ‘Close Path’ Function..................................................................... 7-11 

Saving First Point..................................................................................... 7-12 

Using Guide Points .................................................................................. 7-12 

Connecting Paths ........................................................................................ 7-12 

By Storing And Applying Values .............................................................. 7-12 

Using Guide Points .................................................................................. 7-13 

Transferring Values ..................................................................................... 7-13 

8 Working With Paths ......................................................................................... 8-1 

Activating Paths ................................................................................................. 8-1 

How to Activate a Single Path ....................................................................... 8-1 

How to Activate Multiple Paths ...................................................................... 8-2 

How to Deactivate Paths ............................................................................... 8-2 

How to (De-)Activate Path Groups ................................................................ 8-3 

Paths Forming a Group by Nature............................................................. 8-3 

How to Create Path Groups....................................................................... 8-3 

How to Separate Path Groups................................................................... 8-3 

Hiding and Displaying Paths .............................................................................. 8-4 

Correcting Paths ................................................................................................ 8-4 

Correcting by Using Creation Function.......................................................... 8-4 

Annotations................................................................................................ 8-5 

Correcting Paths with Path Editor.................................................................. 8-6 

Transforming and Moving Paths ........................................................................ 8-6 

Combining and Separating Paths ...................................................................... 8-6 

Notes on Separating/Combining Paths.......................................................... 8-7 

No Correction Using Creation Function ..................................................... 8-7 

Dummy Text .............................................................................................. 8-7 

Splitting Complex Paths............................................................................. 8-8 

Duplicating Paths ............................................................................................... 8-8 

Corrections .................................................................................................... 8-8 

Deleting Paths.................................................................................................... 8-9 

Splitting Grids into Rectangles........................................................................... 8-9 

Framing Paths.................................................................................................. 8-10 


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Interior, Exterior or Centered Frames .......................................................... 8-10 

Annotations.............................................................................................. 8-10 

Overlap Mode .......................................................................................... 8-11 

How Overlap Mode Works................................................................... 8-11 

Correcting and Removing Frames........................................................... 8-12 

Creating Multiple Exterior/Interior Frames ................................................... 8-13 

Creating Frames to Highlight Text ............................................................... 8-13 

Framing Grids .............................................................................................. 8-13 

Framing Parallel Lines ................................................................................. 8-14 

Saving and Importing Paths............................................................................. 8-14 

Saving Paths................................................................................................ 8-14 

Importing Stored Paths ................................................................................ 8-15 

9 Using the Path Editor ...................................................................................... 9-1 

Path Editor Terminology .................................................................................... 9-1 

Creating New Paths ........................................................................................... 9-2 

Correcting Existing Paths................................................................................... 9-3 

Correcting Layer Outlines .................................................................................. 9-4 

Selecting Points and Paths................................................................................ 9-5 

How to Select a Path ..................................................................................... 9-5 

How to Display or Hide Points ....................................................................... 9-6 

How to Activate a Point.................................................................................. 9-6 

To Mark and Unmark Points .......................................................................... 9-7 

Modifying Paths ................................................................................................. 9-7 

Moving Points ................................................................................................ 9-7 

Fixing Points .................................................................................................. 9-7 

Adding Points................................................................................................. 9-8 

Deleting Points............................................................................................... 9-8 

Closing Paths................................................................................................. 9-9 

Opening Paths ............................................................................................... 9-9 

Connecting Paths ........................................................................................ 9-10 

Protecting Paths Against Modifications ....................................................... 9-10 

Changing Point Type (Corner/Curve) .......................................................... 9-10 

When Creating New Paths ...................................................................... 9-10 

When Editing Existing Paths.................................................................... 9-11 

Example: Changing Curve Points to Corner Points............................. 9-11 

Using Handles.................................................................................................. 9-12 

How to Display Handles............................................................................... 9-12 

How to Modify Path Form Using Handles.................................................... 9-12 

Changing Screen Display ................................................................................ 9-14 

Hiding Paths ................................................................................................ 9-14 

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Changing Path Color ................................................................................... 9-14 

Status Display .................................................................................................. 9-14 

10 Creating Tints and Gradients...................................................................... 10-1 

Tints ................................................................................................................. 10-1 

Creating Tints .............................................................................................. 10-1 

Correcting Tints ........................................................................................... 10-1 

Gradients ......................................................................................................... 10-2 

Creating Gradients....................................................................................... 10-2 

Correcting Gradients.................................................................................... 10-3 

Modifying Gradient Colors ....................................................................... 10-3 

Changing Base Point Position ................................................................. 10-3 

Adding Base Points ................................................................................. 10-4 

Deleting Base Points ............................................................................... 10-4 

Modifying Transparency, Trapping or Soft Edges ................................... 10-4 

Notes on Inserting Color .................................................................................. 10-4 

Coloring Paths ............................................................................................. 10-4 

Coloring Text Paths ..................................................................................... 10-4 

Coloring Text Layers.................................................................................... 10-4 

Coloring Linework Layers ............................................................................ 10-5 

Coloring Image Layers................................................................................. 10-5 

Coloring Multiple Elements .......................................................................... 10-5 

Brushing Colors on a Layout............................................................................ 10-5 

Brushed Layers Stored as TIFF Images...................................................... 10-6 

Correcting Brushed Layers .......................................................................... 10-7 

Selecting Colors............................................................................................... 10-8 

Selecting Colors from Palette ...................................................................... 10-8 

Picking Colors from Layout or Image........................................................... 10-9 

Defining Colors by Specifying Values.......................................................... 10-9 

Supported Color Spaces........................................................................ 10-10 

Adding/Subtracting Color, Changing Density ............................................ 10-10 

Dragging Colors to Another Palette Box.................................................... 10-11 

Selecting Spot Colors ................................................................................ 10-11 

Spot Colors Dialog................................................................................. 10-12 

Loading Spot Color Files ................................................................... 10-13 

Removing Spot Color Files................................................................ 10-13 

Selecting a Spot Color....................................................................... 10-13 

Note on Creating ColorPicker Tables ................................................ 10-13 

11 Inserting Images Into Layout ...................................................................... 11-1 

Different Ways of Positioning Images .............................................................. 11-1 

About ‘Background Images’......................................................................... 11-1 


xiii 





About ‘Foreground Images’ ......................................................................... 11-1 

About ‘Mixground Layers’ ............................................................................ 11-2 

Other Mixground Layers .......................................................................... 11-3 

About ‘Overlapped Background Images’ ..................................................... 11-3 

Placing Background Images ............................................................................ 11-4 

How to Insert Background Images............................................................... 11-4 

Modifying Background Images .................................................................... 11-5 

Correcting an Image Behind its Path/Mask ............................................. 11-5 

How to Correct Background Images.................................................... 11-5 

Correcting Background Images by Modifying Path on Image.............. 11-6 

How to Correct Background Images by Modifying Path on Image ...... 11-6 

Modifying Background Image Like Cut-outs ............................................ 11-7 

How to Modify Background Images Like Cut-outs............................... 11-7 

Changing Outlines of Background Image Layers .................................... 11-8 

How to Change the Outline of Background Images ............................ 11-8 

Notes on Background Images ..................................................................... 11-9 

Inserting Images into Several Paths Simultaneously............................... 11-9 

Inserting Images into Paths ..................................................................... 11-9 

Linework .................................................................................................. 11-9 

Placing Foreground Images............................................................................. 11-9 

How to Insert Cut-outs ................................................................................. 11-9 

Correcting Cut-outs.................................................................................... 11-10 

Copying Vector Cut-out Paths into Layout................................................. 11-11 

Creating Mixground Layers............................................................................ 11-11 

Inserting Mixground Cut-outs..................................................................... 11-11 

Inserting other Layers ‘in the Mixground’................................................... 11-12 

Modifying Mixground Layers...................................................................... 11-13 

Correcting Mixground Cut-outs by Modifying Path on Image ................ 11-13 

Overlapped Background Images ................................................................... 11-14 

How to Overlap Background Images ......................................................... 11-14 

Directly Opening Images Used on Layout ..................................................... 11-15 

Replacing Images .......................................................................................... 11-15 

Making Layouts Consistent............................................................................ 11-16 

Listing and Updating Images and Masks ....................................................... 11-16 

‘Image and Mask Update’ Dialog............................................................... 11-17 

Information in ‘Image and Mask Update’ Dialog .................................... 11-17 

Updating Images and Masks ................................................................. 11-18 

12 Creating Text and Headlines....................................................................... 12-1 

Setting Text into a Path.................................................................................... 12-2 

Writing Text Directly on a Layout ..................................................................... 12-3 

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‘Text Editor’ Toolbar......................................................................................... 12-3 

Style Sheet .................................................................................................. 12-4 

Individual Text Attributes ............................................................................. 12-4 

‘Text Parameters’ Dialog.................................................................................. 12-4 

Style Sheet Parameters............................................................................... 12-5 

Name ....................................................................................................... 12-5 

Next style ................................................................................................. 12-6 

Save as.................................................................................................... 12-6 

Delete ...................................................................................................... 12-6 

Character Attributes..................................................................................... 12-6 

Font.......................................................................................................... 12-6 

Font size .................................................................................................. 12-7 

Font width relation ................................................................................... 12-7 

Italic angle................................................................................................ 12-7 

Kerning .................................................................................................... 12-7 

Style......................................................................................................... 12-7 

Plain..................................................................................................... 12-8 

Bold ..................................................................................................... 12-8 

Italic ..................................................................................................... 12-8 

Outline ................................................................................................. 12-8 

Strike through ...................................................................................... 12-8 

Superior ............................................................................................... 12-8 

Underline ............................................................................................. 12-8 

Word underline .................................................................................... 12-8 

Subscript.............................................................................................. 12-8 

Superscript .......................................................................................... 12-8 

All caps ................................................................................................ 12-8 

Small caps ........................................................................................... 12-9 

Hyphenation language............................................................................. 12-9 

Color ........................................................................................................ 12-9 

Baseline shift ........................................................................................... 12-9 

Paragraph Attributes.................................................................................... 12-9 

Leading .................................................................................................... 12-9 

Start setting at line start ......................................................................... 12-10 

From right to left..................................................................................... 12-10 

Drop Caps.............................................................................................. 12-10 

Alignment............................................................................................... 12-11 

Indents ................................................................................................... 12-11 

Editing Text and Typography ......................................................................... 12-12 

Creating New Lines and Paragraphs......................................................... 12-12 

Controlling Word Breaks............................................................................ 12-12 

Cursor Movement ...................................................................................... 12-13 


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Selecting Text ............................................................................................ 12-13 

Deleting Text.............................................................................................. 12-13 

Copying, Moving and Inserting Text .......................................................... 12-14 

Using Style Sheets .................................................................................... 12-14 

Applying Style Sheets............................................................................ 12-15 

Creating and Editing Style Sheets ......................................................... 12-15 

Deleting Style Sheets ............................................................................ 12-16 

Entering Unavailable Characters ............................................................... 12-16 

Entering Unicode Values ....................................................................... 12-17 

Copying Characters from Unicode Character Map................................ 12-17 

Modifying Text Layers (Overview) ................................................................. 12-18 

Text Corrections ........................................................................................ 12-18 

Reshaping Text Box .................................................................................. 12-19 

Transformations......................................................................................... 12-19 

Shadows .................................................................................................... 12-19 

Highlights ................................................................................................... 12-19 

Text Chains................................................................................................ 12-19 

Runarounds ............................................................................................... 12-20 

Annotations................................................................................................ 12-20 

Distorted Text Layers............................................................................. 12-20 

Skewed Text Layers .............................................................................. 12-20 

No Text Corrections............................................................................... 12-20 

Linking Text Boxes......................................................................................... 12-21 

How to Link Text Layers ............................................................................ 12-21 

How to Unlink Text Layers......................................................................... 12-21 

Adding Shadows to Text ................................................................................ 12-22 

Transparent Shadow for Black Headlines ................................................. 12-22 

Black Shadow for Colored Headlines ........................................................ 12-23 

Highlighting Headlines ................................................................................... 12-23 

Creating Text Runarounds............................................................................. 12-24 

How to Enable Text Displacement............................................................. 12-24 

‘Text Displacement Parameters’ Dialog..................................................... 12-25 

Displacement Mode ............................................................................... 12-25 

Displacement Offset .............................................................................. 12-25 

Preventing Text Displacement................................................................... 12-26 

Status Display for Text Runarounds .......................................................... 12-26 

Using Text Paths............................................................................................ 12-26 

Creatively Editing Text Characters ............................................................ 12-27 

Transforming Text Paths ........................................................................... 12-27 

Using Text Paths as Vector Cut-outs......................................................... 12-27 

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13 Creating ‘Smooth Text’................................................................................ 13-1 

How to Create Smooth Text............................................................................. 13-1 

Smooth Text Adjusting to Single Line .............................................................. 13-3 

Distortion...................................................................................................... 13-3 

Baseline ....................................................................................................... 13-4 

Setting Direction 1/2 .................................................................................... 13-4 

Trafo Type ................................................................................................... 13-4 

Move ............................................................................................................ 13-5 

Points........................................................................................................... 13-5 

Move character ............................................................................................ 13-5 

Smooth Text Adjusting to Two Lines ............................................................... 13-6 

Distortion...................................................................................................... 13-6 

Baseline ....................................................................................................... 13-6 

Setting Direction 1/2 .................................................................................... 13-7 

Trafo Type ................................................................................................... 13-7 

Move ............................................................................................................ 13-7 

Points........................................................................................................... 13-8 

Incline .......................................................................................................... 13-8 

Stretch ......................................................................................................... 13-8 

Move character ............................................................................................ 13-9 

Smooth Text Adjusting to Single Closed Outline ............................................. 13-9 

Mode............................................................................................................ 13-9 

Setting Direction 1 ....................................................................................... 13-9 

Baseline ..................................................................................................... 13-10 

Distortion.................................................................................................... 13-11 

Smooth Text Adjusting to Closed Outline+1 Line .......................................... 13-11 

What to Do if Text Turns Over? ................................................................. 13-12 

Smooth Text Adjusting to Two Closed Outlines............................................. 13-12 

Both Setting Directions Clockwise ............................................................. 13-13 

Both Setting Directions Counter-Clockwise ............................................... 13-13 

Setting Direction 1 Clockwise, 2 Counter-Clockwise ................................. 13-13 

Setting Direction 1 Counter-Clockwise, 2 Clockwise ................................. 13-14 

14 Creating Dummy Text.................................................................................. 14-1 

Inserting Dummy Text...................................................................................... 14-2 

Annotations.................................................................................................. 14-2 

‘Dummy Text Parameters’ Dialog .................................................................... 14-2 

Area name ................................................................................................... 14-2 

Typography.................................................................................................. 14-3 

Font.......................................................................................................... 14-3 

Font size, Font width and Leading........................................................... 14-3 


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Italic angle................................................................................................ 14-3 

Typesetting Parameters............................................................................... 14-4 

Area Parameters.......................................................................................... 14-4 

Adjustment............................................................................................... 14-4 

Paragraph style........................................................................................ 14-5 

Rotation angle.......................................................................................... 14-5 

Number of lines........................................................................................ 14-6 

Profile........................................................................................................... 14-6 

Store ........................................................................................................ 14-6 

Load......................................................................................................... 14-6 

Delete ...................................................................................................... 14-6 

Default ..................................................................................................... 14-6 

Modifying Dummy Text .................................................................................... 14-6 

Changing Typography and Area Name ....................................................... 14-6 

Changing Dummy Text Color ...................................................................... 14-7 

Duplicating Dummy Text Layers.................................................................. 14-7 

Changing Dummy Text Area Size/Shape .................................................... 14-7 

Modifying Dummy Text Contents................................................................. 14-7 

Creating Runarounds....................................................................................... 14-8 

Hiding and Displaying Dummy Text................................................................. 14-8 

Replacing Dummy Text With Actual Text ........................................................ 14-9 

15 Using Filter Layers....................................................................................... 15-1 

Examples of Filter Layers ................................................................................ 15-2 

Creating Filter Layers....................................................................................... 15-3 

Notes on Pixelation Filter Layers ..................................................................... 15-4 

Correcting Filter Layers.................................................................................... 15-4 

How to Modify Filter Properties.................................................................... 15-4 

Other Modifications for Filter Layers............................................................ 15-5 

16 Modifying Layers ......................................................................................... 16-1 

Activating Layers.............................................................................................. 16-1 

Activating a Single Layer ............................................................................. 16-2 

Activating Multiple Layers ............................................................................ 16-2 

Activating a Range of Contiguous Layers.................................................... 16-3 

Activating All Tint Layers of Same Color ..................................................... 16-3 

To Activate all Layers of Imported PDF/PS/EPS Files ................................ 16-3 

Deactivating Layers ..................................................................................... 16-4 

Modifying, Duplicating and Deleting Layers..................................................... 16-4 

Moving and Transforming Layers ................................................................ 16-4 

Notes on ‘Transform’ Function................................................................. 16-5 

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Correcting a Layer Using its Creation Function ........................................... 16-5 

Cut-outs ................................................................................................... 16-6 

Background Images................................................................................. 16-6 

Tints, gradients and text .......................................................................... 16-6 

Brushed layers......................................................................................... 16-6 

Dummy text.............................................................................................. 16-7 

Filter layers .............................................................................................. 16-7 

Correcting Texts and Typography ............................................................... 16-7 

Correcting Layer Outlines ............................................................................ 16-7 

How to Correct Layer Outlines................................................................. 16-8 

Notes on ‘Layer Path’ Function................................................................ 16-9 

Duplicating Layers ....................................................................................... 16-9 

Deleting Layers.......................................................................................... 16-10 

Annotations............................................................................................ 16-10 

Note on Non-Contiguous Layers ............................................................... 16-10 

Framing Layers .............................................................................................. 16-11 

‘Layer Frame Parameters’ Dialog .............................................................. 16-12 

Frame visible on .................................................................................... 16-12 

Width...................................................................................................... 16-12 

Color ...................................................................................................... 16-12 

Apply this Layer Frame Parameters to .................................................. 16-13 

Status Display for Layer Frames ............................................................... 16-13 

Additional Framing Methods ...................................................................... 16-13 

Filling Layers.................................................................................................. 16-14 

Inserting Colors or Images into Layers ...................................................... 16-14 

Annotations............................................................................................ 16-14 

Inserting ‘Mixground’ Layers into Layers ................................................... 16-14 

Changing Stacking Order............................................................................... 16-15 

Saving Layers as a New Layout .................................................................... 16-16 

Hiding and Displaying Layers ........................................................................ 16-16 

Additional Functions for Layers...................................................................... 16-17 

Replacing Imported PDF/PS/EPS Files..................................................... 16-17 

Marking Layers for Layout Export.............................................................. 16-17 

Reversing Modifications (Undo/Redo) ........................................................... 16-18 

Getting Information on Layers........................................................................ 16-18 

‘Layer Info’ Window ................................................................................... 16-18 

‘Info’ Function for Current Layer ................................................................ 16-19 

Checking Frame Size and Type ............................................................ 16-20 

Layer Information in ‘Status’ Window .................................................... 16-20 


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17 Transparency and Soft Edges .................................................................... 17-1 

Creating Transparency for Layers ................................................................... 17-1 

How to Create Transparency....................................................................... 17-1 

‘Simple’ Tab (Transparency, Trapping...) .................................................... 17-2 

Complex Settings..................................................................................... 17-2 

‘By Separation’ Tab (Transparency...) ......................................................... 17-3 

‘Complex’ Tab (Transparency...) ................................................................. 17-3 

‘Matrix’ Tab (Transparency, Trapping)......................................................... 17-4 

How to Specify Matrix Values .................................................................. 17-4 

How to Read Transparency Matrix .......................................................... 17-4 

Examples of Complex Transparency and Color Transformations ........... 17-5 

‘Linework Transparency’ Tab....................................................................... 17-6 

Dialog Buttons ............................................................................................. 17-7 

All Opaque ............................................................................................... 17-7 

Reset ....................................................................................................... 17-7 

Overprint .................................................................................................. 17-7 

Load......................................................................................................... 17-7 

Store ........................................................................................................ 17-7 

Delete ...................................................................................................... 17-7 

Notes on Transparency Function................................................................. 17-8 

Status Display for Transparency.................................................................. 17-9 

Creating Soft Edges for Layers........................................................................ 17-9 

How to Create Soft Edges ........................................................................... 17-9 

‘Soft Edges’ Tab (Transparency... Dialog)................................................. 17-11 

Area Type .............................................................................................. 17-11 

Area Width ............................................................................................. 17-11 

Area Position ......................................................................................... 17-11 

Notes on Soft-Edged Layers...................................................................... 17-12 

Status Display for Soft Edges .................................................................... 17-13 

18 Trapping........................................................................................................ 18-1 

Trapping Entire Layout Automatically .............................................................. 18-1 

Trapping Individual Layers Manually ............................................................... 18-1 

‘Trapping’ Tab (‘Transparency...’ Dialog)..................................................... 18-2 

Separations.............................................................................................. 18-2 

Trapping area .......................................................................................... 18-3 

Mode........................................................................................................ 18-3 

Guidelines............................................................................................ 18-3 

Dialog Buttons ......................................................................................... 18-4 

‘Linework Trapping’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) .... 18-5 

Separations.............................................................................................. 18-5 

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Trapping area .......................................................................................... 18-5 

Mode........................................................................................................ 18-5 

Trapping Inside the Linework .............................................................. 18-5 

Trapping Against Other Layers............................................................ 18-6 

Viewing Basic Trap Settings................................................................ 18-6 

Notes on Manual Trapping .......................................................................... 18-7 

Status Display for Trapping ......................................................................... 18-7 

19 Transformations........................................................................................... 19-1 

How to Transform Existing Objects.................................................................. 19-1 

Description of ‘Transformations’ Toolbar ......................................................... 19-2 

Annotations.................................................................................................. 19-4 

Moving ............................................................................................................. 19-4 

Moving Freely .............................................................................................. 19-4 

Moving Horizontally or Vertically Only ......................................................... 19-4 

Positioning By Entering Coordinate ............................................................. 19-5 

Moving Precisely by Adding Distance.......................................................... 19-5 

Moving Precisely Using Arrow Keys ............................................................ 19-6 

Moving and Positioning Paths ..................................................................... 19-6 

Scaling ............................................................................................................. 19-7 

Scaling With Handles................................................................................... 19-7 

Scaling by Specifying a Factor .................................................................... 19-8 

Scaling by Specifying Width or Height......................................................... 19-8 

Scaling Images to Original Size................................................................... 19-9 

Rotating.......................................................................................................... 19-10 

Rotating Freely .......................................................................................... 19-10 

Rotating Accurately by Specifying Angle ................................................... 19-11 

Rotating Paths About 1. Coordinate .......................................................... 19-11 

Perspective Distortions .................................................................................. 19-11 

Scaling, Rotating and Moving in One Function.............................................. 19-12 

Skewing ......................................................................................................... 19-13 

Mirroring......................................................................................................... 19-14 

Defining Fixed Point....................................................................................... 19-14 

Positioning Objects Accurately ...................................................................... 19-15 

Distorting Objects Using 4 Points .................................................................. 19-16 

Example..................................................................................................... 19-17 

Locking Points ........................................................................................... 19-17 

Selecting a Point........................................................................................ 19-18 

Transforming by Moving P1–P4 ................................................................ 19-18 

Specifying Points for Positioning/Distorting ................................................... 19-19 

Transferring Image Transformations.............................................................. 19-21 


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How to Transfer Transformations .............................................................. 19-21 

Annotations............................................................................................ 19-21 

Image Editing 

20 Using Images................................................................................................ 20-1 

Supported Image Formats ............................................................................... 20-1 

Input Formats............................................................................................... 20-1 

Output Formats............................................................................................ 20-2 

Image Overview ............................................................................................... 20-2 

Selecting Image Overviews ......................................................................... 20-3 

Leafing Through Large Overviews............................................................... 20-4 

Selecting Images from Image Overview ...................................................... 20-4 

Updating Image Overview ........................................................................... 20-5 

To Add or Remove Thumbnails ............................................................... 20-5 

To Remove Gaps and Empty Follow-up Pages....................................... 20-5 

To Cancel Update Process...................................................................... 20-5 

Opening Images............................................................................................... 20-6 

Selecting Images by Appearance ................................................................ 20-6 

Selecting Images by File Name ................................................................... 20-7 

Method 1.................................................................................................. 20-7 

Method 2.................................................................................................. 20-7 

Loading as Low-res Image or Preview ........................................................ 20-8 

How to Load as Low-res Image or EPS Preview..................................... 20-8 

Loading High-Res Image (Sections)........................................................ 20-8 

Loading Neighboring Sections (‘Panning’)............................................... 20-9 

Saving Images Loaded in Various Resolutions ....................................... 20-9 

Directly Opening Images Used on Layout ................................................. 20-10 

Image Display and Measure Functions.......................................................... 20-10 

Copying Images ............................................................................................. 20-11 

Copying Without Selection Rectangle ....................................................... 20-11 

Copying With Selection Rectangle ............................................................ 20-11 

‘Copy Image’ Dialog................................................................................... 20-12 

Image Information.................................................................................. 20-12 

Destination File ...................................................................................... 20-12 

Additional Scanlines .............................................................................. 20-13 

Saving Images and Converting Image Format .............................................. 20-13 

‘TIFF Options’ Dialog ................................................................................. 20-13 

TIFF Compression ................................................................................. 20-13 

‘Include ICC profile’ Option .................................................................... 20-14 

‘EPS Options’ Dialog ................................................................................. 20-14 

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Preview .................................................................................................. 20-14 

DCS format ............................................................................................ 20-15 

Include ICC profile ................................................................................. 20-15 

Data format ............................................................................................ 20-15 

Compression.......................................................................................... 20-15 

Photoshop compatible compression...................................................... 20-16 

Note on Masks....................................................................................... 20-16 

‘JPEG Options’ Dialog ............................................................................... 20-17 

Quality.................................................................................................... 20-17 

File size.................................................................................................. 20-17 

Baseline optimized format ..................................................................... 20-17 

Include ICC profile ................................................................................. 20-17 

Notes on Saving Images............................................................................ 20-18 

Deleting Images ............................................................................................. 20-18 

Getting Information on Images....................................................................... 20-19 

Status Information For Images .................................................................. 20-19 

Images in Image Overview and on Layout ............................................ 20-19 

Images Opened in a Window................................................................. 20-20 

Windows/Mac Compatibility ........................................................................... 20-20 

Notes on Some Image Formats ..................................................................... 20-21 

About EPS and DCS Files ......................................................................... 20-21 

‘Image EPS’ and ‘Page EPS’ Files ............................................................ 20-21 

How ORIS PDF Tuner Handles EPS Previews ......................................... 20-22 

Displaying Previews on a Layout........................................................... 20-22 

Restrictions for Previews ....................................................................... 20-22 

Creating Previews.................................................................................. 20-22 

EPS and DCS Input ................................................................................... 20-22 

Opening and Placing EPS Images ........................................................ 20-22 

Importing EPS Files Using PostScript Interpreter.................................. 20-23 

EPS and DCS Output ................................................................................ 20-23 

Creating EPS and DCS Images............................................................. 20-23 

Converting Layouts to EPS or DCS Format .......................................... 20-23 

About CopyDot Files.................................................................................. 20-24 

Linework File Formats ............................................................................... 20-24 

Scitex New CT Files .................................................................................. 20-25 

16-Bit TIFF Images .................................................................................... 20-26 

Bitmap Linework on Mac ........................................................................... 20-26 

21 Creating Masks and Cut-outs ..................................................................... 21-1 

Mask Types...................................................................................................... 21-1 

Vector Masks ............................................................................................... 21-1 


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Pixel Masks.................................................................................................. 21-2 

Creating Pixel Masks Using Brush................................................................... 21-2 

How to Create Pixel Masks Using Brush ..................................................... 21-2 

Painting and Erasing.................................................................................... 21-4 

How to Paint ............................................................................................ 21-4 

How to Erase ........................................................................................... 21-4 

Brush and Mask Settings............................................................................. 21-5 

Changing Brush Size ............................................................................... 21-5 

Selecting Brush Border............................................................................ 21-5 

Selecting Brush Shape ............................................................................ 21-5 

Selecting Brush Display........................................................................... 21-5 

Setting Mask Density ............................................................................... 21-6 

Selecting Mask Color............................................................................... 21-6 

Inverting Masks............................................................................................ 21-6 

Filling Masks ................................................................................................ 21-7 

If a Mask Outline ‘Leaks’.......................................................................... 21-7 

Automatic Masking Using Brush.................................................................. 21-8 

Painting and Erasing................................................................................ 21-8 

‘Dynamic Reference’ Function................................................................. 21-8 

‘Tolerance’ Function ................................................................................ 21-9 

‘Invert ref.’ Function ............................................................................... 21-10 

Masking Individual Color Separations ................................................... 21-10 

Status Display............................................................................................ 21-10 

Automatic Pixel Mask Creation...................................................................... 21-10 

How to Create Pixel Masks Automatically ................................................. 21-11 

Corrections in ‘Automask’ Function ........................................................... 21-12 

Masking Individual Separations ................................................................. 21-12 

Creating Vector Masks................................................................................... 21-12 

How to Create Vector Masks ..................................................................... 21-13 

22 Working With Masks.................................................................................... 22-1 

About Masks and Mask Files ........................................................................... 22-1 

‘Mask Administration’ Dialog............................................................................ 22-2 

Hiding and Displaying Dialog....................................................................... 22-2 

Meaning of List Columns ............................................................................. 22-2 

‘Mask types’ List .......................................................................................... 22-3 

‘Clipping path’ Button................................................................................... 22-3 

‘Save in image file’ Button ........................................................................... 22-4 

‘Clear’ Button ............................................................................................... 22-5 

Selecting Masks............................................................................................... 22-5 

To Select a Single Mask .............................................................................. 22-5 

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To Select Multiple Masks............................................................................. 22-5 

To Remove Selected Mask from Screen ..................................................... 22-6 

Modifying Masks .............................................................................................. 22-6 

Modifying Vector Masks (Overview) ............................................................ 22-6 

Adding Paths of Vector Masks................................................................. 22-7 

(De-)Activating Paths of Vector Masks .................................................... 22-7 

Correcting Paths of Vector Masks ........................................................... 22-7 

Moving, Resizing, Rotating and Distorting Paths..................................... 22-7 

Deleting Paths of Vector Masks............................................................... 22-8 

Saving Masks .............................................................................................. 22-8 

Duplicating Masks............................................................................................ 22-9 

About Duplicating......................................................................................... 22-9 

Combining Pixel Masks.................................................................................... 22-9 

Converting Pixel and Vector Masks ............................................................... 22-10 

Converting Pixel Masks to Vector Masks .................................................. 22-10 

Converting Vector Masks to Pixel Masks .................................................. 22-11 

Converting 8-Bit Pixel Masks into 1-Bit Masks .......................................... 22-11 

Converting Image Channels into Masks .................................................... 22-11 

Importing Photoshop Paths and Alpha Channels Into ORIS Mask Files ... 22-12 

Exporting Masks as Photoshop Paths ....................................................... 22-12 

Removing Masks ........................................................................................... 22-13 

Removing Masks from Screen................................................................... 22-13 

Deleting Masks from Disk .......................................................................... 22-13 

Using Restricting Masks for Image Manipulations ......................................... 22-13 

Using Pixel Masks on a Layout...................................................................... 22-14 

Masks on Images Displayed in Low Resolution............................................. 22-15 

Finding out the Number of Masks .................................................................. 22-16 

Status Display for Masks ............................................................................... 22-16 

23 Retouching ................................................................................................... 23-1 

How to Retouch ............................................................................................... 23-1 

Painting and Erasing.................................................................................... 23-3 

How to Paint ............................................................................................ 23-3 

How to Erase ........................................................................................... 23-3 

Drawing Horizontal or Vertical Lines........................................................ 23-3 

Connecting Points with Straight Lines ..................................................... 23-3 

Retouching Modes....................................................................................... 23-4 

‘Brush’ Mode............................................................................................ 23-4 

‘Dyn./Static Copy’ Modes......................................................................... 23-4 

‘Gradient’ Mode ....................................................................................... 23-5 

‘Sharpen’/‘Soften’ Modes......................................................................... 23-5 


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‘Color +’/‘Color -’ Modes .......................................................................... 23-6 

‘(Load) Color Trafo’/‘(Load) Gradation’ Modes ........................................ 23-6 

Applying Last Gradation or Color Transformation ............................... 23-6 

Brush Settings ............................................................................................. 23-7 

Changing Brush Size ............................................................................... 23-7 

Selecting Brush Border............................................................................ 23-7 

Selecting Brush Shape ............................................................................ 23-7 

Selecting Brush Display........................................................................... 23-8 

Retouching Parameters ............................................................................... 23-8 

Setting Color Density ............................................................................... 23-8 

Switching Between ‘Dot’ and ‘Line’ Mode................................................ 23-9 

Defining Distance Between Dots ............................................................. 23-9 

Defining Dot Rate .................................................................................... 23-9 

Using Current Brush Border When Erasing............................................. 23-9 

Special Retouching Options ...................................................................... 23-10 

Retouching Single Color Separations.................................................... 23-10 

Transparent Retouching, Darkening, Brightening.................................. 23-10 

Retouching with Fading Effect ............................................................... 23-10 

Covering Image Completely .................................................................. 23-11 

Saving and Reversing Changes ................................................................ 23-12 

Inserting Image Areas into Images ................................................................ 23-12 

How to Insert Image Areas into Images..................................................... 23-12 

Example: Adding Image Background ........................................................ 23-13 

How to Add Image Background (Example)............................................ 23-14 

Images with Transparent Tints and Gradients ............................................... 23-15 

How to Create Special Image Effects... ..................................................... 23-16 

24 Transforming Image Colors ........................................................................ 24-1 

How to Transform Image Colors ...................................................................... 24-1 

Replacing Source Color by Target Color ......................................................... 24-2 

Using the Color Probe ................................................................................. 24-2 

About the Color Transformation Modes....................................................... 24-3 

‘Transformation’ Mode ............................................................................. 24-3 

‘Correction’ Mode..................................................................................... 24-3 

‘Replacement’ Mode ................................................................................ 24-3 

Changing Color Saturation............................................................................... 24-4 

Manipulating Image Color Separations............................................................ 24-4 

Manipulating Color Separations: How It Works ........................................... 24-5 

How to Modify Color Separations ................................................................ 24-6 

Examples ..................................................................................................... 24-7 

Swapping Cyan and Magenta Separation ............................................... 24-7 

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Subtracting 50% Magenta from Cyan Separation ................................... 24-7 

Creating Grayscale Images ..................................................................... 24-8 

Transforming Colors by Direct Parameter Input .............................................. 24-8 

How to Make ‘Direct Input’ Color Trafos ...................................................... 24-9 

Examples of ‘Direct Input’ Color Trafos ..................................................... 24-10 

Saving and Loading Color Trafo Settings ...................................................... 24-11 

25 Gradation Changes and Tone Value Corrections .................................... 25-1 

‘Color Gradation’ Window ................................................................................ 25-2 

How to Change Color Gradations .................................................................... 25-3 

Selecting Color Separations ........................................................................ 25-3 

Changing Gradations in ‘Spline’ Mode ........................................................ 25-4 

Adding Gradation Points.......................................................................... 25-4 

Moving Gradation Points ......................................................................... 25-4 

Deleting Gradation Points........................................................................ 25-5 

Changing Gradations in ‘Effect’ Mode ......................................................... 25-5 

‘Tone Correction’ Window................................................................................ 25-6 

Displaying Four Separation Curves ............................................................. 25-7 

Correcting Tone Values ................................................................................... 25-7 

About Shadow and Highlight Settings ......................................................... 25-8 

Example 1................................................................................................ 25-8 

Example 2................................................................................................ 25-9 

About Tone Range Settings......................................................................... 25-9 

Overview of Menu and Status Area ............................................................... 25-10 

Additional Options.......................................................................................... 25-11 

Saving and Loading Settings ..................................................................... 25-11 

Original and Modified Image...................................................................... 25-12 

Color Probe................................................................................................ 25-12 

Grid ............................................................................................................ 25-12 

26 Editing Linework .......................................................................................... 26-1 

Linework Color Table ....................................................................................... 26-1 

Meaning of Dialog Columns......................................................................... 26-2 

How to Edit Linework ....................................................................................... 26-3 

Modifying Linework Colors............................................................................... 26-3 

Modifying All Identical Color Areas .............................................................. 26-3 

Filling Multiple Color Areas .......................................................................... 26-4 

Flood Filling ................................................................................................. 26-4 

How to Flood-Fill a Linework ................................................................... 26-5 

Filling Restricting Masks .............................................................................. 26-6 

Selecting Linework Colors ........................................................................... 26-6 


xxvii 





Painting and Pixel Copy................................................................................... 26-7 

Painting on a Linework ................................................................................ 26-7 

Pixel Copy.................................................................................................... 26-8 

Paint/Copy Parameters................................................................................ 26-8 

Additional Options............................................................................................ 26-9 

Reorganizing Linework Color Table............................................................. 26-9 

Avoiding Redundant Color Table Entries................................................... 26-10 

Defining Mask and Background Colors ..................................................... 26-10 

Hiding Linework Masks.............................................................................. 26-10 

Status Display for Linework Editing ............................................................... 26-11 

27 Changing Image Color Mode ...................................................................... 27-1 

Converting to CMYK, RGB or Grayscales ....................................................... 27-1 

Converting to Grayscales................................................................................. 27-1 

Converting RGB Images.............................................................................. 27-1 

Converting CMYK Images ........................................................................... 27-2 

Notes on Color Mode Conversions .................................................................. 27-2 

28 Image Filter Functions................................................................................. 28-1 

Sharpening and Softening Images................................................................... 28-1 

Adding and Removing Noise ........................................................................... 28-2 

Removing Noise .......................................................................................... 28-2 

Adding Noise ............................................................................................... 28-2 

Pixelating Images............................................................................................. 28-3 

How to Pixelate Images ............................................................................... 28-3 

Status Display.............................................................................................. 28-4 

Using Photoshop Plug-in Filters....................................................................... 28-4 

Specifying Plug-in Directories...................................................................... 28-5 

How to Make ‘Plugin.dll’ Available ............................................................... 28-5 

Applying Plug-in Filters ................................................................................ 28-6 

Miscellaneous 

29 Tips and Tricks............................................................................................. 29-1 

Replacing Low-Resolution Images .................................................................. 29-1 

How to Replace Low-res Images................................................................. 29-2 

Adding Shadows to Cut-outs ........................................................................... 29-4 

How to Create a Shadow for a Cut-out........................................................ 29-4 

Creating Ornamental Lines and Frames.......................................................... 29-5 

Creating Ornamental Lines (Example) ........................................................ 29-6 

Annotations.............................................................................................. 29-7 

Direct Input....................................................................................................... 29-7 

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Using ‘Manual Entry’ Dialog......................................................................... 29-8 

Activating Next Box.................................................................................. 29-8 

Specifying Units ....................................................................................... 29-8 

Specifying User-Defined Points (‘PT’) ..................................................... 29-8 

Closing Dialog.......................................................................................... 29-9 

Entering Relative Values.................................................................................. 29-9 

Printing............................................................................................................. 29-9 

High-Quality Proof Printing .......................................................................... 29-9 

Fast Low-Quality Printing........................................................................... 29-10 

Tips for Increasing Performance.................................................................... 29-10 

‘CTtoLWFrame’ Option on Scitex RIPs.......................................................... 29-11 

30 Display and Measure Functions ................................................................. 30-1 

Using ICC Color Management......................................................................... 30-1 

About ICC Color Management..................................................................... 30-1 

On-Screen Representation of Layouts .................................................... 30-1 

On-Screen Representation of Images ..................................................... 30-2 

How to Set up ICC Color Management ....................................................... 30-2 

About Embedded Profiles ............................................................................ 30-3 

How to Embed Profiles ............................................................................ 30-3 

How to Reassign Embedded Profiles ...................................................... 30-3 

Profile Name Display ................................................................................... 30-4 

‘ICC Color Management’ Dialog .................................................................. 30-4 

Use ICC Profiles ...................................................................................... 30-4 

Save current profile with image ............................................................... 30-5 

Monitor..................................................................................................... 30-5 

Softproof .................................................................................................. 30-5 

None .................................................................................................... 30-5 

Like output ........................................................................................... 30-5 

Like image profile ................................................................................ 30-6 

Special................................................................................................. 30-6 

Paper white.......................................................................................... 30-6 

Rendering Intent (‘For...’)..................................................................... 30-7 

Output Color Space ................................................................................. 30-7 

CMYK .................................................................................................. 30-7 

Rendering Intent (‘For...’)..................................................................... 30-7 

Default Input Color Space for Newly Loaded Images.............................. 30-7 

Input Profile Selection Method............................................................. 30-7 

Input Profile ......................................................................................... 30-8 

Rendering Intent (‘For:..’)..................................................................... 30-8 

‘ICC Profiles’ Dialog..................................................................................... 30-9 

Profile Directory ..................................................................................... 30-10 


xxix 





Browse Button ....................................................................................... 30-10 

ICM ........................................................................................................ 30-10 

List Box .................................................................................................. 30-10 

‘Modify ICC Profile’ Dialog ......................................................................... 30-11 

Profile Name .......................................................................................... 30-11 

Rendering Intent (‘For:...’)...................................................................... 30-11 

Profile Selection Method........................................................................ 30-11 

Use as default........................................................................................ 30-12 

More Information On Color Management .................................................. 30-12 

Updating Screen Display ............................................................................... 30-12 

Zooming In and Out ....................................................................................... 30-12 

Zooming in Preset Increments................................................................... 30-13 

Working in Zoom Mode.......................................................................... 30-13 

Zooming with Shortkeys ........................................................................ 30-13 

Method 1............................................................................................ 30-13 

Method 2............................................................................................ 30-14 

Magnifying Selected Areas ........................................................................ 30-14 

Zooming to a Specific Percentage............................................................. 30-14 

Displaying Images at 100% ....................................................................... 30-15 

Fitting Image or Layout to Window ............................................................ 30-15 

Pixel Zoom on Layouts .............................................................................. 30-15 

Method 1................................................................................................ 30-16 

Method 2................................................................................................ 30-16 

Method 3................................................................................................ 30-16 

Displaying Complete Layout After Pixel Zoom ...................................... 30-16 

Panning.......................................................................................................... 30-16 

Fitting Windows to Images............................................................................. 30-17 

Hiding/Displaying Paths, Guides, Masks, Layers .......................................... 30-18 

Hiding All Floating Windows .......................................................................... 30-19 

Transparent Mask Display ............................................................................. 30-19 

Selecting Display Color Space for Layouts.................................................... 30-20 

Displaying Current Cursor Position................................................................ 30-20 

Displaying Color Channels............................................................................. 30-21 

Measuring Colors........................................................................................... 30-21 

Selecting Display Color Space .................................................................. 30-22 

Comparing Image Colors........................................................................... 30-22 

Defining Size of Measured Area ................................................................ 30-22 

Displaying Box Cursor ............................................................................... 30-22 

Measuring Distances and Angles .................................................................. 30-23 

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31 Preferences .................................................................................................. 31-1 

Adjusting Monitor Colors.................................................................................. 31-1 

Defining Display Colors.................................................................................... 31-2 

Setting Window Background Colors ................................................................ 31-3 

‘Windows Background’ Dialog ..................................................................... 31-3 

Defining Units of Measurement........................................................................ 31-4 

Special Unit.................................................................................................. 31-4 

Point Size..................................................................................................... 31-4 

Layout Display Unit...................................................................................... 31-4 

Image Display Unit....................................................................................... 31-4 

Defining Layout Origin ..................................................................................... 31-6 

Displaying Toolbar and Status Bar .................................................................. 31-6 

32 Reference...................................................................................................... 32-1 

Keyboard Shortcuts ......................................................................................... 32-1 

General Shortcuts........................................................................................ 32-2 

Shortcuts for PDF Tuning ............................................................................ 32-2 

Shortcuts for Layouting................................................................................ 32-3 

Shortcuts for Text Editing ............................................................................ 32-3 

Shortcuts for Image Editing ......................................................................... 32-4 

Shortcuts for Image Overview ..................................................................... 32-5 

ORIS PDF Tuner Files ..................................................................................... 32-5 

*.ALG ........................................................................................................... 32-5 

COLOURTRAFOS.DAT............................................................................... 32-5 

_CONTEXT.LAY and _CONTEXT.HEAP.................................................... 32-6 

*.DDP........................................................................................................... 32-6 

*.DDP_BAK.................................................................................................. 32-6 

*.DDX........................................................................................................... 32-7 

*.DOT_CONTROL and *.DOT_DATA.......................................................... 32-7 

GRADATIONS.DAT..................................................................................... 32-7 

*.HEAP......................................................................................................... 32-7 

*.MASKDAT and *.MASKIDX ...................................................................... 32-7 

_OVERVIEW.DAT/RED/GRN/BLU.............................................................. 32-8 

*.PAT ........................................................................................................... 32-8 

PS_PARSE.LOG ......................................................................................... 32-9 

TEXT STYLES.DAT..................................................................................... 32-9 

TEXTPARAMS.DAT .................................................................................... 32-9 

TRANSPARENCY.DAT ............................................................................... 32-9 

Other Files in Installation Path......................................................................... 32-9 

ORIS Spot Color Files (*.OSC).................................................................... 32-9 

PANTONE® Digital Color Library Files.................................................. 32-10 


xxxi 





HKS® Library Files ................................................................................ 32-10 

Private.OSC........................................................................................... 32-10 

Color Tables .............................................................................................. 32-11 

DUMMY_TEXT_ENU.TEXT ...................................................................... 32-12 

Units and Values............................................................................................ 32-12 

Supported Units and Their Abbreviations .................................................. 32-12 

Entering Units Together With Value .......................................................... 32-13 

Selecting Units from a List ......................................................................... 32-13 

Combining Cicero/Pica and Point Units..................................................... 32-14 

Decimal Places .......................................................................................... 32-15 

Entering Special Character Sequences ......................................................... 32-15 

Annotations................................................................................................ 32-15 

List of Special Characters.......................................................................... 32-16 

Numbers, Symbols and Greek Characters ............................................ 32-16 

Special Characters A-L.......................................................................... 32-16 

Special Characters N-Z ......................................................................... 32-17 

License Notes ................................................................................................ 32-17 

License-Protected Software Modules ........................................................ 32-17 

Viewing/Updating Software Licenses ........................................................ 32-18 

Reserved Windows File Names..................................................................... 32-19 

33 Glossary........................................................................................................ 33-1 

xxxii CGS GmbH Hainburg, Germany 11/03/2010 




Figures 

Fig. 1-1 Opening Screen of ORIS PDF Tuner Online Help................................... 1-3 

Fig. 1-2 ‘What’s This?’ Help for a Parameter ........................................................ 1-4 

Fig. 2-1 ‘Create Layout From PDF or PostScript Data’ Dialog ............................. 2-2 

Fig. 2-2 ‘Page Administration’ Window ................................................................. 2-3 

Fig. 2-3 PDF/PS/EPS Input Progress Window .................................................... 2-4 

Fig. 2-4 Importing a Page Section ........................................................................ 2-6 

Fig. 2-5 Selecting the Default Layer State in Acrobat ........................................... 2-8 

Fig. 2-6 ‘Images’ Tab (PDF/PS Input) .................................................................. 2-8 

Fig. 2-7 ‘OPI’ Tab (PDF/PS Input) ....................................................................... 2-9 

Fig. 2-8 ‘Transparencies’ Tab (PDF/PS Input) ................................................... 2-12 

Fig. 2-9 ‘Check’ Tab (PDF/PS Input) ................................................................. 2-14 

Fig. 2-10 PDF/PS Import Log with Preflight Check Warnings ............................ 2-14 

Fig. 2-11 Additional Preflight Check Criteria ....................................................... 2-16 

Fig. 2-12 ‘Correct’ Tab (PDF/PS Input) .............................................................. 2-18 

Fig. 2-13 Windows Font Types in Font Selection List......................................... 2-21 

Fig. 3-1 ‘Export Layout’ Dialog ............................................................................. 3-1 

Fig. 3-2 Export Progress Window ......................................................................... 3-5 

Fig. 3-3 Export Log Window.................................................................................. 3-5 

Fig. 3-4 ‘Color Correction’ Tab (‘Export Layout’ Dialog) ...................................... 3-6 

Fig. 3-5 ‘ICC Parameters’ Dialog ......................................................................... 3-8 

Fig. 3-6 ‘Color Correction’ Tab (PDF–PDF Hotfolders) ...................................... 3-12 

Fig. 3-7 ‘Control’ Tab (‘Export Layout’ dialog) .................................................... 3-14 

Fig. 3-8 ‘Data Format’ Tab (‘Export Layout’ Dialog) ........................................... 3-15 

Fig. 3-9 ‘Data Format’ Tab (PDF) (‘Export Layout’ Dialog) ................................ 3-19 

Fig. 3-10 ‘Data Format’ Tab (TIFF) (‘Export Layout’ Dialog) .............................. 3-22 

Fig. 3-11 ‘Images’ Tab (EPS) (‘Export Layout’ Dialog) ...................................... 3-24 

Fig. 3-12 Image Sharpening .............................................................................. 3-27 

Fig. 3-13 Sharpening Factor for Scaled Images (Principle) ............................... 3-28 

Fig. 3-14 ‘Modify’ Tab (‘Export Layout’ Dialog) .................................................. 3-29 

Fig. 3-15 ‘Page’ Tab (EPS) (‘Export Layout’ Dialog) .......................................... 3-31 


xxxiii 




Figures 

Fig. 3-16 ‘Page Format’ Tab (PS) (‘Export Layout’ Dialog) ................................ 3-39 

Fig. 3-17 Outputting a Page Section................................................................... 3-41 

Fig. 3-18 ‘Page Marks’ Tab (‘Export Layout’ Dialog) ......................................... 3-42 

Fig. 3-19 Page Marks and Job Information......................................................... 3-43 

Fig. 3-20 Dummy Text Area Names on Output Document ................................. 3-46 

Fig. 3-21 ‘Screening’ Tab (‘Export Layout’ Dialog) ............................................ 3-46 

Fig. 3-22 ‘Select’ Tab (‘Export Layout’ Dialog) ................................................... 3-48 

Fig. 3-23 ‘Trapping/Soft Edges’ Tab (‘Export Layout’ Dialog) ............................ 3-51 

Fig. 3-24 Position of Soft Edges ......................................................................... 3-52 

Fig. 3-25 ‘Trapping Parameters’ Dialog/‘Exceptions’ Tab .................................. 3-56 

Fig. 3-26 ’Trapping Parameters’ Dialog/’Basic Settings’ Tab.............................. 3-58 

Fig. 3-27 Predefined Bleed Page........................................................................ 3-61 

Fig. 3-28 Areas on a Bleed Page ....................................................................... 3-63 

Fig. 3-29 Merging a Layout with a Bleed Page ................................................... 3-65 

Fig. 3-30 Adding Bleed or Trim Margin Lines ..................................................... 3-67 

Fig. 5-1 ‘Layout Parameters’ Dialog ..................................................................... 5-7 

Fig. 5-2 Defining Bleed Margins (Example) .......................................................... 5-9 

Fig. 6-1 Snap Area of Guides ............................................................................... 6-2 

Fig. 6-2 Invisible Guide Grid ................................................................................. 6-6 

Fig. 7-1 ‘Rectangle Editor’ Dialog ........................................................................ 7-2 

Fig. 7-2 Handles of a Rectangle (Example) .......................................................... 7-3 

Fig. 7-3 Changing Corner Lengths (Example) ...................................................... 7-4 

Fig. 8-1 Resize Handles and ‘Transformations’ Toolbar ...................................... 8-6 

Fig. 8-2 Switching Overlap Mode On/Off ............................................................ 8-11 

Fig. 8-3 Overlap Mode for Path Frames ............................................................. 8-12 

Fig. 9-1 Terms Used in Path Editor ...................................................................... 9-2 

Fig. 9-2 Creating a New Path (Example) ............................................................. 9-3 

Fig. 9-3 Displayed, Active and Marked Points ...................................................... 9-5 

Fig. 9-4 Screen Representation Of Fixed Points ................................................. 9-8 

Fig. 9-5 Dragging Locked Handles ..................................................................... 9-13 

Fig. 9-6 Dragging Unlocked Handles .................................................................. 9-13 

Fig. 10-1 ‘Retouch’ Dialog .................................................................................. 10-6 

Fig. 10-2 ‘Color Selection’ Dialog ....................................................................... 10-8 

Fig. 10-3 Spot Colors Dialog............................................................................. 10-12 

Fig. 11-1 Positioning an Image ‘in the Background’............................................ 11-1 

Fig. 11-2 Positioning an Image ‘in the Foreground’ ............................................ 11-2 

Fig. 11-3 Positioning an Image as a ‘Mixground Layer’ ..................................... 11-2 

Fig. 11-4 Modifying a ‘Mixground’ Image ........................................................... 11-3 

Fig. 11-5 Tints Positioned as Mixground Layers ................................................ 11-3 

Fig. 11-6 Overlapped Background Image (Example).......................................... 11-4 

Fig. 11-7 Enlarging a Background Image Behind its Mask ................................. 11-5 

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Figures 

Fig. 11-8 Enlarging Background Image by Modifying Path on Image................. 11-6 

Fig. 11-9 Distorting Background Image by Modifying Path on Image................. 11-6 

Fig. 11-10 Modifying Background Image Like a Cut-out..................................... 11-7 

Fig. 11-11 Modifying the Outline of a Background Image................................... 11-8 

Fig. 11-12 Correcting Mixground Cut-out by Modifying Path on Image ............ 11-14 

Fig. 11-13 ‘Image and Mask Update’ Dialog..................................................... 11-17 

Fig. 12-1 ‘Text Editor’ Toolbar............................................................................. 12-3 

Fig. 12-2 ‘Text Parameters’ Dialog ..................................................................... 12-5 

Fig. 12-3 Windows Font Types in Font Selection List ........................................ 12-7 

Fig. 12-4 Single Character Dropping from Two Lines ...................................... 12-10 

Fig. 12-5 ‘Character Map’ Dialog ..................................................................... 12-18 

Fig. 12-6 Three Linked Text Boxes .................................................................. 12-21 

Fig. 12-7 Examples of Headlines with Shadows............................................... 12-22 

Fig. 12-8 ’‘Text Displacement Parameters’ Dialog ........................................... 12-24 

Fig. 12-9 Text Runarounds (Examples) ........................................................... 12-25 

Fig. 12-10 ‘Text Displacement’ Dialog .............................................................. 12-26 

Fig. 13-1 Examples of Smooth Text.................................................................... 13-1 

Fig. 14-1 ‘Dummy Text Parameters’ Dialog ....................................................... 14-1 

Fig. 14-2 Windows Font Types in Font Selection List ........................................ 14-3 

Fig. 14-3 Technical Terms for Characters .......................................................... 14-5 

Fig. 15-1 Creating a ‘Gradation’ Filter Layer ...................................................... 15-2 

Fig. 15-2 Moving a ‘Gradation’ Filter Layer ........................................................ 15-2 

Fig. 15-3 Example of a Pixelation Filter Layer ................................................... 15-3 

Fig. 16-1 Indication of Layer Selection Mode ..................................................... 16-1 

Fig. 16-2 Mask Indicating Active Layer .............................................................. 16-1 

Fig. 16-3 Drawing a Selection Rectangle Around Two Layers ........................... 16-3 

Fig. 16-4 Resizing a Cut-out using Handles or Toolbar ..................................... 16-5 

Fig. 16-5 Correcting a Background Image ......................................................... 16-6 

Fig. 16-6 Correcting the Outline of a Background Image ................................... 16-8 

Fig. 16-7 ‘Layer Frame Parameters’ Dialog ...................................................... 16-11 

Fig. 16-8 Text Frame only Visible on Images (Example) .................................. 16-12 

Fig. 16-9 Tints Positioned as Mixground Layers (Example) ............................. 16-14 

Fig. 16-10 Changing the Stacking Order (Example) ......................................... 16-15 

Fig. 16-11 MENU and STATUS Window of ‘Mark’ Function ................................ 16-17 

Fig. 16-12 ‘Layer Info’ Window for CT Image .................................................. 16-19 

Fig. 16-13 ‘Layer Info’ Window for Linework .................................................... 16-19 

Fig. 16-14 ‘Layer Info’ Window for Text Layer ................................................. 16-19 

Fig. 16-15 ‘Layer Info’ Window for Gradient .................................................... 16-19 

Fig. 16-16 STATUS Window of Active Layers (Example) .................................. 16-22 

Fig. 17-1 ‘Simple’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) ............... 17-2 

Fig. 17-2 ‘By Separation’ Tab (‘Transparency, Trapping...’ Dialog) .................... 17-3 

Fig. 17-3 ‘Complex’ Tab (‘Transparency, Trapping...’ Dialog) ............................ 17-3 


xxxv 




Figures 

Fig. 17-4 ‘Matrix’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) ................ 17-4 

Fig. 17-5 Transferring 20% from Cyan to Black ................................................. 17-6 

Fig. 17-6 Keeping 75% ‘Background’ Black and Substituting the Rest by 50% of 

‘Foreground’ Cyan ............................................................................... 17-6 

Fig. 17-7 Converting Layer Colors to Grayscales .............................................. 17-6 

Fig. 17-8 ‘Linework Transparency’ Tab of ‘Transparency...’ Dialog.................... 17-6 

Fig. 17-9 ‘Soft Edges’ Tab of ‘Transparency, Trapping...’ Dialog ..................... 17-10 

Fig. 17-10 Position of Soft Edges ..................................................................... 17-12 

Fig. 18-1 ‘Trapping’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) ........... 18-2 

Fig. 18-2 Illustration of Trapping Modes ............................................................ 18-4 

Fig. 18-3 ‘Linework Trapping’ Tab (‘Transparency, Trapping...’ Dialog) ............ 18-5 

Fig. 19-1 ‘Transformations’ Toolbar ................................................................... 19-1 

Fig. 19-2 Resize handles (left) and rotation handles (right) ............................... 19-4 

Fig. 19-3 Resize Handles.................................................................................... 19-7 

Fig. 19-4 Using Rotation Handles ..................................................................... 19-10 

Fig. 19-5 Distorting Perspectively (Examples) .................................................. 19-12 

Fig. 19-6 Indication of Fixed Point .................................................................... 19-15 

Fig. 19-7 Distorting with Four Points (Example) ............................................... 19-17 

Fig. 19-8 ‘P1/P4’ Toolbar .................................................................................. 19-18 

Fig. 19-9 Transferring Transformations to a Cut-out (Example) ...................... 19-21 

Fig. 20-1 ORIS PDF Tuner Image Overview ...................................................... 20-3 

Fig. 20-2 List of Images in Image Overview ....................................................... 20-7 

Fig. 20-3 ‘Copy Image’ Dialog........................................................................... 20-12 

Fig. 20-4 ‘TIFF Options’ Dialog ......................................................................... 20-14 

Fig. 20-5 ‘EPS Options’ Dialog ......................................................................... 20-16 

Fig. 20-6 ‘JPEG Options’ Dialog ....................................................................... 20-18 

Fig. 21-1 Vector Mask Created with Path Editor and Placed on Layout ............ 21-1 

Fig. 21-2 Pixel Masks, 1-bit (left) and 8-bit (right) .............................................. 21-2 

Fig. 21-3 ‘Paint Masks’ Dialog ........................................................................... 21-4 

Fig. 22-1 ‘Mask Administration’ Dialog ............................................................... 22-2 

Fig. 22-2 Resize Handles and ‘Transformations’ Toolbar .................................. 22-7 

Fig. 23-1 ‘Retouch’ Dialog .................................................................................. 23-2 

Fig. 23-2 Copying Pixels from Source to Target Cursor ..................................... 23-4 

Fig. 23-3 Creating Gradients Between two Colors.............................................. 23-5 

Fig. 23-4 Adding Image Background (Example) ............................................... 23-13 

Fig. 23-5 Special Image Effect with Transparent Gradient .............................. 23-15 

Fig. 24-1 Color Probe.......................................................................................... 24-3 

Fig. 24-2 Color Saturation Reduced (left) and Increased (right) ........................ 24-4 

Fig. 24-3 STATUS Window for Color Separation Manipulations........................... 24-5 

Fig. 24-4 List of Stored Color Transformation Settings .................................... 24-11 

Fig. 25-1 Explanation of ‘Color Gradation’ Window (‘Spline’ Mode) ................... 25-2 

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Figures 

Fig. 25-2 4 Display Areas and Related Color Separations ................................ 25-2 

Fig. 25-3 Moving Gradation Points in Increments of 1%..................................... 25-5 

Fig. 25-4 Deleting a Gradation Point................................................................... 25-5 

Fig. 25-5 Example of Gradation Changes in ‘Effect’ Mode ................................. 25-6 

Fig. 25-6 Explanation of ‘Tone Correction’ Window............................................ 25-6 

Fig. 25-7 4 Display Areas and Related Color Separations ................................. 25-7 

Fig. 25-8 Curve Illustrating Increase of Highlights and Shadows ....................... 25-9 

Fig. 25-9 Stretching out Tone Values ................................................................. 25-9 

Fig. 25-10 Gradation Curve Illustrating Tone Range Reduction ....................... 25-10 

Fig. 25-11 Menu of ‘Color Gradation’/‘Tone Correction’ Window ..................... 25-10 

Fig. 25-12 Status Area of ‘Color Gradation’/‘Tone Correction’ Window ........... 25-11 

Fig. 25-13 List of Stored Gradation and Tone Value Settings .......................... 25-11 

Fig. 25-14 Color Probe...................................................................................... 25-12 

Fig. 25-15 Displaying a Grid in the Gradation Window ..................................... 25-13 

Fig. 26-1 Linework Color Table........................................................................... 26-2 

Fig. 26-2 Example of a Flood Fill ........................................................................ 26-4 

Fig. 26-3 Copying Pixels from Source to Target Cursor ..................................... 26-8 

Fig. 26-4 Linework Reorganization Dialog ........................................................ 26-10 

Fig. 28-1 Pixelating an Image Section ................................................................ 28-3 

Fig. 28-2 ‘Photoshop Plug-In Directories’ Dialog ................................................ 28-5 

Fig. 29-1 Replacing Low-res by High-Res Image ............................................... 29-1 

Fig. 29-2 Ornamental Line (Example) ................................................................ 29-6 

Fig. 29-3 ‘Manual Entry’ Dialog for Direct Input ................................................. 29-8 

Fig. 29-4 Specifying Relative Values .................................................................. 29-9 

Fig. 30-1 ‘ICC Color Management’ Dialog .......................................................... 30-4 

Fig. 30-2 ‘ICC Profiles’ Dialog........................................................................... 30-10 

Fig. 30-3 ‘Modify ICC Profile’ Dialog ................................................................ 30-11 

Fig. 30-4 ‘View’ Menu with Zoom Functions ..................................................... 30-13 

Fig. 30-5 Input Box for Zoom Factor ................................................................. 30-15 

Fig. 30-6 Panning Around a Page .................................................................... 30-17 

Fig. 30-7 Opaque and Transparent Layer Masks ............................................. 30-20 

Fig. 30-8 ‘Color’ Window .................................................................................. 30-21 

Fig. 31-1 Monitor Color Setup Dialog ................................................................. 31-2 

Fig. 31-2 ‘Display Color Setup’ Dialog ............................................................... 31-2 

Fig. 31-3 ‘Windows Background’ Dialog ............................................................. 31-3 

Fig. 31-4 ‘Special Units Setup’ Dialog ................................................................ 31-5 

Fig. 31-5 ‘Layout Representation’ Dialog............................................................ 31-6 

Fig. 31-6 Toolbar of ORIS PDF Tuner Layout window ...................................... 31-6 

Fig. 31-7 ORIS PDF Tuner Status Bar ............................................................... 31-6 

Fig. 32-1 Macintosh Keyboard ........................................................................... 32-1 

Fig. 32-2 Windows Keyboard ............................................................................. 32-1 


xxxvii 




Figures 

Fig. 32-3 Selecting Units from a List ................................................................. 32-13 

Fig. 32-4 Abbreviations of Units (in Rectangle Editor) ...................................... 32-14 

Fig. 33-1 Hexachrome Process Print Colors ...................................................... 33-2 

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1 Introduction 

Congratulations on choosing ORIS PDF Tuner, the all-in-one program 

which integrates page assembly, image manipulation and PDF/PS editing 

into one powerful program. 

All tasks generally associated with QuarkXPress, Illustrator, Freehand 

and Photoshop can be wonderfully completed with ORIS PDF Tuner – 

and much more! 

The high-performance PDF/PostScript interpreter converts existing layouts 

into separate objects which can then be edited as you like. Layouts 

can be exported to many output formats, including PDF, PostScript, 

DCS, TIFF/IT-P1 and Scitex Handshake. Automatic checks during data 

input and output ensure maximum production reliability. 

Getting Started with ORIS PDF Tuner 

This document tries to describe the entire functionality of ORIS PDF 

Tuner. Although the document includes a Quick Start to Page Assembly 

(see page 4-1), it is basically a reference manual which may not always 

be helpful if you are a novice user. 

To get started with ORIS PDF Tuner we recommend the following publication: 

ORIS Page - A quick and easy guide with 10 handy workshops 

On 65 pages this useful guide explains how to create new layouts, edit 

images, and correct PDF files. Everything is explained step by step with 

many illustrations and practical examples presented as workshops. 

Both the guide and the workshops files can be downloaded from the 

CGS Web site http://www.cgs-oris.com. There are separate editions for 

the Macintosh and Windows version of ORIS PDF Tuner. 

ORIS PDF Tuner Version 4.4.8 User Manual 1-1 



Introduction 

Conventions Used in This Manual 


Conventions Used in This Manual 

The following conventions are used in this document: 

Convention 

SMALL CAPS 

Boldface 

Italic 

Courier 

FILE | EXPORT 

SHIFT+F2 

SHIFT-click 

STATUS window 

MENU window 

(Mac OS)/ 

(Windows) 

Meaning 

Dialogs, commands, parameters and other names 

used in the ORIS PDF Tuner user interface 

Characters to be entered by the user; sometimes 

also used for emphasis or user interface elements 

Emphasizes important words; cross-references 

Files or directory names; examples of file contents, 

naming conventions, code, etc. 

The EXPORT function on the pull-down menu FILE 

Press the SHIFT and F2 key at the same time. 

Press the SHIFT key and the (left) mouse button at 

the same time. Make sure SHIFT is already pressed 

down when you press the mouse button. 

A palette displaying information about the layout or 

image and its current settings, usually displayed on 

the left. 

A toolbar with function names that change according 

to the context, usually displayed on the right. 

Command for Macintosh or Windows platform, 

respectively. 

Note: 

All screenshots in this document are taken from the Windows version. 

Mouse Buttons 

On Windows systems you should use a two- or three-button mouse. 

• Clicking means pressing the left mouse button. 

• Right-clicking means pressing the right mouse button. 

• Pressing the middle mouse button has the same effect as SHIFTclicking 

(= left mouse button and SHIFT key pressed simultaneously). 

Software Evaluation 

ORIS PDF Tuner is protected by a dongle which checks the software licenses 

you have acquired (see also page 32-17). For evaluation purposes 

you can use the software without dongle for 30 days after installation. 

The software is fully functional during this period (exception: no 

LZW compression possible). 

1-2 CGS GmbH Hainburg, Germany 11/03/2010 




Introduction 

Getting Online Help 

After this period a valid software protection dongle is required for using 

the full functionality. Without dongle the program will run in demo mode 

which implies the following restrictions: 

• Layouts created with a demo version cannot be edited with the full 

version. 

• Layouts created with the full version can be edited with the demo 

version. If they are stored with it, however, they can no longer be 

opened with the full version. A warning appears when attempting to 

save such layouts. 

• If an image is larger than 512 x 512 pixels, you cannot save any 

modifications made to it nor can you save any selected image 

sections (even if they are smaller than 512 x 512 pixels). 

• It is not possible to convert layouts (EXPORT function). 

• It is not possible to print layouts or images. 


The ORIS PDF Tuner online help explains how to use the program and 

contains extensive reference information. The contents is identical to the 

ORIS PDF Tuner User Manual. There are different ways of accessing 

this document. 

Fig. 1-1 

Opening Screen of ORIS PDF Tuner Online Help 

Displaying Opening Screen of Help 

Select HELP | CONTENTS or press F1 when no window is open to display 

the opening screen of the online help system. This is the topic on the uppermost 

level. From there you can browse for the information you need. 




Introduction 



On Windows systems you can also select START | PROGRAMS | CGS | 

ORIS PDF TUNER HELP to display the opening screen. 

In the online help file you can always click on HOME to redisplay the 

opening screen. 

Getting Help on a Dialog 

Click the HELP button in the dialog or press F1. The online help document 

opens and a topic explaining the current dialog appears. 

If no dialog is open, pressing F1 displays a general help topic related to 

the current window type (layout, image, or image overview). 

‘What’s This?’ Help 

On Windows systems you can also get help on a specific element in a 

dialog, e.g. a selection list, input box or any other parameter. 

1. Click the ? button on the title bar (next to the button). A question 

mark appears next to the cursor . 

2. Click on the dialog element. The online help document opens showing 

a topic which explains the dialog element you have clicked. 

Alternatively, click the dialog element you want, then press F1. 

Fig. 1-2 

‘What’s This?’ Help for a Parameter 

Navigation in Online Help Document 

The navigation pane on the left allows you to browse for the help topic 

you want. Click the + button to open the list of subordinate topics and 

click on a topic name to display its contents in the contents pane. 

The BACK and FORWARD buttons allow you to redisplay the topic visited 

previously or subsequently. Use the SEARCH tab to search all help topics 

for a particular text. 

If the text appears too small or large, use the options on the VIEW | FONTS 

menu to increase or reduce the font size. 





Introduction 

Other Help Resources 


User Forum (ORIS Board) 

The ORIS Board provides online discussion forums for most ORIS products, 

including ORIS PDF Tuner. It is an excellent means of getting peerto-peer 

support. 

To use the board, check out the CGS Web site http://www.cgs-oris.com, 

then select SUPPORT | USER FORUM. You have to register before being 

able to read or post messages. 

CGS Hotline 

The CGS customer support team offers help with any problems you may 

encounter. Suggestions from customers contribute substantially to the 

successful development of our software products. 

You can contact us as follows: 

Web: http://www.cgs-oris.com 

Mail: support@cgs-oris.com 

Fax: +49 (61 82) 96 26 99 

Phone: +49 (61 82) 96 26 0 

Make sure you have consulted the documentation and online resources 

mentioned here before contacting us. Hotline support is free of charge 

for customers with a Software Support Contract. 




Introduction 







Import/Export 







2 Importing PDF and PostScript Files 

PDF, EPS and PostScript documents can be converted into ORIS PDF 

Tuner format. Each individual object is converted into a separate layer 

which can then be modified individually. There is a wide range of options 

for controlling the conversion process. 

To import and save as a new ORIS PDF Tuner layout: 

Restricted 

parameter 

availability 

• Click on the toolbar icon , or 

• Press +I (Mac OS) or CTRL+I (Windows), or 

• Select FILE | OPEN PDF OR POSTSCRIPT, or 

• Drag the file onto the ORIS PDF Tuner window. 

To import into the current ORIS PDF Tuner layout: 

• Press +OPTION+I (Mac OS) or CTRL+ALT+I (Windows), or 

• Select FILE | IMPORT PDF OR POSTSCRIPT. 

The dialog shown in Fig. 2-1 appears, except when a file is dragged onto 

the ORIS PDF Tuner window. In this case the conversion process starts 

immediately and the last used settings are applied. 

The parameters of the PDF/PS input dialog are explained below. 

Most parameters are available in both ORIS PDF Tuner and hotfolderbased 

ORIS applications such as ORIS Works. Exceptions are indicated 

in the left-hand margin. In ORIS Works, a separate software license is 

required for this functionality. 

Related topics: 

Replacing Imported PDF/PS/EPS Files (page 2-20) 

Editing Texts of Imported PDF or PS Documents (page 2-20) 

Exporting Layouts (page 3-1) 




Importing PDF and PostScript Files 

Note on DCS Files 


Fig. 2-1 

‘Create Layout From PDF or PostScript Data’ Dialog 

Note on DCS Files 

DCS files, i.e. EPS files with separated data, are handled differently, 

depending on the software product used (see also page 20-21): 

Only the low-res preview and the individual color separations can be extracted. 

If the ALL PAGES option is enabled (see page 2-3), the preview 

and the separations will be imported into a multi-page *.DDP document. 

The separations are not combined into a high-res composite document 

when the layout is converted into a another format (using FILE | EXPORT). 

General Import Parameters 

PS/PDF file name 

Use this parameter to specify the name of the PDF, PostScript or EPS 

file to be imported. Having done so, information about the document 

(AUTHOR, TITLE…) will appear in the area underneath this parameter (if 

available in the file). See also PostScript Page Size (page 2-23). 





Select page number/All pages 


General Import Parameters 

Select ALL PAGES to process all pages of a multi-page PDF or PostScript 

document. To process a single page only, disable this option and enter 

the page number into the SELECT PAGE NUMBER box. 

The first page is opened automatically. To select another page, use the 

VIEW | PAGE ADMINISTRATION command. The ALL PAGES option is unavailable 

when importing a file into the current ORIS PDF Tuner layout. 

Fig. 2-2 

‘Page Administration’ Window 

‘Expand/Collapse’ Button 

Click EXPAND >>> if the dialog tabs containing the configuration parameters 

are not displayed. The name of this button will change to COLLAPSE 


‘Page’ Tab 


Fig. 2-3 

PDF/PS/EPS Input Progress Window 


Layout name 

If the imported PDF/PS/EPS file is saved as a new ORIS PDF Tuner layout, 

enter a name for this layout into this input box. If the file is imported 

into the current layout, the layout name is displayed in this box. 

Use Quark or InDesign page numbers 

Enable this option if the original page numbers should be preserved 

when processing documents created with QuarkXPress or InDesign. If 

you disable this option, page numbers will always start with 1. 

Define page size and offset by 

Use this parameter to define a page size for the documents created from 

PDF, EPS or PS files. The following options are available: 

User Input 

Use this setting if you want to process a section of the PDF/PS/EPS document 

only. All page elements located completely outside this section 

will be omitted. It is not possible to restore these elements, even if the 

page size is increased afterwards. An element will not be omitted, however, 

if only a part of it extends beyond the borders of this section. 

Use the PAGE SIZE X/Y and PAGE OFFSET X/Y boxes to define the size 

and position of this document section (see page 2-6). 

Note: 

If the document is imported into an existing ORIS PDF Tuner layout, the 

format of the existing layout will not be changed. Imported layers placed 

outside the page format may have to be moved back. 







Register marks and similar objects cannot be omitted although they are 

completely outside the specified document section, if all of them constitute 

a single element whose bounding box intersects with this section. 

Note: 

Note: 

PostScript/PDF MediaBox (Crop/Trim/BleedBox) 

Use one of these settings if the page size and offset should be defined 

by the PDF/EPS/PS document you are importing or processing. 

• If PostScript or EPS files are processed, the page size and offset 

defined in these documents will be used. 

• If PDF files are processed, the values defined by the PDF command 

MediaBox, CropBox, TrimBox, or BleedBox will be used. 

Refer to page 33-3 for more details on PDF ‘page boxes’. 

If a document does not contain any information about its size, the values 

you have specified in the PAGE SIZE/OFFSET input boxes will be used. 

Select POSTSCRIPT/PDF MEDIABOX to retain the crop, trim and bleed box 

information in Postscript documents from InDesign. 

Gross Size (including crop marks) 

Like POSTSCRIPT/PDF MEDIABOX, but with a special meaning for Post- 

Script files created by QuarkXPress. The bleed margins defined in such 

files will be created inside the page format. 

Select this setting to retain the crop, trim and bleed box information in 

Postscript documents from QuarkXPress. 

Net Size (without crop marks) 

Like POSTSCRIPT/PDF MEDIABOX, but with a special meaning for Post- 

Script files created by QuarkXPress. The bleed margins defined in such 

files will be created outside the page format. 

Bounding Box of page contents 

Use this setting to crop PDF and PostScript documents to the size occupied 

by the actual page contents. Unused white space is cropped off. 

Keep current layout size 

If you select this option, the page size and offset of the current ORIS 

PDF Tuner layout will not be changed. 

If the ORIS PDF Tuner layout is smaller than the document you have imported, 

no elements will be omitted. If elements are not visible or outside 

the page borders, increase the layout size afterwards. 







Page size X/Y, Page offset X/Y 

If you have set the DEFINE PAGE SIZE AND OFFSET BY parameter to USER 

INPUT, use the PAGE SIZE/OFFSET boxes to define the section of the PDF/ 

PS/EPS document to be imported. All page elements located completely 

outside this section will be omitted. 

Use the PAGE SIZE boxes to specify the size of this document section and 

the PAGE OFFSET boxes to specify the position of the section’s lower left 

corner. To import the right half of an A3-sized landscape PDF document 

(420 x 297 mm), for example, specify the following values: 

PAGE SIZE X: 210 mm PAGE OFFSET X: –210 

PAGE SIZE Y: 297 mm PAGE OFFSET Y: 0 

Fig. 2-4 

297 

Y 

Importing a Page Section 

0 

0 210 420 

X 

Rounding values 

Using this parameter you can round up the size of the PDF/EPS/PS documents 

you are importing or converting, e.g. to the next full millimeter. If 

the page origin (offset) is not 0/0, it will be rounded down. Select NONE 

to use the original unrounded page size of the PDF/EPS/PS document. 

This parameter is not applied if the DEFINE PAGE SIZE AND OFFSET BY parameter 

is set to USER INPUT. 

Note: 

QuarkXPress version 5.0 creates the internal page size value of Post- 

Script files with decimal places. The page size value written to the information 

section of a PS file and displayed in the dialog under INFORMA- 

TION FROM PS/PDF FILE, however, is created in the same way as before. 

Rounding up or down may therefore produce page size values which differ 

up to one millimeter from the expected rounding value. 

Mode 

If you are rounding the page size, use this parameter to specify how this 

should be done. The following options are available: 







• ROUNDING ON ALL CORNERS 

The coordinates of both the upper left and lower left corner are modified, 

i.e. the page size is increased both at the top and bottom. 

• KEEP UPPER LEFT CORNER 

The coordinate of the upper left corner remains unchanged. The 

page format increases at the bottom. 

• KEEP LOWER LEFT CORNER 

The coordinate of the lower left corner remains unchanged. The page 

format increases at the top. 

Expected resolution 

Use this parameter to specify the output resolution expected to be used 

for documents created from PDF, PostScript or EPS files. Depending on 

the software product used, this has the following effect: 

The EXPECTED PRODUCTION RESOLUTION option in the LAYOUT PARAME- 

TERS dialog (see page 5-7) will be set to the resolution specified here. 

Include embedded fonts into page 

If this option is enabled, TrueType and PostScript Type 1 fonts embedded 

in PDF or PS files will be included into the output documents. Texts 

using these fonts can then be edited with ORIS PDF Tuner. 

Note: 

We recommend to leave this option disabled. Some PDF files use embedded 

fonts with incorrect Unicode tables. If such fonts are included, 

errors may occur during the data import process or during text editing. 

Please note the following when including embedded fonts: 

• These fonts will not be available for general use on the system. They 

can only be used for editing the texts of the pages created from the 

PDF or PS files. 

• This parameter cannot be used for Asian multibyte fonts. Although 

such fonts are also imported, it will be impossible to edit the texts 

(unless the fonts are installed on the system). 

• Text editing is also possible if a font subset was embedded only. In 

this case, however, you can only use those characters which are 

actually part of the subset. A warning appears when starting the Text 

Editor to notify of this limitation. In the font list, font subsets are 

marked with a prefix consisting of an arbitrary string (see Fig. 2-13 

on page 2-21). 





‘Images’ Tab 


Apply PDF orientation 

If this option is enabled, page orientation commands in PDF files will be 

interpreted. The pages will then be rotated or mirrored as defined in Adobe 

Acrobat. 

Omit inactive Acrobat layers 

This option applies to PDF documents with layered content. If enabled, 

PDF layers with the DEFAULT STATE set to OFF in Adobe Acrobat will not 

be included in the output documents. 

Fig. 2-5 

Selecting the Default Layer State in Acrobat 


Fig. 2-6 

‘Images’ Tab (PDF/PS Input) 

Note: 

Keep image spot color separations 

Enable this option to preserve spot color separations of images. If this 

option is disabled, the spot color separations are converted to CMYK. 

This option does not affect images created with the Photoshop versions 

2.5–4. There is a separate option for such images (see below). 

Keep Photoshop V2.5-4 image spot color sep. 

This option applies to images created using the Photoshop versions 

2.5–4. If enabled, the spot color separations of such images are preserved. 

If disabled, they are converted to CMYK. 




‘OPI’ Tab 

Compress images 



‘OPI’ Tab 

Enable this parameter to compress the images created by the PDF or 

PS import process. This leads to a considerable reduction of file size. 

Please note, however, that compression prolongs the time required for 

converting the PDF/PS documents and – owing to the necessary decompression 

– also the time required for data output. 

Keep single-colored images 

If this option is enabled, single-colored images will be maintained as 

images and not interpreted as tints. 

Fig. 2-7 

‘OPI’ Tab (PDF/PS Input) 

Use OPI comments 

Use this option to replace low-resolution images in PDF and PostScript 

documents by the corresponding high-resolution images. 

OPI image replacement is supported for: 

• Documents with OPI comments created by layout programs such as 

QuarkXPress. 

OPI comments specify the path of the low-res images, usually TIFF 

and EPS files. Please refer to the user manual of the layout program 

for details on how OPI comments are created. 

• Low-res images created by the OPI systems listed below. 

These are EPS or TIFF images containing references to the high-res 

images. The images must therefore not be omitted when the Post- 

Script document is created. 





‘OPI’ Tab 


Supported OPI systems: 

• ORIS *) 

• Autologic 

• CanOPI (IPT) 

• Color Central (Luminous) 

• Helios *) 

• Image Express (GUSS) 

• InterSep (WAVE) 

• LayoutGenerator (DeltaTech) 

• Scitex APR 

• Xinet 

*) TIFF and EPS format supported (other systems: only EPS) 

Image Overview 

Use this parameter to specify the directories to be searched for high-res 

images which will replace the low-res images in PDF or PostScript files. 

To add a directory, select it using or , or enter it into the input box, 

then click the ADD button. The directory will be added to the list. 

If you click on MODIFY instead, the directory currently selected in the list 

will be replaced with the directory specified in the input box. 

Use the DELETE button to remove directories from the list. 

Automatic Search 

You may not have to specify any directory in this dialog, because the 

high-res images are searched automatically (see below). In some cases 

you may have to specify a part of the path name only, e.g. the drive letter. 

If the high-res images are not found, however, open the log file to find 

out where they are searched for and specify the directory here. 

The high-res images can be found automatically even if there are certain 

differences between the path names of the high- and low-res images. 

For example, one of the path names may have a different drive letter or 

use the syntax of another operating system (Mac OS/Windows). In this 

case you can set up rules that substitute parts of the image path name. 

For more details refer to Modifying OPI Image Path Names below. 

Searching Method 

High-res OPI images are searched for in the following way: 

1. The program identifies the image path name as follows: 

If the low-res image contains a reference to a high-res image, the 

path name of this high-res image is used. Otherwise the path name 

of the low-res image specified in the OPI comment of the PDF or 

PostScript document is used. 






‘OPI’ Tab 

Note: 

2. If you have defined substitution rules for OPI path names, the program 

will modify the path name accordingly. See also Syntax Description 

for ‘OPIPathRules.dat’ below. 

3. The program searches for the high-res image in this path. 

4. If the image is not found there, it searches the image in the directories 

specified with the IMAGE OVERVIEW parameter in this dialog. 

5. If the image is not found there, either, the first directory of the path 

specification is omitted and the rest of the path is interpreted as a 

directory. If again the image is not found, the second directory of the 

path is also omitted, etc. – Example: 

If an image is not found under C:\abc\pages\P001\image.tif, it will 

be searched under C:\pages\P001\image.tif, then under 

C:\P001\image1.tif and finally under C:\image.tif. 

6. If the image is still not found, the low-res image remains on the layout. 

You can configure the program to check for missing high-res OPI images 

using an option on the CHECK tab (see page 2-16). In ORIS Works, output 

will be canceled if this option is enabled and OPI images are missing. 

Modifying OPI Image Path Names 

The program is capable of automatically replacing low-res OPI images 

even if the path names of the high-res images are not exactly identical. 

A reference to Disk1:image.tif can also be resolved if the high-res image 

is stored under C:\abc\image.tif, for example. This requires certain 

parts in the path name to be replaced (Disk1: by C:\abc\ in this example). 

Depending on the software product used, rules for modifying OPI image 

path names are defined as follows: 

Edit the file OPIPathRules.dat which resides in the installation path. On 

Windows systems the default location is …\Program Files\CGS\CommonFiles\EXE. 

For more details refer to Syntax Description for ‘OPIPathRules.dat’ 

(page 2-24). Note that OPI replacement rules are used by all ORIS 

programs installed on your computer. 





‘Transparencies’ Tab 

‘Transparencies’ Tab 


Fig. 2-8 

‘Transparencies’ Tab (PDF/PS Input) 

Use overprint commands 

This option controls the interpretation of transparency and overprint 

commands in PDF and PostScript documents. 

• If disabled, transparency and overprint commands are ignored. All 

elements will be opaque. 

• If enabled, transparency and overprint commands are interpreted. 

This might produce invisible page elements if the transparency has 

been defined incorrectly in the DTP system. In this case you have to 

redefine the transparency of the invisible objects in the output document. 

Use trapping 

This option controls the interpretation of trapping commands, e.g. those 

created in QuarkXPress. If the option is disabled, trapping commands 

are ignored when converting the PostScript document. 

Complex transparency for overprinting grayscale 

images 

This option is only applied to grayscale images set to overprint in the 

PDF or PS file and only if the USE OVERPRINT COMMANDS option is enabled. 

The grayscale images will be set to transparent in cyan, magenta and 

yellow, and the black of underlying objects will be added to them. 

Example: 

If an overprinting grayscale image with 20% black is on top of a tint 

with the colors Y90 M100 C0 K10, the resulting density where the two 

layers intersect will be Y90 M100 C0 K30. 





Set grayscale images to overprint 


‘Check’ Tab 

Enable this option to set all grayscale images to transparent in cyan, 

magenta and yellow so that all background colors except black show 

through. This includes images which were not set to overprint in the DTP 

program that created the PS/PDF file and is independent of whether or 

not you have enabled the USE OVERPRINT COMMANDS option. 

Note: 

The background black will be added to all grayscale images if this option 

and the COMPLEX TRANSPARENCY FOR OVERPRINTING GRAYSCALE IMAGES 

option are both enabled. 


Apply overprint also to grayscale tints 

Enable this option if grayscale tints in a PDF or PS file which are defined 

in the so-called devicegray color space should overprint, if they are set 

to overprint in the PDF/PS file. 

According to the PDF/PS specification, transparency for tints defined in 

the grayscale color space is not allowed. Adobe RIPs comply with this 

specification and do not overprint in this case. Harlequin RIP does not 

comply with this specification and overprints. By enabling this parameter 

you simulate the behavior of a Harlequin RIP. 

Ignore overprint for process colors in PS files 

If this option is enabled, overprint settings made to process colors in 

PostScript files will be ignored, i.e. the process colors will knock out. 

Apply overprint to ICC-based CMYK tints 

Usually overprinting in PDF files is restricted to elements defined in the 

CMYK color space. If this option is enabled, however, tints defined by 

ICC profiles can also be set to overprint, provided that this does not 

produce any significant color change. Thus the results will be identical to 

those achieved with Adobe Acrobat. 

Use this tab to specify criteria for inspecting the PDF/EPS/PS files being 

processed (see page 2-14). There are additional options in a dialog that 

can be opened by clicking the MORE button. 

Depending on the software product used, the following occurs if a document 

fails to meet one or more of the specified requirements: 







A warning appears, but the document is imported. You can click the VIEW 

LOG button in the message box to open the log window (see Fig. 2-10). 

Fig. 2-9 

‘Check’ Tab (PDF/PS Input) 

Fig. 2-10 

PDF/PS Import Log with Preflight Check Warnings 




Preflight Check Criteria 



PDF, EPS and PS files can be checked for the following deficiencies: 

Missing Fonts 

The program checks whether the document uses fonts that cannot be 

found, because they are neither available on your computer nor embedded 

in your document. 


If Fonts are Unavailable... (page 2-21) 

Automatic Font Substitution (page 2-22) 

RGB Data 


The program checks whether the document uses images, tints, text and 

other elements defined in the RGB color space. 

This option also checks for RGB images which were converted to CMYK 

by QuarkXPress. This check can only be made if the PostScript file originating 

from QuarkXPress contains OPI comments. 

Note: 

The colors of RGB images separated automatically by QuarkXPress are 

usually of poor quality. The Quark CMS XTension, however, allows you 

to prevent this automatic separation or to control it using ICC profiles. 

Lab images 

The program checks whether the document uses images defined in the 

CIE Lab color space. 

Embedded ICC Profiles 

The program checks if PDF files contain objects defined in an ICC-based 

color space. 

Use of Hairlines 

The program checks whether the document contains objects defined as 

hairlines. 

See also Minimum width for lines (page 2-18). 

Overprinting White Tints 

The program checks whether the document contains any overprinting 

white tints. This check is not made for register and bleed marks. 







Note: 

Overprinting white tints may cause problems. If the USE OVERPRINT COM- 

MANDS option is enabled, these elements disappear and underlying objects 

become visible (see page 2-12). 

Using the option ALWAYS KNOCK OUT WHITE TINTS on the CORRECT tab 

(see page 2-18) you can specify that overprint commands for white tints 

should always be ignored. 

Other Colors Than K100 Overprinting 

The program checks whether other colors than K100 have been set to 

overprint in the files you are processing. 

Missing High-res OPI Images 

The program checks if the high-resolution images can be found when replacing 

low-res OPI images in the documents you are processing. 

The program tries to replace low-res images if the USE OPI COMMENTS 

option on the OPI tab is enabled (see page 2-9). 

Image Resolution Below/Above… 

The program checks whether the document contains images with a resolution 

below or above a certain value. Enter the threshold values into 

the respective input boxes. 

Fig. 2-11 

Additional Preflight Check Criteria 




Additional Preflight Check Criteria 

Color Values Exceeding...% 




This check applies to individual objects on a page such as a tint or image. 

• Tints – The program checks whether the total color density of all 

color separations of a tint exceeds the specified percentage value. 

• Images – First the program checks, for every pixel in an image, 

whether the total color density of all color separations exceeds the 

specified percentage value. Then it additionally checks whether the 

total of all pixels exceeding this value is larger than the specified 

area. Processing fails if both conditions are true. 

Page Size 

The program checks whether the page size of a document exceeds the 

specified width and/or height. 

Bleed Margins 

The program checks whether the bleed margins are smaller than the 

specified value. 

PDF Version 

The program checks whether the PDF version of a document is higher 

than specified. 

PDF/X Standard 

The program checks whether PDF documents comply with one of the 

following standards: 

• PDF/X-1a:2001 (ISO 15930-1) 

• PDF/X-3:2002 (ISO 15930-3) 

• PDF/X-1a:2003 (ISO 15930-4) 


For more details on these standards refer to http://www.pdfx3.org. 

Font Usage 

The program checks whether a particular font is used in a document. Enter 

the font name into the input box. 





‘Correct’ Tab 


Spot Color Usage 


The program checks whether any spot colors are used in a document. 

Spot colors inside images are also checked. 

Multiple CMYK equivalents 

The program checks whether there are several contradictory CMYK 

equivalents defined for the same spot color. 

Warnings During JPEG Decompression 

The program checks whether the documents use any JPEG images 

which may possibly be corrupted. This allows you to detect corrupted 

images caused by JPEG compression errors. 

Use of PDF 1.4 Transparencies 

The program checks whether any PDF 1.4 transparencies are used in 

the documents. 

Fig. 2-12 

‘Correct’ Tab (PDF/PS Input) 

Minimum width for lines 

Use this option to set all narrow lines to a fixed width. Enter 0.75 mm, for 

example, to set all lines that are narrower than 0.75 mm to a width of 

0.75 mm. Enter 0 if you do not want to modify any lines. 

See also Use of Hairlines (page 2-15). 

Always knock out white tints 

If this option is enabled, overprint commands specified for white tints are 

always ignored. This makes sure that white tints do not disappear if accidentally 

set to overprint. 







Note: 

Note: 

Using an option on the CHECK tab you can check whether such elements 

occur in a document (see page 2-15). 

Increase size of tints and image clipping paths 

During normal operation this option should always be disabled. 

When processing PDF files, enable this option if there are problems with 

white gaps between tints or composed images. The program will then 

slightly increase the tints and image clipping paths that are created internally 

when the files are imported. 

Increasing the size of tints may cause type to print slightly thicker, if the 

fonts on the page have been converted to paths in the DTP program. 

Convert RGB tints to CMYK 

If this option is enabled, RGB colors of tints and gradients will be converted 

to CMYK. 

Ignore checksum mismatch of… 

Use this option to specify what to do with PDF and PostScript files containing 

erroneous Flate compressed data. If enabled, these files are imported 

completely in spite of the compression error. If disabled, processing 

will be terminated with an error message. 

Repair faulty Illustrator gradients… 

Enable this option to correct erroneous gradients created with Adobe 

Illustrator. Note that any spot colors used in these gradients will be converted 

to CMYK if this option is used. 

Use Acrobat compatibility mode 

If this option is enabled, the program will handle certain problems in the 

same way as Acrobat 8 and later versions or as Acrobat 7 and earlier 

versions, respectively. If this option is disabled, the problems will be handled 

in the same way as Harlequin RIP. 

This applies to the following problems: 

• Undefined character codes 

Eliminated by Acrobat, output as squares by Harlequin RIP. 





Replacing Imported PDF/PS/EPS Files 

• Duplicate character codes 


Acrobat 7 and earlier versions use the first character definition, Acrobat 

8 uses the second definition, Harlequin RIP terminates with an error 

message. 

• Applying the correct filling rule on certain erroneous fonts 

Harlequin RIP produces either plain squares instead of characters or 

incorrectly filled characters, Acrobat corrects this error automatically. 

• CMYK color values are rounded by Acrobat in certain cases. 

As a result, certain color separations are sometimes interpreted as 

overprinting and disappear. Harlequin RIP, by contrast, does not 

modify any color values. 


The last PDF, PostScript or EPS document imported into an ORIS PDF 

Tuner layout can be replaced with another PDF/PS/EPS document. Proceed 

as follows: 

1. Select FILE | REPLACE PDF OR POSTSCRIPT. This opens the CREATE 

LAYOUT FROM PDF OR POSTSCRIPT DATA dialog. 

2. Select the document to be imported and specify the conversion parameters 

(see page 2-2). 

The PDF/PS/EPS file imported previously is removed from the ORIS 

PDF Tuner layout and the new file is imported. 

Editing Texts of Imported PDF or PS Documents 

To start the text editing function: 

1. Activate the text layer to be corrected (see page 16-1). Note that you 

can only correct one layer at a time. 

2. Select CORRECT TEXT in the MENU window. The Text Editor toolbar 

appears (see page 12-3). 

3. For more details refer to 

Editing Text and Typography (page 12-12) 

Modifying Text Layers (Overview) (page 12-18) 







Note: 

About Font Names 

When editing texts of imported PDF or PostScript documents, the correct 

fonts can only be used if they are installed on your system or embedded 

in the document (see below). 

The fonts installed on your system are only found if they have the same 

name as those used in the PDF/PS document. If the name of a Post- 

Script font in the document differs, it can be substituted automatically 

while the document is being converted. Refer to Automatic Font Substitution 

(page 2-22) for more details. 

No font name substitution is required, however, if a blank is used instead 

of a dash or vice versa. The names Formata Bold and Formata-Bold, 

for example, are regarded as identical. 

We recommend tools such as Macromedia Fontographer to transfer 

fonts from a Macintosh to a Windows system. 

About Embedded Fonts 

If a font is embedded, you have to add it into the ORIS PDF Tuner when 

importing the PDF/PS document. Only then is this font available for text 

editing. To import embedded TrueType and PostScript Type 1 fonts, enable 

the option INCLUDE EMBEDDED FONTS INTO PAGE on the PAGE tab of 

the PDF/PS input dialog (see page 2-7). 

You can also edit a text if a font subset is embedded only. In this case, 

however, you can only use the characters that are available in the text. 

A warning appears when starting the Text Editor to notify of this limitation. 

In the font list, font subsets are marked with a prefix consisting of 

an arbitrary string (see Fig. 2-13). 

Fig. 2-13 Windows Font Types in Font Selection List 

Fonts available on your system: 

• PostScript font 

• Ikarus font 

• TrueType font 

Font embedded in document 

Embedded font subset 

(prefixed with an arbitrary string) 

This figure shows how the different font types are represented in the 

font list of the ORIS PDF Tuner TEXT EDITOR toolbar (see page 12-3). 

If Fonts are Unavailable... 

If a font is not available when editing a text, ORIS PDF Tuner replaces it 

with another font. The substitute font is usually Helvetica for embedded 







fonts and Courier if the font was not embedded. A message appears if a 

font is replaced. Using the CORRECT TEXT function you can then select 

another font. 

Automatic Font Substitution 

The name of a font installed on your system may differ from that used in 

the PDF or PostScript document you are processing. For example, 

Incised901BT-Bold in the file and Helvetica Bold on your system. 

To overcome this problem, the program is capable of automatically replacing 

font names when importing or processing PDF and PostScript 

documents. 

Note: 

Note: 

Automatic font substitution is only supported for PostScript fonts, not for 

TrueType fonts. The substitute font must be available on the system. The 

substitution is only made if the original font is unavailable, i.e. neither 

embedded in the document nor installed on your system. 

The font substitution must be defined in the file PS_Font_Subs.dat 

which resides in the installation path of the ORIS software. The default 

location on Windows systems is …\Program Files\CGS\Common 

Files\Fontlib. The file contains a syntax description and examples. 

Having edited this file, you must restart the program. Note that the rules 

defined in PS_Font_Subs.dat will apply to all ORIS programs installed 

on your computer. 

Syntax Description 

Each line in this file defines a font substitution. The first name is the font 

to be substituted and the second name is the font to be used instead. If 

a font name contains blanks, it must be enclosed in double quotes. The 

font names are case-sensitive. Comment lines must begin with the character 

#. 

Examples: 

Incised901BT-Bold Helvetica-Bold 

"Incised901BT Bold" "Helvetica Bold" 

# Replaces the font Incised901BT-Bold with Helvetica- 

# Bold and Incised901BT Bold with Helvetica Bold. 

There may be cases where this font substitution does not work. Some 

DTP programs have their own font substitution coded into the PostScript 

file, so that the ORIS program does not have any chance to intervene 

and make the desired substitution. 






Miscellaneous 

Miscellaneous 

Gradients 

The ORIS program may not be able to recognize certain types of gradients 

in PostScript documents. In this case a number of adjacent tint layers 

are created. These tints differ slightly in color, thus providing the impression 

of a gradient. 

In ORIS PDF Tuner, all layers that constitute such a ‘gradient’ are marked 

with the letter G in the STATUS window. All layers marked up with G 

become part of the low-resolution (CT) portion when the layout is converted 

to another format. 

See also Layer Information in ‘Status’ Window (page 16-20). 

Layer Modification 

After importing a PDF or PS document into an existing layout, all layers 

created from this document can be modified as a group. All these layers 

are marked with a P in the STATUS window of active layers. See also To 

Activate all Layers of Imported PDF/PS/EPS Files (page 16-3). 

Images 

All images of a PDF/PS/EPS document converted into an ORIS PDF 

Tuner layout are stored in the same directory as this layout. 

If an image with the same name already exists in this directory, #n is added 

to the image name, where n is an ascending number. 

Example: MyImage.TIF −> MyImage#1.TIF 

The name Bn is used if the original image name is unknown, where n is 

an ascending number. Example: B1.TIF 

PostScript Page Size 

The header of a PostScript file contains a comment indicating the page 

size (%%BoundingBox). In some cases this information is incorrect. The 

PDF/PDF input dialog displays the incorrect page size (see page 2-2). 

ORIS PDF Tuner, however, automatically sets the page size to the correct 

value when importing the document. 

In this case the resulting ORIS PDF Tuner layout is not displayed entirely. 

Select VIEW | COMPLETE PAGE ( +0/CTRL+0) to display the entire layout. 





Syntax Description for ‘OPIPathRules.dat’ 

PostScript Printer Driver 

We recommend to use the ORIS PostScript Printer Description (PPD) 

file. The ORIS PPD creates PostScript documents which are perfectly 

suited for being edited with ORIS programs. You can download the PPD 

file from the CGS website http://www.cgs-oris.com. 

QuarkXPress 


Images With Transparent Background 

In QuarkXPress the background color of an image can be set to transparent 

by selecting the ‘color’ NONE. Due to an error in QuarkXPress, the 

edges of such images become jaggy in print and after conversion into 

ORIS PDF Tuner format. 

Version 4.04 

PostScript files created with QuarkXPress Version 4.04 may be erroneous, 

i.e. do not comply with PostScript conventions. When importing 

such files, the incorrect PostScript code is ignored and a warning is written 

to the log file. 

RGB–CMYK Conversion 

The colors of RGB images separated automatically by QuarkXPress are 

usually of poor quality. The Quark CMS XTension, however, allows you 

to prevent this automatic separation or to control it using ICC profiles. 


The file OPIPathRules.dat in the installation directory allows you to define 

rules for modifying OPI image path names (see page 2-11). 

You can add as many rules as you like. Each rule defines the path in 

which high-res images are searched, by replacing certain characters in 

the low-res image path. The substitution can be limited to images created 

by specific OPI systems or on specific operating systems. 

The syntax in this file is as follows: 

[ 

] 

These are positional parameters, i.e. you must always specify them in 

the order indicated above and without leaving any ‘gaps’. 






OPI image path name in which characters will be replaced with those 

specified for the parameter. Must be enclosed in double 

quotes and may contain the following wildcards: 

% Exactly one character. 

* Any number of characters or no characters at all. 

{ } One of the characters inside the curly braces. 

{- } One character except those inside the curly braces. 

\ Escape character, removes the special meaning of the character 

that follows immediately, so that this character represents 

itself. 

( ) Only the characters inside the parentheses will be replaced 

by the target path name. 

 

Characters which will replace the part of the OPI image path name which 

is put in parentheses. Must be enclosed in double quotes. 

 

[ REPEAT | ONCE ] 

Describes how the rule is applied. 

REPEAT 

ONCE 

 

[ ON | OFF ] 

Enables/disables a rule. Disabled rules will not be applied. To make a 

rule case sensitive, add the option CASE preceded by a comma. 

ON 

ON,CASE 

OFF 

 

[ ALL | MAC | PC | UNIX ] 


Rule is applied until no further match is 

found in the target name. 

Rule is only applied once. 

Rule is enabled and not case sensitive 

Rule is enabled and case sensitive. 

Rule is disabled. 






Indicates the operating system. The rule will only be applied to OPI images 

created on the specified operating system. ALL means no specific 

operating system. 

You can negate this parameter using a minus sign. For example, -MAC 

means all operating systems except Macintosh. 

 

[ ALL | PROXY | MAIN | AUTOLOGIC | CANOPI | COLORCENTRAL | DELTATECH 

| HELIOS | INTERSEP | IMAGEEXPRESS | ORIS | QUARK | SCITEX | XINET ] 

Indicates the OPI system. The rule will only be applied to OPI images 

created by the specified OPI system. 

ALL 

PROXY 

MAIN 

You can specify multiple creators separated by a comma and you can 

negate the list of creators using a minus sign. Examples: 

ORIS,HELIOS 

-ORIS 

-ORIS,HELIOS 

 

Comments describing the purpose of a rule must be enclosed in double 

quotes (" "). Additional comments may be inserted on separate lines preceded 

by a # symbol. 

Examples 


Any image 

Any image not created by an OPI system. 

Any image created by an OPI system. 

ORIS and Helios OPI systems only 

All OPI systems except ORIS 

All OPI systems, except ORIS and Helios 

"(Disk1:)*" "Z:\ " ONCE ON MAC PROXY "map Mac volume Disk1 

to PC drive Z" 

Changes the beginning of a path name from Disk1: to Z:\ for all images 

created on a Macintosh and not by an OPI system. 

"*(\\layout\\)*.*" "" ONCE ON ALL HELIOS "remove \layout\ 

from path for Helios OPI" 

Deletes the characters \layout\ from the first part of the path name 

of OPI images created by Helios on any operating system. The additional 

backslash prevents the backslash from being interpreted as an 

escape character. 







"(*abc*)" "Z:\abc\001" ONCE ON ALL ALL "rename complete 

paths if it contains 'abc' " 

Completely replaces all path names in which the characters abc occur 

at any position by the path Z:\abc\001. This rule is applied to all 

images. 

"*(_)*" "-" REPEAT ON -MAC MAIN "replace every underline 

with a dash for all images from OPI systems (except Mac)" 

Replaces every underscore in the path name by a dash. This rule is 

applied to all images created by an OPI system and on all platforms 

except Macintosh. 

"*_*(_)*" "-" REPEAT ON ALL ALL "replace every underline 

with a dash except for the first" 

Replaces every underscore in the path name except for the first by a 

dash. This rule is applied to all images. 

"(*)" "" ONCE ON ALL PROXY "ignore all OPI comments" 

Ignores all references to low-res images created by layout programs 

on any platform. Only references to high-res images are interpreted 

(i.e. only low-res images created by OPI systems are replaced). 











3 Exporting Layouts 

Restricted 

availability 

of output 

options 

Select FILE | EXPORT to convert an ORIS PDF Tuner layout to another 

format. You can also use this command to save a copy of the current 

layout under a new name (see page 5-5). This command opens the EX- 

PORT LAYOUT dialog. The parameters are organized on various tabs and 

will be explained in the following. 

Some parameters are only available with certain output formats, e.g. 

available for output in TIFF format, but unavailable for PDF output. Such 

restrictions are indicated in the left-hand margin. 

Fig. 3-1 

‘Export Layout’ Dialog 




Exporting Layouts 

General Notes on Export 


General Notes on Export 

Note on PDF output 

PDF and Flat PDF output require Acrobat Distiller to be installed on your 

system. The ORIS program first calculates a PostScript document and 

then automatically starts Distiller which converts it to PDF format. Distiller 

runs in the background and exits automatically when the conversion 

has finished. 

The parameters under SETTINGS | JOB OPTIONS in the Distiller program 

have no impact on the result. These parameters are supplied by the 

ORIS program. However, make sure to disable the FILE | PREFERENCES 

| ASK FOR PDF FILE DESTINATION option. Otherwise you will be prompted 

for the save location of every PDF file. 

Note on Flat PostScript Format 

Flat PostScript provides a high level of production reliability, avoids font 

problems and ensures predictable file sizes. Flat PostScript format is 

only suited for pages that will be output directly. Do not use this format 

for pages that will be further processed by another system. 

Note on EPS and DCS Files 

So-called Page EPS files can only be converted into (non-flat) PDF, PS 

and EPS format. If Page EPS files are output in another format, the lowres 

preview will be used only. You can also define that output is canceled 

in this case (only for Flat PDF/PS/EPS output, see page 3-15). 

DCS files (separated EPS files) can only be converted into separated 

PDF, EPS or PS files. Composite output is not supported for DCS files. 

This restriction does not apply to ORIS Works. 

See also ‘Image EPS’ and ‘Page EPS’ Files (page 20-21). 

Note on Spot Colors 

Please note the following for output formats which support spot colors: 

A maximum of 12 spot color separations can be created for low-res elements 

(images and gradients). The same restriction applies to high-res 

elements (tints, text, linework) when converting to Flat PDF/PS/EPS, 

TIFF or TIFF/IT format. 

The number of spot color separations is not limited for high-res elements 

converted to (non-flat) PDF, PostScript or EPS format. 




Note on Linework Colors 


General Export Parameters 

Pages with more than 255 colors in linework, text or tint elements can 

only be exported to the following formats: 

• PDF, PostScript, EPS (including the flat formats) 

• Scitex Handshake with *.NLW file 

• TIFF/IT or Scitex Handshake without *.LW file 

• TIFF and JPEG 

The maximum number of linework colors supported for Flat PostScript 

format is limited to 65536. 


Output format 


Select the format to which you want to convert the ORIS PDF Tuner 

layout. The following output formats are available: 

• PDF 

• Flat PDF 

• PostScript 

• Flat PS 

• EPS or DCS 

• Flat EPS or DCS 

• JPEG 

• TIFF 

• TIFF/IT * 

• Scitex Handshake * 

Use EXPORT A COPY to save the current layout under a new name without 

opening the duplicate. Specify the new path name using the TARGET DI- 

RECTORY box (see also page 5-5). The current layout will be saved automatically 

in order to achieve consistency. 

The formats marked with an asterisk (*) require a separate software 

license (see also page 32-17). If you have not acquired the license, the 

respective output format is grayed out. 

Layout name 

Use this option to specify the name of the ORIS PDF Tuner layout to be 

converted. The name of the current layout is used by default. 

Destination 

Use this option to specify the file name and save location of the page to 

be created. The name of the current ORIS PDF Tuner layout and the file 

extension of the new document format are used by default. 







This input box is grayed out if you have selected EXPORT A COPY. In this 

case use the TARGET DIRECTORY box (see also page 5-5). 

Profile 

Use this list to select an export profile, i.e. a set of stored export settings. 

For each output format there is a profile named STANDARD with default 

settings. This profile can neither be modified nor deleted. 

Click SAVE AS to save the current export settings as a profile. This is useful 

if you frequently use the same or similar settings. If the SAVE AS button 

is not visible, click on EXPAND >>> beforehand. 

If you modify the parameters of a profile, this will only apply to the conversion 

process started next. The profile itself will not change. The profile 

name disappears if you have changed at least one parameter. 

Expand >>>/Collapse > and COLLAPSE > the label of the button 

changes to COLLAPSE



‘Color Correction’ Tab 

OK 

In ORIS PDF Tuner, clicking OK in the EXPORT LAYOUT dialog will immediately 

start the conversion process. 

A window indicating the progress of this conversion appears. In this window 

you can click the VIEW LOG button to display the logged messages 

or CANCEL if you want to terminate the process immediately without creating 

any output. The message CONVERSION HAS FINISHED indicates that 

the process has completed successfully. 

Fig. 3-2 

Export Progress Window 

The log window records any messages produced during the conversion 

process. You can enlarge this window to read more conveniently. Use 

the SAVE button to save the logged messages to a file. Click STATUS to 

display the progress window again. Click OK to close this window. 

Fig. 3-3 

Export Log Window 


Use this tab to color-match your documents by applying an ORIS_DAT 

color table or ICC profiles. 







Fig. 3-4 

‘Color Correction’ Tab (‘Export Layout’ Dialog) 

ORIS color table/ICC profiles 

Enable one of the following options to select the color matching method: 

NO COLOR CORRECTION OF CMYK IMAGES… 

With this method CMYK colors will not be changed and a standard 

separation table will be used for converting RGB colors to CMYK. 

ORIS COLOR TABLE 

Use this method to color-match your documents using an ORIS_DAT 

color table. This is a file created with ORIS Color Tuner which makes 

an RGB–CMYK and (optionally) a CMYK–CMYK’ transformation. 

ORIS_DAT files for ORIS Press Matcher and ORIS Ink Saver can be 

downloaded from the CGS web site http://www.cgs-oris.com. Using 

these files requires a software license for the respective ORIS products. 

ICC PROFILES 

To use ICC profiles for color matching, enable this option, then click 

the ICC PARAMETERS button. This opens a dialog for specifying the 

profiles characterizing the input and output color space. 

Color correct images only 

If this option is enabled, the color correction will only be applied to CT 

images. Tints, gradients, text and linework elements will not be modified. 

No color correction on overprinting tints 

Enable this option if the color correction should not be applied to overprinting 

tints. 







The color values of overprinting tints will be merged with those of underlying 

elements during the conversion process. This modifies the original 

color values. Color corrections applied to these modified colors usually 

produce unsatisfactory results – which you can prevent by enabling this 

option. 

Keep K100 of tints and… 

This option affects text and tint objects with a color composed of 100% 

black and amounts of CMY. If this option is enabled, the color correction 

will be applied to the CMY values only. K100 will remain unchanged. 

Example: C86 M85 Y79 K100 may change to C50 M42 Y44 K100, but 

not to C50 M42 Y44 K97 when this option is enabled. 

Note: 

In ORIS Press Matcher, enable this option to preserve solid black type. 

In ORIS Ink Saver, make sure this option is disabled. 

No color correction on marked layers 

This option is only relevant for pages created with ORIS PDF Tuner. 

With this program individual layers (e.g. images) can be flagged using 

the MARK function in the MENU window (see page 16-17). Enable this 

option to prevent such layers from being color corrected. 

No color correction on K100 fonts 

Use this option to exclude type from color correction, if the type contains 

an amount of 100% black. We recommend to enable this parameter if 

fonts are converted into paths unintentionally. 

PS, PDF, 

Flat PS, Flat 

PDF, TIFF, 

Flat EPS 

Spot color correction via *.SCG file 

If this option is enabled 

Spot colors will be corrected independently of CMYK process colors. 

This is done by a separate color table, a so-called spot color correction 

file (*.SCG). SCG files can be created with ORIS Color Tuner. 

The CMYK values defined in SCG files have been calculated from the 

device-independent Lab values and the data characterizing the output 

device (e.g. ICC profile). 







If this option is disabled 

Spot colors will be corrected using the specified ORIS COLOR TABLE or 

ICC PROFILES. This means the same color table or ICC profiles are used 

for correcting spot colors and CMYK process colors. 

In this case the colors to be corrected are the CMYK equivalence values 

defined in the document itself, or – if not defined there – the CMYK values 

defined in the ORIS spot color libraries (*.OSC) in the installation 

path …\Program Files\CGS\Common Files\CC. If no CMYK equivalence 

values can be found for a spot color, it will be printed in a green tone. A 

different shade of green is used for every spot color. 

Company-specific spot colors which are not defined in any *.OSC file 

should be entered into the file Private.OSC. To do so in ORIS Works, 

select | INPUT PROPERTIES | REPLACEMENT RULES | REPLACE SPOT 

COLORS WITH PROCESS COLORS. 

Fig. 3-5 

‘ICC Parameters’ Dialog 

‘ICC Parameters’ Dialog 

Use this dialog to select the ICC input and output profiles to be used for 

color matching your documents. 

Output Color Space 

Use these parameters to define the output color space for color corrections 

based on ICC profiles. 







Use output profile embedded in PDF file 

PDF documents may have an ICC output profile embedded. If this option 

is enabled, this profile is automatically used as output profile for the color 

space transformation. 

This option is only available if the current layout was created from a PDF 

document with an embedded ICC profile. When importing the PDF file, 

the profile is extracted and stored with the layout. 

Note: 

The USE OUTPUT INTENT EMBEDDED IN PDF FILE option on the DATA 

FORMAT tab (available if PDF/X files are created, see page 3-19) merely 

embeds the ICC profile in the output document. This means the color 

correction will be calculated by the output device. 

All except 

(not-flat) PS, 

PDF, EPS 

Apply additional output profile 

Enable this option to match the embedded ICC output profile of a PDF 

document with another output profile. You can use this functionality for 

simulating the colors produced on the intended output device when 

printing on an inkjet printer, for example. 

Do the following to match the two output profiles: 

1. Enable the USE OUTPUT PROFILE EMBEDDED IN PDF FILE option and 

also the APPLY ADDITIONAL OUTPUT PROFILE option. 

The second option is only available if the first has been enabled. 

2. Specify the additional output profile using the PROFILE NAME option 

(e.g. the ICC profile characterizing your inkjet printer). 

3. Set the RENDERING INTENT to PERCEPTUAL (IMAGE). 

4. Set the EMBEDDED PROFILES option to APPLY IF EXISTING, ELSE NO 

COLOR CORRECTION. 

The APPLY ADDITIONAL OUTPUT PROFILE option is only available if a layout 

created from a PDF file with an embedded output profile is converted 

into one of the output formats mentioned above. 

Profile name 

Specify the ICC profile characterizing the output color space, e.g. that of 

a printing process or a standard color space such as SWOP or FOGRA. 

• If APPLY ADDITIONAL OUTPUT PROFILE is enabled, specify the output 

profile to be matched with the output profile embedded into the PDF 

file. 







• If USE OUTPUT PROFILE EMBEDDED IN PDF FILE is disabled, specifying 

an output profile is mandatory, i.e. the input box cannot be left 

empty. 

Note: 

The output color space specified on the PAGE tab (see page 3-36) will be 

changed automatically if it does not match that of the output ICC profile. 

Rendering intent 

The rendering intent defines the way colors are mapped from one color 

space to another. Please note the following if there are images with embedded 

ICC profiles in your documents: 

• If the APPLY ADDITIONAL OUTPUT PROFILE option is disabled, the rendering 

intent defines the way colors are mapped to the color space 

of an embedded ICC profile. 

The program will automatically set the rendering intent individually for 

every image as defined by the embedded ICC profiles. 

• If APPLY ADDITIONAL OUTPUT PROFILE is enabled, the rendering intent 

defines the way colors are mapped to the additional output profile. 

In this case select a rendering intent. We recommend PERCEPTUAL. 

The meaning of the other settings is explained in the Glossary (see 

page 33-4). 

Apply additional ORIS color table 

Enable this option if you want to specify an ORIS_DAT color table in addition 

to the ICC profiles. Then use the next option below to select the 

color table. 

This allows you to first correct the images in a document using the embedded 

ICC profiles or ICC profiles specified by the user and then, in a 

second pass, apply an overall color correction using an ORIS color table. 

Input Color Space 

Use these parameters to define the input color space for color corrections 

based on ICC profiles. 

Grayscale, RGB and CMYK 

Use these parameters to specify the ICC profiles characterizing the device 

(e.g. scanner or digital camera) used for creating the images you 

are correcting. You can specify separate profiles for GRAYSCALE, RGB 

and CMYK images. 

Specifying input ICC profiles is not mandatory. If you leave an input box 

empty, no color correction will be applied to images of the respective 






‘Color Correction’ Tab (PDF–PDF) 

type (unless made by an embedded profile). Whether or not the specified 

ICC profiles are applied depends on the EMBEDDED PROFILES option. 

Embedded profiles 

Use this option to decide how images with embedded ICC profiles will 

be handled. 

APPLY IF EXISTING, ELSE APPLY DEFAULT PROFILE 

If an ICC profile is embedded, this profile is used as input color space. 

If no profile is embedded, the default profile specified above (using 

the GRAYSCALE, RGB or CMYK parameter) is used for this image. 

IGNORE AND APPLY DEFAULT PROFILE 

Only the default profiles specified above are used as input color 

space. Embedded profiles are ignored. 

APPLY, CANCEL OUTPUT IF NOT EXISTING FOR ALL IMAGES 

Only images with embedded profiles are processed. If there are any 

images without embedded profiles, output is cancelled with an error 

message. 

TIFF, JPEG 

only 

APPLY IF EXISTING, ELSE NO COLOR CORRECTION 

If an ICC profile is embedded, this profile is used as input color space. 

No color correction is applied to images without embedded profiles. 

Embed profile 

Enable this option to embed the output ICC profile. This is either the embedded 

output intent of a PDF file or the specified output color space. 

Apply values from system settings 

Click this button to apply the ICC color management settings made with 

the FILE | SYSTEM SETUP | ICC PROFILES command (see page 30-1). The 

same ICC profiles and rendering intents are then also used for colormatching 

the files you are converting. You can change these settings in 

this dialog. 


ORIS hotfolders 

only 

Predefined PDF-PDF hotfolders leave PDF files unchanged and only 

make color corrections using an ORIS_DAT color table or ICC profiles. 

If the color correction is switched off, RGB colors are converted to CMYK 

only. 

We recommend to use this hotfolder for converting the colors of PDF 

documents using ORIS Ink Saver and ORIS Press Matcher. Conversion 







with this new hotfolder is very fast and usually prevents transparency 

problems. 

Fig. 3-6 

‘Color Correction’ Tab (PDF–PDF Hotfolders) 


Use these options to convert your PDF documents to another color 

space. The options have the following meaning: 

PROCESS AND SPOT 

COLOR 

CMYK 

RGB 

BW 

Spot colors are output as spot colors, all other colors are converted 

to CMYK. 

Conversion to CMYK. Spot colors are converted to process 

colors. 

Conversion to RGB 

Conversion to grayscales (8 bit) 

Correction Method 

Enable one of the following options to select the color matching method: 

NO COLOR CORRECTION OF CMYK IMAGES… 

With this method CMYK colors will not be changed and a standard 

separation table will be used for converting RGB colors to CMYK. 

ORIS COLOR TABLE 

Use this method to color-match your documents using an ORIS_DAT 

color table. This is a file created with ORIS Color Tuner which makes 

an RGB–CMYK and (optionally) a CMYK–CMYK’ transformation. 

ORIS_DAT files for ORIS Press Matcher and ORIS Ink Saver can be 

downloaded from the CGS web site http://www.cgs-oris.com. Using 

these files requires a software license for the respective ORIS products. 







ICC PROFILES 

To use ICC profiles for color matching, enable this option, then click 

the ICC PARAMETERS button. This opens a dialog for specifying the 

profiles characterizing the input and output color space. 

No color correction on grayscale objects 

If this option is enabled, the color correction will not be applied to PDF 

page elements defined in grayscales. Grayscale elements will not be 

changed in color. 

No color correction on RGB objects 

If this option is enabled, the color correction will not be applied to PDF 

page elements defined in RGB colors. RGB elements will not be 

changed in color. 

Spot color correction via *.SCG file 

If this option is enabled 

Spot colors will be corrected independently of CMYK process colors. 

This is done by a separate color table, a so-called spot color correction 

file (*.SCG). SCG files can be created with ORIS Color Tuner. 

The CMYK values defined in SCG files have been calculated from the 

device-independent Lab values and the data characterizing the output 

device (e.g. ICC profile). 

If this option is disabled 

Spot colors will be corrected using the specified ORIS COLOR TABLE or 

ICC PROFILES. This means the same color table or ICC profiles are used 

for correcting spot colors and CMYK process colors. 

In this case the colors to be corrected are the CMYK equivalence values 

defined in the document itself, or – if not defined there – the CMYK values 

defined in the ORIS spot color libraries (*.OSC) in the installation 

path …\Program Files\CGS\Common Files\CC. If no CMYK equivalence 

values can be found for a spot color, it will be printed in a green tone. A 

different shade of green is used for every spot color. 

Color correct images only 

If this option is enabled, the color correction will only be applied to CT 

images. Tints, gradients, text and linework elements will not be modified. 





‘Control’ Tab 


Keep K100 of tints and… 

This option affects text and tint objects with a color composed of 100% 

black and amounts of CMY. If this option is enabled, the color correction 

will be applied to the CMY values only. K100 will remain unchanged. 

Example: C86 M85 Y79 K100 may change to C50 M42 Y44 K100, but 

not to C50 M42 Y44 K97 when this option is enabled. 

Note: 

In ORIS Press Matcher, enable this option to preserve solid black type. 

In ORIS Ink Saver, make sure this option is disabled. 

‘Control’ Tab 

Fig. 3-7 

‘Control’ Tab (‘Export Layout’ dialog) 

Cancel Output if... 

These options allow you to check your files for certain deficiencies: 

• Image resolution lower than specified here 

• Use of RGB images 

• Missing images 

• Missing masks 

• Missing ORIS_DAT color table (see page 3-5) 

If one or more of these deficiencies are detected, the file conversion 

process is canceled and the job fails. In this case you should consult the 

log file for further information. Do this as follows: 

In ORIS hotfolders, click on the button. In ORIS PDF Tuner, click on 

the VIEW LOG button in the EXPORT LAYOUT window (see also page 11-5). 






‘Data Format’ Tab (PS, EPS, Flat PS, Flat EPS) 

All except 

(not-flat) PS, 


Page EPS 

When processing documents with Page EPS files (see page 33-4), you 

can only output the original (high-res) EPS data if the output format is 

PostScript, EPS or PDF. Use these options to specify what to do if a 

different output format is used: 

• Cancel processing (no output) 

• Use the (low-res) EPS preview (if any) 


Fig. 3-8 

‘Data Format’ Tab (‘Export Layout’ Dialog) 

Linework 

Use this parameter to select the output format for the following elements: 

• Linework and 1-bit images 

• Pixel masks created with ORIS PDF Tuner 

• Text, tints and other high-resolution elements (only when converting 

to flat output formats) 

Choose between the following linework formats: 

• BITMAP – CCITT Group 4 compressed bitmap format. 

• TILES – Linework is split up into many small rectangles. 

• RUNLENGTH – Run-length encoded (compressed) bitmap format. 

• PATH – A filled path is created for every coherent color area. 

The linework format may have an impact on the time required for the 

data conversion in the ORIS program (slowest with PATH), the size of the 

output document (depends on file contents) and the time required for 

data output (depends on resolution). 

Which linework format is best to use depends on many factors. Usually 

BITMAP provides the best results. We strongly recommend this format 







when using ORIS pixel masks. Otherwise try the other formats in the order 

listed above. 

Notes: 

We only recommend to use the linework format PATH if PS documents 

are supposed to be edited on another system (i.e., not output directly). 

In ORIS PDF Tuner you can reduce file size by reorganizing linework 

graphics before placing them on a layout (see page 26-9). 

All except 

Flat EPS/PS 

Gradients 

This option defines the internal format to be used for gradients: 

• IMAGE – Gradients are created as images. 

This increases output quality, but also file size and RIP times. 

• POSTSCRIPT – Gradients are created in PostScript code. 

This creates a more compact code and therefore shorter RIP times. 

Spot color gradients can only be output in PostScript code if you set 

the PostScript language to PostScript Level 3 (see page 3-17). 

Linear gradients created with ORIS PDF Tuner can only be output in 

PostScript code if all base points are located on a straight line. We 

recommend to use guides when creating such gradients (see 

page 10-2). 

Embed PostScript Fonts 

All except 

Flat EPS/PS 

If this option is enabled, all PostScript fonts used in the documents being 

processed will be embedded in the output documents. This increases file 

size, but ensures that the documents can be output correctly even if the 

fonts are not installed on the output device. 

TrueType, OpenType and other non-PostScript fonts are always embedded 

in the output document, regardless of how this option is set. This is 

also true when exporting ORIS PDF Tuner layouts that use PostScript 

fonts which are no longer available on the system. 

Convert fonts to paths 

All except 

Flat EPS/PS 

If this option is enabled, all fonts will be converted to PostScript paths. 

This may increase file size considerably, depending on the amount of 

text used in a document. 

This option should only be used if font problems occur during output that 

cannot be solved otherwise. 







Texts with multiple colors will be output in the color of the first character. 

To avoid this, create a separate layer for each color. 

All except 

Flat EPS/PS 

Use page size 

This option should usually be left enabled. This causes the current page 

size to be written into the code of the PDF or PostScript document you 

are creating. 

Some older PostScript printers allow you to output specific page formats 

only. If the document size does not exactly match one of these formats, 

the printer produces an error message and output has to be relaunched 

manually. Disable the USE PAGE SIZE option if this problem occurs. 

PostScript 

Use this parameter to select the PostScript language version to be used 

for the output documents: LEVEL 2 or LEVEL 3. 

If you are sure that your output device supports PostScript Level 3, you 

should use this version. It creates a more compact PostScript code than 

Level 2. This may speed up data output, above all if Flat PostScript files 

are used. 

Note: 

When creating composite Flat PostScript documents with spot colors 

and LZW compression you should select PostScript Level 2, if you plan 

to output the documents on Harlequin RIP. Harlequin RIP seems to be 

unable to process the PostScript Level 3 LZW compression used for 

spot color separations, even if the RIP is set up for PostScript Level 3. 

Data format 

PostScript, EPS and PDF files can be ASCII or BINARY coded. Usually binary 

encoding is advisable. Only use ASCII encoding if errors occur during 

data transfer to the output device. This increases file size slightly. 

All except 

Flat EPS/PS 

Minimum path size 

Use this option if paths below a particular size should be omitted from 

the output document. Enter 2, for example, to omit paths which are 

smaller than 2 pixels. Enter 0 if you do not want to omit any paths. 

This option allows you, for example, to automatically suppress individual 

missing pixels in linework scanned with dust or scratches, or unwanted 

scattered pixels resulting from automatic masking in ORIS PDF Tuner. 







This affects linework if created in PATH format (see page 3-15), pixel 

masks converted to paths and cut-outs positioned in ORIS PDF Tuner. 

Note: 

You should use this parameter only for the purpose indicated, otherwise 

you may incur unwanted data loss. 

Flat EPS/PS 

only 

Note: 

Flat PDF/PS/ 

EPS only 

Compression 

Use this parameter to compress the CT portion of the Flat PS/EPS document, 

thus reducing file size. You can choose between the compression 

methods LZW (lossless) and JPEG (lossy). 

When creating composite Flat PostScript documents with spot colors 

and LZW compression you should select PostScript LEVEL 2, if you plan 

to output the documents on Harlequin RIP. Harlequin RIP seems to be 

unable to process the PostScript Level 3 LZW compression used for 

spot color separations, even if the RIP is set up for PostScript Level 3. 

Create white tints underneath K100 linework... 

This option should usually be left disabled. 

Some RIPs erroneously set solid black linework elements to overprint, 

although this has not been defined in the document. If this option is enabled, 

a white tint will be created under every K100 linework area. This 

makes sure these elements will not overprint. 

Creating white tints may considerably prolong RIP processing times, 

depending on the number and arrangement of K100 tints on a page. 





‘Data Format’ Tab (PDF, Flat PDF) 



Fig. 3-9 

‘Data Format’ Tab (PDF) (‘Export Layout’ Dialog) 

PDF/X 

Use this parameter if the output documents should comply with one of 

the following PDF/X standards: 

• PDF/X-1A:2001 (ISO 15930-1) 


• PDF/X-1A:2003 (ISO 15930-4) 


The program will automatically change the settings in this dialog so that 

all of them are in accordance with the selected PDF/X standard. This includes 

the following settings: 

• Composite output (no separated data) 

• All fonts embedded 

• All images embedded (none replaced by OPI comments) 

• No RGB images, only CMYK, grayscales and spot colors 

• No LZW image compression 

• Files are created in a specific PDF version 

• ICC output profile must be embedded (see OUTPUT INTENT below) 

For more information on PDF/X refer to http://www.pdfx3.org. 

Data format 

PostScript, EPS and PDF files can be ASCII or BINARY coded. Usually binary 

encoding is advisable. Only use ASCII encoding if errors occur during 

data transfer to the output device. This increases file size slightly. 







Note: 

PDF version 

Select the PDF version to be used for the output documents. Every PDF 

version corresponds to a version of Adobe Acrobat. 

If you create PDF/X files, the PDF version is set automatically in accordance 

with the selected PDF/X standard. You may select a lower version 

in some cases. 

Make sure not to select an Acrobat version that is higher than the Distiller 

version installed on your computer. Otherwise the PDF version will be 

set automatically by Distiller. It may be different to the PDF version selected 

in the ORIS program. 

Linework 

See page 3-15 for details on this parameter. 

PDF only 

Flat PDF 

only 

All except 


Gradients 

See page 3-16 for details on this parameter. 

Compression 

Use this parameter to compress the images used in a Flat PDF documents, 

thus reducing file size. The following methods are available: 

• ZIP (lossless) 

• JPEG (lossy) 

• JPEG2000 (not available for PDF/X) 

Embed PostScript fonts 

If this option is enabled, all PostScript fonts used in the documents being 

processed will be embedded in the output documents. This increases file 

size, but ensures that the documents can be output correctly even if the 

fonts are not installed on the output device. 

TrueType, OpenType and other non-PostScript fonts are always embedded 

in the output document, regardless of how this option is set. This is 

also true when exporting ORIS PDF Tuner layouts that use PostScript 

fonts which are no longer available on the system. 

When creating PDF/X-3 documents, this option is enabled automatically. 





Convert fonts to paths 



All except 


If this option is enabled, all fonts will be converted to PostScript paths. 

This may increase file size considerably, depending on the amount of 

text used in a document. 

This option should only be used if font problems occur during output that 

cannot be solved otherwise. 

Texts with multiple colors will be output in the color of the first character. 

To avoid this, create a separate layer for each color. 

Create white tints underneath K100 linework… 


only 

This option should usually be left disabled. 

Some RIPs erroneously set solid black linework elements to overprint, 

although this has not been defined in the document. If this option is enabled, 

a white tint will be created under every K100 linework area. This 

makes sure these elements will not overprint. 

Creating white tints may considerably prolong RIP processing times, 

depending on the number and arrangement of K100 tints on a page. 

Output Intent 

When creating PDF/X documents specifying the output intent is mandatory. 

This term refers to the color characteristics of the intended output 

device associated with the PDF document. These characteristics are defined 

by means of an ICC profile and (optionally) two descriptive texts. 

The profile and the texts are both embedded in the PDF document. 

The ICC profile is required to ensure the correct rendering of CMYK colors 

if a PDF document is not output on the device it was intended for. 

This is the case, for example, when a PDF file created for a particular 

offset process is output on a proof printer or displayed on a monitor. 

Note: 

The ICC profile does not modify the color data. It is merely a piece of information 

about the output process intended to be used for the PDF document. 

To use ICC profiles for making color space transformations during the file 

conversion process, use the options on the COLOR CORRECTION tab (see 

page 3-5). 





‘Data Format’ Tab (TIFF, TIFF/IT) 

Use output intent embedded in PDF file 

PDF documents may have an ICC output profile embedded. When you 

process PDF files and this option is enabled, the embedded profile is 

automatically used for describing the output intent of the PDF/X file. The 

same is true for any textual information on the output intent. 

Please note that this profile is only a piece of information and does not 

modify the color data – in contrast to the USE OUTPUT PROFILE EMBEDDED 

IN PDF FILE option in the ICC PARAMETERS dialog on the COLOR CORREC- 

TION tab (see page 3-9). See also Output Intent above. 

This option is only available if the current layout was created from a PDF 

document with an embedded ICC profile. The profile is extracted during 

PDF import and stored with the layout. 

ICC profile, Description, Information 

Use these parameters to define the output intent of the PDF/X file. This 

includes the following specifications: 

ICC PROFILE 

Profile characterizing the intended output device associated with the 

PDF/X document. Note that this is only an information which does not 

make any changes to the color data. See also Output Intent above. 

DESCRIPTION 

Textual description of the output conditions (optional). 

INFORMATION 


Additional notes for the recipient of the PDF/X document (optional). 


Fig. 3-10 

‘Data Format’ Tab (TIFF) (‘Export Layout’ Dialog) 

TIFF/IT only 

TIFF/IT 

Use this option to select a subset of the TIFF/IT standard for the output 

documents. The following settings are available: 




• P1 



Creates documents that comply with the TIFF/IT-P1 standard (no 

compression allowed). 

• P2 

Creates documents that comply with the TIFF/IT-P2 standard, which 

allows compression. However, spot color output is not yet supported. 

• LINOTYPE/HELL 

Use this setting for documents that will be further processed by 

Linotype/HELL systems. These systems may require additional information 

in the TIFF/IT documents. However, this causes the documents 

to be no longer TIFF/IT P1 or P2 compliant. 

• P1 (NO LONG RUNS) 

Use this setting for documents that will be further processed by 

DaVinci systems. Output documents will be TIFF/IT-P1 compliant, 

but the LW file is created in a different format (without any ‘long runs’). 

DaVinci systems do not seem to support TITT/IT linework with socalled 

‘long runs’, although ‘long runs’ comply with the P1 specification. 

Note that the size of the LW file increases if this setting is used. 

Image compression 

Use this parameter to compress the TIFF output file or the CT portion of 

TIFF/IT-P2 documents. You can select between the following methods: 

• LZW (lossless) 

• ZIP (lossless) 


Use the QUALITY and FILE SIZE parameters to select the JPEG compression 

level. 

Quality 


Determine the JPEG image quality by either entering a number or selecting 

a quality level from the list: 

LOW 0–4 

MIDDLE 5–7 

HIGH 8–9 

MAXIMUM 10–12 

The lower the quality, the higher the compression level and the smaller 

the file size. 







File Size 

Drag the slider to the left to increase the JPEG compression level. This 

reduces file size at the expense of quality. Drag the slider to the right to 

reduce the compression level. This increases image quality, but also file 

size. 

TIFF only 

LW compression 

This option is only available when creating monochrome TIFF files, i.e. 

linework files with one color (solid black). In this case you can compress 

the linework using one of the following methods: 

• HUFFMAN RLE 

• CCITT GROUP 3 

• CCITT GROUP 4 

• PACKBITS (Macintosh RLE) 

Use the parameter OUTPUT IN/CONVERT TO/KEEP ORIGINAL (see page 

3-36) on the PAGE tab to select the output color space. 


Fig. 3-11 

‘Images’ Tab (EPS) (‘Export Layout’ Dialog) 

PDF, EPS, 

PS only 

Reduce image resolution 

If the resolution of an image differs from the output resolution, it must be 

resampled. The same is true for images on ORIS PDF Tuner layouts 

which have been transformed, set to transparent, soft-edged or trapped. 

• If the REDUCE IMAGE RESOLUTION option is disabled, the program will 

output such images in their original resolution. The images will then 

only be resampled by the output device (RIP). 







• If this option is enabled, the image resolution will be reduced to the 

output RESOLUTION specified on the PAGE tab (see page 3-31). This 

may reduce file size, but the images have to be resampled. 

Note that the resolution is not increased if it is lower than the output 

resolution. Use the ADJUST IMAGES TO OUTPUT RESOLUTION parameter 

for this purpose. 

Note: 

Resampling an image usually results in a loss of quality. This can be 

compensated by means of interpolation and sharpening (see below). 

When positioning an image in ORIS PDF Tuner, you can automatically 

set the image resolution to the expected output resolution. For more 

details refer to Scaling Images to Original Size (page 19-9). 


PS only 

Note: 

Adjust images to output resolution 

Enable this option to set the resolution of all images to the output RESO- 

LUTION specified on the PAGE tab. 

This option is similar to the REDUCE IMAGE RESOLUTION option, but also 

allows the image resolution to be increased if it is lower than the output 

resolution. Note that this also increases the size of the output documents 

and reduces image quality. 

Interpolate images 

Use interpolation to improve the quality of images that are resampled to 

a different resolution. Select the interpolation method to be used: 

• NO – No interpolation, lowest image quality. There may be artefacts 

such as jagged edges (stairstepping) or missing lines. 

• LINEAR – Better image quality, but conversion times are longer. 

• CUBIC – Best image quality, but considerably longer conversion 

times (up to 16 times longer than with linear interpolation). 

When creating PDF, EPS or PS documents, this parameter is only available 

if the REDUCE IMAGE RESOLUTION or ADJUST IMAGES TO OUTPUT RES- 

OLUTION option is enabled. 








PS only 


PS only 

Compression 

Use this parameter to compress the images used in the document, thus 

reducing file size. The following methods are available: 

• JPEG (lossy) – Use the QUALITY and FILE SIZE parameters to select 

the JPEG compression level. 

• JPEG2000 (lossy; for PDF only, not for PDF/X) 

The temporary PostScript file will be created with LZW compression 

(lossless) and then JPEG2000-compressed by Acrobat Distiller. 

• LZW (lossless, not for PDF and PDF/X) 

• ZIP (lossless, for PDF and PDF/X only) 

Quality 



LOW 0–4 

MIDDLE 5–7 

HIGH 8–9 




File Size 


PS only 

Note: 




size. 

Sharpen images 

The program is capable of automatically sharpening images. This option 

allows you to switch the sharpening function on and off. 

Use this function if your images lack sharpness, e.g. because they have 

been scaled down. Images which are scaled down become blurred 

owing to interpolation. This effect increases with higher scaling factors. 

The intensity of sharpening can be controlled by two parameters: SHARP- 

ENING FACTOR FOR ALL IMAGES and FACTOR FOR SCALED IMAGES ONLY. 

If the sharpening values resulting from the two parameters differ for a 

scaled image, the greater of the two values will be applied. 







Note: 

The original images referenced by an ORIS PDF Tuner layout will not be 

modified, as this function is only applied to the calculated output data. 

Fig. 3-12 

Image Sharpening 

Note: 

Sharpening factor for all images 

This parameter defines the base sharpening applied to all images in a 

document – including those that were scaled down. 

Although there is no maximum limit for this value, only values of up to 

approximately 2.0 are likely to produce acceptable results. Enter 0 to disable 

this type of sharpening. 

Images that were scaled down may be sharpened by a higher degree, 

depending on how the FACTOR FOR SCALED IMAGES ONLY has been set. 

Factor for scaled images only 

This factor controls the intensity of sharpening automatically applied to 

images scaled down to less than 95%. 

The intensity of sharpening increases automatically with higher scaling 

factors. Images reduced to a smaller size will be sharpened more than 

images that have been scaled less. The degree of sharpening is calculated 

automatically from the scaling factor of an image and multiplied 

with the factor specified here. 

The greater the FACTOR FOR SCALED IMAGES ONLY, the higher the level of 

sharpening applied to images scaled down by the same degree (see 

Fig. 3-13). Usually the default of 1.0 provides the best results. With this 

setting the sharpness of a scaled image visually corresponds to that of 

the original image. Enter 0 to disable this type of sharpening. 

There is no maximum limit for this factor, but internally the sharpening 

value calculated from this factor is limited to 3.5. 







Note: 

The SHARPENING FACTOR FOR ALL IMAGES is applied to a scaled image if 

this factor is higher than the degree of sharpening calculated from the 

FACTOR FOR SCALED IMAGES ONLY. 

Scaled images are only sharpened if they are downsampled to a lower 

resolution. When creating PDF, EPS or PS documents, this option is 

therefore only available if the REDUCE IMAGE RESOLUTION or ADJUST IM- 

AGES TO OUTPUT RESOLUTION option is enabled (see page 3-24). 

Scaled images resampled to a higher resolution will not be sharpened. 

Fig. 3-13 

Sharpening 

(internal value) 

3.5 

3.0 

2.0 

1.0 

Sharpening Factor for Scaled Images (Principle) 

a 

c 

b 

Maximum value 

SHARPENING FACTOR 

a: 0.5 

b: 1.0 (default) 

c: 2.0 

0.0 

7.5% 

50% 

95% 

Scaling factor 

The following sharpening values are calculated if the FACTOR FOR 

SCALED IMAGES ONLY is set to 1.0: 

Scaling factor (%): 95 90 80 70 60 50 40 30 20 10 7.5 

Sharpening value: 0.0 0.2 0.6 1.0 1.4 1.8 2.2 2.6 3.0 3.4 3.5 

The internal sharpening values 0.0–3.5 are identical to those of ORIS 

PDF Tuner’s interactive sharpening function (see page 28-1 and 15-1). 

Exclude marked layers from sharpening 

Using this option you can prevent particular images from being sharpened. 

These image layers must have been flagged in ORIS PDF Tuner 

using the MARK function in the MENU window (see page 16-17). 






‘Modify’ Tab 


Using the MODIFY tab, particular colors can be replaced with other colors, 

omitted or set to overprint. 

Replacing spot colors in Page EPS files that have been placed as images 

or imported using the OPI function (see page 2-9) is not supported. 

Fig. 3-14 

‘Modify’ Tab (‘Export Layout’ Dialog) 

How to Modify Colors 

1. Add colors to the list of modification rules. Use the ADD button to open 

the COLOR SELECTION dialog and select a color (see page 10-8). 

The colors and modification rules stored in the current export profile 

(see page 3-4) are loaded automatically. 

In ORIS PDF Tuner, the colors used on the current layout are loaded 

additionally. To hide modification rules for other colors, enable the 

LIST COLORS USED ON PAGE ONLY option. 

Using DELETE and DELETE ALL you can delete a single color or all colors, 

respectively, from the list. In ORIS PDF Tuner you can click LOAD 

to reload the colors used on the current layout. 

2. Click on a color in the list. 

3. Use the list underneath SELECTED COLOR to 

• omit the color, 

• replace a spot color with its CMYK equivalents, or 

• replace any process or spot color with a spot color, a process 

color or a combination of process colors. 







If there are several identical spot colors with different names, for 

example, all of them can be mapped to a single spot color. 

You can always select another original or replacement color by clicking 

on the color boxes to the right of SELECTED COLOR. 

4. Use the list underneath OVERPRINT to define that the color should 

• always overprint (YES), 

• always knock out (NO), or 

• overprint or knock out, depending on the overprint settings 

defined in the file (MAINTAIN). This includes overprint settings 

made in ORIS PDF Tuner when importing PDF, EPS or PS files. 

Note: 

Modifications to process color overprint settings apply only to pure 

process colors or to mixed colors with identical overprint mode for all 

color separations. 

Tip 

5. In ORIS Works you can define how to handle spot colors for which no 

modification rule has been set up. Use the lists underneath ALL SPOT 

COLORS NOT LISTED ABOVE for this purpose. 

The spot colors can be left unchanged, omitted or replaced with their 

CMYK equivalents. You can also make overprint settings. 

Frequently used commands are available in a context menu (Windows 

only). Right-click on the list of modification rules to open this menu. 

Standardize Pantone and HKS names 

Enable this option to map all Pantone and HKS spot color names to valid 

naming conventions. 

You can also define a default suffix for Pantone and HKS colors, in case 

colors of different spot color libraries are used on a page. 

Note: 

These functions apply to the standard Pantone and HKS color names 

only. User-defined spot color names have to be mapped manually by 

defining individual replacement rules on this dialog tab. The color names 

must first be entered into the file Private.osc. 








Fig. 3-15 

‘Page’ Tab (EPS) (‘Export Layout’ Dialog) 

Use resolution of original page 

If this option is disabled, you have to enter the output RESOLUTION and, 

depending on the output format, also select a HIGH RESOLUTION factor. 

The following occurs if this option is enabled: 

The output resolution is set to the EXPECTED PRODUCTION RESOLUTION 

that was specified using the FILE | LAYOUT PARAMETERS command (see 

page 5-9). 


PS only 

Resolution 

Enter the output resolution to be used for the following page elements: 

• GRADIENTS calculated as images (see page 3-16) 

• Images which are resampled to another resolution (e.g. because the 

REDUCE IMAGE RESOLUTION option is enabled, see page 3-24) 

• ORIS PDF Tuner layers that are transparent, soft-edged, trapped or 

modified by a filter layer (see page 17-1, page 3-53 and 15-1) 







Flat EPS, 

Flat PDF, 

Flat PS, 

TIFF/IT, 

Scitex only 

TIFF, JPEG 

only 

Flat EPS, 


Flat PS only 

TIFF/IT, 

Scitex only 

Resolution 

Enter the output resolution to be used for low-res page elements, i.e. 

images and gradients. 

ORIS PDF Tuner layers that are transparent, soft-edged, or modified by 

a filter layer are also created in resolution. 

Resolution 

Enter the output resolution to be used for the files you are creating. 

High resolution 

Specify the output resolution to be used for high-res elements (tints, 

texts and linework). 

Internally, Flat PDF/PS/EPS documents consist of two elements only: 

• CT (continuous tone) 

An image formed by all of the low-res elements on the page. The resolution 

used for these elements is displayed in the RESOLUTION box. 

• LW (linework) 

A linework element formed by all of the high-res objects on the page. 

The resolution specified with the current option is used for this LW. 

Specify the LW resolution by selecting a high-resolution factor, i.e. a multiple 

of the CT resolution. Factor 1 does not produce any LW element. In 

this case you should use ANTI-ALIASING (see page 3-37) to compensate 

for the loss of quality. If no ANTI-ALIASING is used, jagged edges may occur 

between high-res and low-res elements. 

Layers that are transparent, soft-edged, or modified by a filter layer will 

be created in low resolution. 

High resolution factor 

Specify the output resolution to be used for high-res elements (tints, 

texts and linework). 

TIFF/IT and Scitex Handshake documents consist of multiple files, 

including the following: 

• CT file (continuous tone) 

An image formed by all of the low-res elements on the page. The resolution 

used for these elements is displayed in the RESOLUTION box. 







• LW file (linework) 

A linework element formed by all of the high-res objects on the page. 

The resolution specified with the current option is used for this LW. 

Specify the LW resolution by selecting a high-resolution factor, i.e. a multiple 

of the CT resolution. 

Factor 1 does not produce any LW element, except when the T1 LINE- 

WORK option is enabled. In this case you should use ANTI-ALIASING (see 

page 3-37) to compensate for the loss of quality. If no ATI-ALIASING is 

used, jagged edges may occur between high-res and low-res elements. 

Layers that are transparent, soft-edged, or modified by a filter layer will 

be created in low resolution. 

TIFF/IT, 

Scitex only 

Note: 

Scitex only 

T1 Linework 

If this option is enabled, an LW file will be created for the high-res elements. 

This file has the same resolution as the (low-res) CT file. 

If this option is disabled, no LW file will be created and all high-res elements 

will be incorporated into the CT file. 

In this case you should enable the ANTI-ALIASING (CT AND LW) option to 

compensate for the loss of quality. If no ANTI-ALIASING is used, jagged 

edges may occur between high-res and low-res elements. 

The T1 LINEWORK option is only available if USE RESOLUTION OF ORIGINAL 

PAGE and ANTI-ALIASING (ALL-IN-CT) are disabled and the HIGH RESOLU- 

TION FACTOR is set to 1. 

NLW format 

Enable this option to create a Scitex New Linework (*.NLW) file for the 

high-res elements on a page. This is advisable if the total number of colors 

in all tints, text or linework elements on a page exceeds 255. This is 

likely to occur if you are processing trapped documents. 

If this option is disabled, the program creates a normal linework (*.LW) 

file for the high-res elements. Such files, however, can store a maximum 

of 255 colors only. The conversion process fails if there are more than 

255 colors in the high-res elements of a page. 

See also HIGH RESOLUTION FACTOR above. 

Orientation 

Click one of these buttons to select an orientation for the output documents. 

The orientation is indicated by the way the letter is rotated and 

mirrored. 







Note: 

Scale proportionally/Width/Height 

Use these options to modify the page size. You can scale to a percentage 

of the original size or to a fixed page size. Enter the size or percentage 

into the WIDTH and HEIGTH boxes. 

Make sure the SCALE PROPORTIONALLY option is enabled to avoid distortion. 

If enabled, it is sufficient to specify either the WIDTH or HEIGHT. The 

other value will be calculated automatically. 

When creating (Flat) EPS, PDF or PS documents, the specified page 

size modification is appended to the final page and will be interpreted by 

the output device. 

DCS format 

EPS, Flat 

EPS only 

EPS, Flat 

EPS only 

Use this parameter if you want to create DCS (Desktop Color Separation) 

documents. These are EPS files with separated data. You can 

choose between four settings: 

DCS 2.0 (SINGLE FILE) 

This setting produces a single DCS file with separated PostScript 

data (file extension EPS). 

DCS 1.0 (MULTIPLE FILES) 


These settings produce one file for each color separation (file extension 

C, M, Y or K, respectively) and a master file (file extension EPS). 

The master file may contain a TIFF preview image as well as a composite 

version of the file contents used for output on color printers. 

The TIFF preview can be used for page assembly. 

NONE (EPS) 

This setting produces a normal EPS file with composite data (*.EPS). 

Preview 

EPS files may contain a low-resolution TIFF preview image for displaying 

the file on the screen. Select the color space of the preview file (RGB 

or GRAYSCALE) or select NONE to create no preview. 

If no preview is created, a gray area with the file name in it will be displayed 

for the resulting EPS image when opened or placed in ORIS PDF 

Tuner. See also Page EPS (page 33-4). 







EPS, Flat 

EPS only 


PS only; 

unavailable 

for PDF/X or 

flat formats 

With composite image 

When creating DCS documents enable the WITH COMPOSITE IMAGE option 

to generate a composite version of the document for output on color 

printers. Enter the resolution into the COMPosite IMAGE RESolution box. 

The maximum resolution of the composite image is the output resolution, 

higher values are ignored. 

OPI 

Use the OPI parameter to omit images from the output document and/or 

create OPI comments. The following settings are available: 

• NO OPI COMMENTS 

No images are omitted and no OPI comments are created. 

• WITH IMAGES 

No images are omitted, but OPI comments are created. 

• OMIT IMAGES 

All images are omitted and OPI comments are created. This applies 

to all image formats supported by ORIS (see page 20-1). 

• OMIT IMAGES & PAGE EPS 

Like OMIT IMAGES, but Page EPS files are also omitted. These are 

EPS files containing more than just an image (see also page 20-21). 

Also select the OPI VERSION to be used. Make sure this version is supported 

by the program that will process the OPI comments. 

Note: 

You should not use the OPI functionality if your images are transparent, 

soft-edged, trapped or located below elements with such attributes or 

below filter layers (see page 17-1, page 3-53 and 15-1). 

Image parts modified by such attributes cannot be omitted. When the images 

are later replaced by high-res images, these image parts can only 

be calculated on the basis of the low-res images. 

PDF, PS, 


Flat PS only 

Separated output 

Enable this option for separated output, disable it for composite output. 

Only separations which are actually used will be created. All of the four 

process color separations are created, however, if an ORIS PDF Tuner 

layout contains elements with transparency or soft edges. 







This option is unavailable when creating PDF/X files or converting to the 

RGB color space. 

Output in/Convert to/Keep original 

Use these options to convert your documents to another color space. 

The options have the following meaning: 

Option Meaning Availability 

KEEP ORIGINAL No color space conversion 

EPS, PDF, PS 

COLOR SPACE 

PROCESS AND 

SPOT COLORS 

CMYK 

Spot colors are output as spot colors, 

all other colors are converted to CMYK 

Conversion to CMYK. Spot colors are 

converted to process colors. 

All formats except 

Scitex and JPEG 

All formats 

RGB Conversion to RGB Non-flat PDF/PS/EPS, 

TIFF, JPEG 

BW Conversion to grayscales (8 bit) All formats 

MONOCHROME Conversion to 1-bit linework (black and 

white) 

TIFF 

Using the option LW COMPRESSION on the DATA FORMAT tab you can select 

a compression method for monochrome TIFF files (see page 3-24). 

Note: 

The output color space can only be set in accordance with the output 

ICC profile you may have specified on the COLOR CORRECTION tab (see 

page 3-9). If a grayscale profile is selected, for example, you cannot 

choose the CMYK color space here. You must first select a CMYK output 

profile. 

Scitex, 

JPEG, TIFF, 

TIFF/IT only 

Directly convert spot colors… 

Spot colors are automatically converted to CMYK process colors, if the 

output format does not support spot colors. This option determines the 

method to be used for this conversion. 

The option should usually be left disabled. In this case the program calculates 

all process and spot color channels and then converts the spot 

colors to process colors. This may occasionally produce incorrect results, 

e.g. unwanted transparencies. In this case you should enable this 

option. Spot colors are then converted immediately and no additional 

color channels are temporarily created for them. 







Quality 

JPEG only 



LOW 0–4 

MIDDLE 5–7 

HIGH 8–9 




JPEG only 


Flat EPS, 

Flat PS, 

Scitex and 

TIFF/IT only 

Note: 

TIFF/IT only 

File Size 




size. 

Anti-aliasing 

If this option is enabled, all page elements will be incorporated into the 

CT element of the output document and no LW element will be created. 

In addition, a technique called ANTI-ALIASING will be used to avoid stairstepping 

at the edges of high-res elements. This is done by merging 

these edges with their background colors, thus creating the impression 

of high resolution. This also prolongs conversion time. 

Refer to page 3-32 for more details on CT and LW elements. 

Anti-aliasing will always be applied automatically at the edges of neighboring 

low-res elements (images and gradients) in order to achieve 

smooth transitions. This is done independently of this option, provided 

that the HIGH RESOLUTION FACTOR is greater than 1. 

Anti-aliasing (CT and LW) 

If this option is enabled, a technique called ANTI-ALIASING will be used to 

avoid stairstepping at the edges of high-res elements. This is done by 

merging these edges with their background colors, thus creating the impression 

of high resolution. This also prolongs conversion time. 

In contrast to the ANTI-ALIASING (ALL-IN-CT) option, high-resolution elements 

will not be incorporated into the CT element of the output document. 

In other words, a CT element will be created, unless the HIGH RES- 

OLUTION FACTOR is set to 1 and the T1 LINEWORK is disabled. 







Refer to page 3-32 for more details on CT and LW elements. 

TIFF and 

JPEG only 


Flat EPS, 

Flat PS, 

TIFF/IT, 

Scitex only 

TIFF/IT only 

Anti-aliasing 

Use ANTI-ALIASING to avoid stairstepping at the edges of high-res elements. 

This is done by merging these edges with their background colors, 

thus creating the impression of high resolution. This also prolongs 

conversion time. 

LW background transparent 

Scitex Handshake, TIFF/IT and Flat PDF/PS/EPS documents consist of 

two elements (see also page 3-32): 

• CT – Low-res objects such as images and gradients 

• LW – High-res objects such as tints, text and linework 

The LW element is placed on the CT in the output document. The background 

color of the page you are processing becomes the background 

of the LW. Use this option to decide how the LW background is treated: 

• If enabled, the LW background color is set to transparent, i.e. the 

background color of the page is ignored. 

• If disabled, the LW background is set to opaque, i.e. the background 

color of the page is retained. Images and gradients placed directly 

on the page background have sharper edges with this setting. 

CT in separated files 

If this option is enabled, the low-res elements on a page will be converted 

into individual files, one for each color separation. No *.FP file will be 

created. If this option is disabled, a single file (*.CT) will be created. 

The separated CT files will have the following file names and extensions. 

In these examples, Name stands for the original file name. 

Pages without spot colors 

Name.Cct 

Name.Mct 

Name.Yct 

Name.Kct 

Pages with spot colors 

Name_Cyan.ct 

Name_Magenta.ct 

Name_Yellow.ct 

Name_Black.ct 

Name_PANTONE 112 PC.ct 

ORIS PDF 

Tuner 

TIFF/IT CT files are treated as one image. In an image overview, the 

name and thumbnail image of the *.CCT file is displayed only, provided 

that there are no spot color CT files. 






‘Page Format’ Tab 

TIFF/IT only 

LW in separated files 

If this option is enabled, the high-res elements on a page will be converted 

into individual files, one for each color separation. If this option is disabled, 

a single file (*.LW) will be created. 

The separated LW files will have the following file names and extensions. 

In these examples, Name stands for the original file name. 

Pages without 

spot colors 

Name.Clw 

Name.Mlw 

Name.Ylw 

Name.Klw 


(CT not separated) 

Name.Clw 

Name.Mlw 

Name.Ylw 

Name.Klw 

Name.1lw 


(CT also separated) 

Name_Cyan.lw 

Name_Magenta.lw 

Name_Yellow.lw 

Name_Black.lw 

Name_PANTONE 112 PC.lw 

The conversion process fails if there are more than 255 colors in a linework 

file. This is likely to occur when processing Scitex New Linework 

files. By separating the linework you may overcome this limitation. 

The four LW separations can be opened individually. They will not be 

combined into a single composite document. Spot color LW images are 

displayed in black. 


Fig. 3-16 

‘Page Format’ Tab (PS) (‘Export Layout’ Dialog) 

PS, Flat PS 

only 

Number of copies 

Into the NUMBER OF COPIES box, enter the number of copies to be produced 

from the documents you are processing. 







Enable USE NUMBER OF COPIES OF ORIGINAL PAGE to set the number of 

copies to the value defined in the file you are processing. The number of 

copies may be defined in PDF, PS or EPS documents and in ORIS PDF 

Tuner layouts created by importing such documents. 

The specified number of copies is appended to the output documents 

and will be interpreted by the output device. 

Output Pages 

Use these options to specify which pages of a multi-page document 

should be processed. You can select the following: 

ALL PAGES The entire document 

CURRENT PAGE The current ORIS PDF Tuner layout only 

(option unavailable in ORIS Works) 

PAGES FROM…TO… The range of pages specified in the input boxes 

COVER PAGES The first (FRONT), second (INSIDE FRONT), next-to-last 

(INSIDE BACK) or last (BACK) page of a document. 

PAGE FILTER Only the odd or even pages of the pages selected 

with the above options. 

PDF, Flat 

PDF, PS, 

Flat PS only 

Note: 

Export as single pages 

By default, multi-page documents are created as multi-page documents 

when converting to PDF and PostScript format. If this option is enabled, 

however, a separate file will be created for every page. The files are distinguished 

using an ascending number. 

Examples: 

MyDoc001.pdf 

MyDoc002.pdf 

MyDoc003.pdf 

MyDoc_Page-I_001.pdf 

MyDoc_Page-II_002.pdf 

MyDoc_Page-III_003.pdf 

The example on the right shows the names created for documents originating 

from QuarkXPress, with the page numbers Page-I, Page-II etc. 

Use the PDF/PS input option USE QUARK OR INDESIGN PAGE NUMBERS to 

include the original page numbers (see page 2-4). 

Output formats other than (Flat) PDF and PS support only single-page 

documents. Output files created in these formats will also be named as 

shown above. 






‘Page Marks’ Tab 

Crop size 

Using this option you can define the same amount of bleed for all documents. 

The specified value will be added to each of the four page edges, 

i.e. the page format increases. 

If bleed is defined already for a page, the bleed will be enlarged or reduced 

to the specified size. This means that the net page format (format 

without bleed) remains the same. 

Area format 

Use these parameters to output a section of a document only. This allows 

you to crop a page to a particular size, for example, or to output the 

right or left side of a two-page spread. 

Select the size of this section from the AREA FORMAT list or enter the 

width and height into the AREA SIZE X/Y boxes. Use the PORTRAIT/ 

LANDSCAPE options to swap width and height. Use the AREA OFFSET X/Y 

boxes to specify the location of the section’s lower left corner. 

Example 

To output the right half of an A3 landscape page (420 x 297 mm), select 

A4 format, click the PORTRAIT option and enter 210 into the AREA OFFSET 

X box and 0 into the AREA OFFSET Y box. 

Fig. 3-17 

297 

Y 

Outputting a Page Section 

0 210 420 


0 

X 

All except 

EPS 

Use this tab to create additional objects on the output documents such 

crop marks, color bars or information text. These objects will be placed 

inside the bleed margins or, if none are defined, outside the page borders 

(i.e. page size increases). 







Fig. 3-18 

‘Page Marks’ Tab (‘Export Layout’ Dialog) 

Page marks/Bleed page 

Use this option to choose the kind of information to be added to your output 

documents: 

NONE Nothing (except dummy text marks or guides, if specified). 

PAGE MARKS Information text, crop marks, register marks, color control 

bar, job name, separation names (see Fig. 3-19). 

BLEED PAGE Objects on a so-called bleed page. It these objects are 

located within the bleed margins, they will be positioned 

outside the page borders – regardless of the page size 

(see also page 3-60). 

Note: 

ORIS PDF 

Tuner 

Some parameters such as color control bars can also be specified on the 

output device. To prevent double output you should agree with the operators 

of the output device on which parameters to specify here. 

To define bleed margins, select FILE | LAYOUT PARAMETERS, and enter 

the size of these margins into the BLEED input boxes of the LAYOUT 

PARAMETERS dialog (see page 5-8). 







Fig. 3-19 

Page Marks and Job Information 

Creation date 

Info line 

The text entered into this box will be added on the top left of every page 

(see Fig. 3-19). 

This parameter is only available if PAGE MARKS/BLEED PAGE has been set 

to PAGE MARKS. 

Job name 

If this option is enabled, the following will be created at the top of every 

page (see Fig. 3-19): 

• Name of the input document that has been processed 

• Creation date and time of the resulting output document 



Separation names 

Color control bar 

Job name 

Register mark 

(cross and circle) 

Info text 

Crop mark 

(corner) 

Color separation 

names 

If this option is enabled, the names of all process and spot color separations 

will be added on the bottom right of every page. These names are 

created in the respective colors and are placed on top of each other. 









Crop marks 

Use this parameter to create crop marks. These marks indicate the size 

to which a page will be finally cropped. The distance between page border 

and crop marks can be defined using the CORNER OFFSET option. 

You can choose between the following types of crop marks: 

NONE OUTLINE CORNERS 



Note: 

Corner Offset 

When creating crop marks in the form of corners, use this option to define 

the distance between page borders and crop marks. 



Register marks 

Use this parameter to create register marks. These marks are used for 

achieving perfect alignment between color separations. You can select 

the following types of register marks: 

NONE CROSS CROSS AND CIRCLE 









Color control bar 

Set this parameter to PALETTE 10% TO 100% to create a color bar for 

every process and spot color separation. Each bar consists of 10 color 

patches with tonal values increasing in steps of 10. 



Bleed page 

Use this parameter to add the information located on a bleed page to the 

documents being processed. Click on to select this file. 

A bleed page is an ORIS PDF Tuner layout (*.ddp) with information that, 

if located within the bleed margins, will be automatically positioned outside 

the page borders – regardless of the page size. A bleed page may 

contain objects of any kind (text, images, graphics) and also variables for 

automatically creating the following information: 

• Document name 

• Modification date 

• User name 

• Page format 

• Color separation name 

A predefined bleed page is available under …\Program Files\CGS\Common 

Files\Extras\Bleedpage.ddp. It adds the information listed above 

as well as crop and register marks. It can be modified according to your 

needs. Refer to Using Bleed Pages (page 3-60) for more details. 


to BLEED PAGE. 

Unit of measurement 

If you add information about the document format (width and height) by 

means of a bleed page, use this parameter to select the unit of measurement 

to be used for these values (see also page 3-62). 

Dummy text marks 

This option is only relevant for ORIS PDF Tuner layouts with dummy text 

(see page 14-1). If set to TEXT ON YELLOW RECTANGLE, the name (or number) 

of every dummy text area will be printed inside a yellow box on top 





‘Screening’ Tab 


of the respective areas. This helps editors identify the text areas if the 

actual text is edited on an external system. 

If a dummy text layer consists of more than one text area, only the name 

of the first area will be created. The name is placed in the center of the 

bounding box around all areas. 

Fig. 3-20 

Dummy Text Area Names on Output Document 

Output guides 


This option refers to the guides used on ORIS PDF Tuner layouts for 

positioning elements precisely. Usually these elements are not output, 

but you can do so by enabling this option. 

Click on the color box to select a color for guides. You can choose any 

process and spot color you like. See also Using Guides (page 6-1). 

Fig. 3-21 

‘Screening’ Tab (‘Export Layout’ Dialog) 

Use screening values 

Enable the USE SCREENING VALUES option to define your own screen ruling, 

screen angle and dot shape values. Do this as follows: 

1. Click on the list to select a color separation. 

2. Enter the values into the boxes displayed underneath the list. 







Disable this option to use the screening values of the output device. 

Note: 

List of Separations 

This list summarizes the screening values specified for each color separation. 

To modify these settings, click on a color separation and use the 

options underneath the list. In ORIS Works you can use the ADD button 

to add spot color separations to the list. 

The following color separations are listed automatically: 

• CMYK process colors 

• Spot colors used for replacing other colors (see page 3-29) 

• Spot colors used on the current ORIS PDF Tuner layout 

• The setting named ALL OTHERS. It refers to all spot color separations 

not listed here (ORIS Works only). 

The separations listed here depend on the output color space specified 

on the PAGE tab (see page 3-36). Spot colors are not displayed, for example, 

if the color space is converted to CMYK, RGB or grayscales. 

Screen ruling/Screen angle/Dot shape 

These input boxes are only available if you have enabled the USE 

SCREENING VALUES option. Use them to specify the following for the color 

separation currently selected in the list: 

• Screen ruling 

• Screen angle 

• Dot shape 





‘Select’ Tab 



Fig. 3-22 

‘Select’ Tab (‘Export Layout’ Dialog) 

Select mode 

Use this parameter to specify whether and how particular page elements 

should be omitted from or included in the output document. This setting 

is applied to all page elements of the type selected with the check boxes 

and also to all tints and/or texts with the colors specified in the list at the 

bottom. The setting is applied if an element matches at least one of the 

specified properties. Choose one of the following settings: 

ALL 

All page elements will be output, none will be omitted. 

OMIT WITHOUT KNOCKOUT 

Elements of the selected type will be omitted, all others will be output. 

PRINT WITHOUT KNOCKOUT 

Only elements of the selected type will be output, all others will be 

omitted. 

OMIT WITH KNOCKOUT 

Elements of the selected type will be replaced by white areas, all 

others will be output. 

PRINT WITH KNOCKOUT 

Only elements of the selected type will be output, all others will be 

replaced by white areas. 







Text, Images, Linework… 

Use the following options to select the page elements to be omitted or 

included according to the SELECT MODE parameter: 

TEXT 

Any text on a page. You can also use the options at the bottom to omit 

or include text of a specific color or color range (see page 3-50). 

IMAGES 

All images except linework and 1-bit images. This option can be used 

to omit low-res images which will be replaced by high-res data, if the 

output format does not support OPI (see page 3-35). 

Note: 

LINEWORK 

Linework, 1-bit images and also pixel masks filled with a color in 

ORIS PDF Tuner. 

This option can be used, for example, to omit all high-res page elements 

from Scitex Handshake, TIFF/IT or Flat PDF/EPS/PS documents. 

See also page 3-32. 

It is not possible to knock out omitted linework data. 

PAGE EPS FILES 

This options refers only to Page EPS files used on ORIS PDF Tuner 

layouts or added to a document using the OPI function (when low-res 

images in PS or PDF documents are replaced, see page 2-9). 

Page EPS files are documents containing more elements than just a 

single image, in contrast to Image EPS files (see also page 20-21). 

TRANSPARENT AND SOFT-EDGED LAYERS 

Page elements with transparency or soft edges. Note that soft edges 

can be created automatically when converting documents by using 

the options on the TRAPPING/SOFT EDGES tab (see page 3-51). 

MARKED LAYERS 

Layers flagged with the MARK command on ORIS PDF Tuner layouts. 

See Marking Layers for Layout Export (page 16-17). 

DUMMY TEXT 

All dummy text layers created on an ORIS PDF Tuner layout. 







Color, to color, Tints, Text 

Use the parameters at the bottom of this dialog if tints and/or text with 

particular colors should be omitted or included, respectively, depending 

on the SELECT MODE (see above). 

You can also specify a range of similar process colors, for example, all 

colors between C100M10 and C100M50. The two colors may only differ 

in one color separation. It is therefore not possible to specify ranges like 

‘C100M10 to C100M50Y30’. Color ranges are not supported for spot 

colors. Specifying a spot color applies to all tonal values of this color. 

Note: 

These parameters have no effect on tints contained in EPS files. Tints 

with colors specified here are not omitted if they are part of an EPS file. 

How to Specify Colors 

1. Click ADD to open the COLOR SELECTION dialog (see page 10-8) and 

select a color. 

The color is now displayed in the left-hand color box. The tonal values 

or spot color name, respectively, appear in the left-hand list column. 

2. If you have selected a process color, you can specify a color range. 

To do so, enable the TO COLOR option and select the second color. 

This color is displayed in the right-hand color box and in the list column 

labeled TO COLOR. 

3. Specify which types of page elements to omit or include, respectively. 

To do so, click on the TINTS and/or TEXT check boxes. The current setting 

(YES/NO) is indicated in the list columns labeled TINTS and TEXT. 

4. Using the DELETE button you can remove the current list item. 






‘Trapping/Soft Edges’ Tab 


Fig. 3-23 

‘Trapping/Soft Edges’ Tab (‘Export Layout’ Dialog) 

Soft Edges 

This parameter allows you to create soft edges for images selected with 

the APPLY TO options. Choose the soft edge type. Each type defines a 

different transitions from opaque to transparent within the soft edge: 

SOFT VERY SOFT HARD VERY HARD 

The setting FRAME does not create any soft edges, but adds or removes 

pixels at the edges without changing the object’s outline (if possible). Select 

NONE (SHARP) to leave edges unchanged. 

In most cases VERY SOFT provides the best results. The setting SOFT creates 

an entirely linear transition between opaque and transparent. With 

VERY SOFT, by contrast, transitions are smoother at the beginning and 

end of the soft edge and almost linear in the center. However, the soft 

edges must be made larger compared to the setting SOFT. 

Soft edges can also be created individually for selected layers of any 

type (see page 17-9). 

Area inside/outside 

Use these parameters to define the size of the soft edges and whether 

to create them INSIDE the original edge of the page element, OUTSIDE the 

edge, or both INSIDE and OUTSIDE (see figure). 







Fig. 3-24 

Position of Soft Edges 

INSIDE OUTSIDE INSIDE and OUTSIDE 

The white outline indicates the position of the original (sharp) edge. 

Apply to 

Use this option to specify which types of images should be soft-edged: 

• IMAGES 

All images of a document, except linework and 1-bit files. 

• EPS IMAGES WITH PATH CONTAINED IN PS FILE * 

EPS images in PostScript files only, provided that the images have 

been positioned using a non-rectangular path. 

• ANY IMAGE WITH PATH CONTAINED IN PS FILE * 

Images in PostScript files only. The image format does not matter, but 

the images must have been positioned using a non-rectangular path. 

Note: 

The following information applies to ORIS PDF Tuner layouts: 

• Soft edges are not created for images with trapping or soft edges. 

• The options marked with * affect only images in PS files which were 

imported using the FILE | OPEN or IMPORT PDF OR POSTSCRIPT command. 

They also affect cut-outs created with ORIS PDF Tuner. 

Black overprint 

This option applies to black (K100) high-res elements such as tints or 

text. 

• If enabled, black objects are set to overprint, i.e. printed on top of 

cyan, magenta and yellow ink. 

• If disabled, black objects are set to knock out, i.e. cyan, magenta 

and yellow ink for underlying objects is not printed. 







All except 

non-flat PS, 


Trapping 

Enable the TRAPPING option if you want documents to be trapped automatically 

during the conversion process. 

Trapping compensates for the possibility of misregistration on the printing 

press by creating small areas of overlapping color where objects 

meet. This prevents or minimizes white gaps between adjacent objects. 

A separate software license is required for the trapping functionality. 

Notes: • Do not use automatic trapping if the layout data is trapped already. 

• Trapping is usually not required for output on proof printers. 

• If a page containing more than 255 colors in high-res elements is 

converted to TIFF/IT or Scitex Handshake format (without NLW file), 

some objects may not get trapped, since the number of linework colors 

is limited to 255. 

• If linework was trapped manually on an ORIS PDF Tuner layout, this 

will be ignored when the layout is trapped automatically. 

• Using ORIS PDF Tuner you can trap objects manually, with individual 

settings for every object (see page 18-1). 

Flat EPS, 


Flat PS only 

Exclude CopyDot images from trapping 

Enable this option to speed up the conversion process when processing 

documents with CopyDot images. This may also prevent moiré patterns. 

CopyDot images are not trapped automatically if this option is enabled. 

CopyDot images are always placed on top of all other objects if this option 

is enabled. This may change the appearance of a document in some 

cases. 

Trapping Profile List 

Use this list to select a profile defining the basic rules for calculating trapping 

as well as trapping exceptions. 

Click or to modify a trapping profile. This opens the TRAPPING PA- 

RAMETERS dialog (see page 3-55). 







Note: 

The STANDARD profile defines the default trapping rules. Modifying the 

default rules may produce unwanted results. Therefore check any 

changes very thoroughly before using them in production. 

Mode 

Two groups of page elements are used in automatic trapping and, depending 

on the output format, created temporarily: 

• LW – All high-res elements such as text, tints and linework, except 

when transparent or soft-edged 

• CT – All low-res elements such as images and gradients 

The LW is placed on top of the CT and then trapped in two ways: 

• The LW is trapped to the CT. 

• The individual LW color areas are trapped to each other. 

To define the way the LW is trapped to the CT 

Select one of the following options from the list labeled MODE: 

• LW ONLY 

The LW is not trapped to the CT. Only the LW color areas are trapped 

to each other. 

• LW −> CT 

The LW is choked by the CT. This is done by reducing certain LW color 

separations by the size specified with the AREA parameter. 

• LW



Defining Trapping Rules and Exceptions 

To edit a trapping profile, click the or button. This opens the TRAP- 

PING PARAMETERS dialog. Use the parameters on the BASIC SETTINGS tab 

to modify the trapping rules. 

See also Defining Trapping Rules and Exceptions (page 3-55). 

Area 

Use this input box to specify the amount of trapping to be used, i.e. the 

size of the chokes and spreads. 

The trap area should not be wider than the thinnest line on the page. 


You can modify the basic rules for calculating automatic trapping and 

also define trapping exceptions. These parameters must be stored as a 

trapping profile, which is then available on the TRAPPING/SOFT EDGES 

tab. The trapping parameters can also be exported to a file. This allows 

you to use the same settings in ORIS Works hotfolders which do not support 

the definition of trapping rules and exceptions (see also page 3-60). 

To define trapping rules and exceptions, select the TRAPPING/SOFT ED- 

GES tab and click on the or button displayed next to the current trapping 

profile. This opens the TRAPPING PARAMETERS dialog. Select the BA- 

SIC SETTINGS or EXCEPTIONS tab. 

Profile 

Use the list at the top of the dialog to select a trapping profile. A trapping 

profile is a set of parameters defining trapping rules and exceptions, i.e. 

the profile includes the parameters used on both dialog tabs. 

Use the SAVE AS button to create a profile and DELETE to delete the selected 

profile. You can replace an existing profile by saving it under the 

same name. 

The STANDARD profile contains the program’s default settings. It can neither 

be modified nor deleted. 







Fig. 3-25 

‘Trapping Parameters’ Dialog/‘Exceptions’ Tab 

Trapping Parameters/‘Exceptions’ Tab 

Use this tab to define exception rules for automatic trapping. 

1. Use the list at the top to select the trapping profile to be modified (see 

also page 3-55). The exception rules defined in this profile appear in 

the upper part of the dialog. 

2. Use the ADD button to add a color to the list displayed at the bottom. 

The selected color appears in both lists. To remove a list entry, select 

a color in the FROM COLOR list and click the DELETE button. 

The colors used on the current layout are listed automatically and you 

can use this button to add additional colors. You can use the LOAD 

button to reload the colors used on the current layout, e.g. if they 

were deleted accidentally. 







3. To define how two colors trap to each other, select them in the FROM 

COLOR and TO COLOR list. In the figure above, a rule for C100 trapping 

against Y100 is set up, for example. 

4. Using the list to the left of the NEW COLOR 

option, choose between AUTOMATIC TRAPPING, 

NO TRAPPING, CHOKE and SPREAD. 

5. The result of the exception rule can be controlled immediately: 

The color boxes to the left of the list 

display the two selected colors, the 

color resulting from mixing both and 

the trap mode (choke or spread) 

New color in trap area 

Choke 

Spread 

6. If you have selected CHOKE or SPREAD, you can adjust the new color 

used for the trap area. To do so, modify the amount of color used from 

each of the two colors that trap against each other. 

Use the sliders or enter the percentage values into the input boxes. 

7. If you want to use an entirely different color for the 

trap area, enable the NEW COLOR option and click on 

the color box to its right. Now select a color from the 

COLOR SELECTION dialog (see page 10-8). 

8. In the RULES button group, click on ADD to create the exception rule. 

It is added to the list at the top. 

If there is already a rule for the current color pair, the REPLACE button 

is available instead. It allows you to overwrite this rule. Using the 

DELETE button you can remove exception rules. 

To hide all rules except those defined for the color selected in the list 

at the bottom left, enable the DISPLAY ONLY RULES OF SELECTED 

COLORS option at the bottom of the dialog. 

9. When finished, click on SAVE AS to save the exception rules as a 

trapping profile. See also page 3-55 and page 3-60. 







This profile will be available on the TRAPPING/SOFT EDGES tab of the 

EXPORT LAYOUT dialog. It also includes the parameters defined on the 

BASIC SETTINGS tab. You cannot use any unsaved parameters. 

Fig. 3-26 

’Trapping Parameters’ Dialog/’Basic Settings’ Tab 

Trapping Parameters/‘Basic Settings’ Tab 

Use this dialog tab to modify the rules on which automatic trapping is 

based. 

When linework color areas are trapped to each other, this is done without 

modifying color separations defining outlines. Basically it is assumed 

that the outline is defined by the darkest separation of the darker color 

area. Therefore the darkest separation of this area remains unchanged, 

while the other separations are choked, i.e., the color area is slightly 

overlapped by the lighter color separations of the area which does not 

define the outline. 

This mechanism is controlled by the parameters explained below. 

Having modified these parameters, you must store them as a trapping 

profile using the SAVE AS button. You cannot use any unsaved parameters. 

The profile is then available on the TRAPPING/SOFT EDGES tab. It will 

also include the parameters defined on the EXCEPTIONS tab. See also 

page 3-55 and page 3-60. 

Note: 

Modifying the default trap rules may sometimes produce unwanted results. 

Therefore check any changes very thoroughly before using them 

in production. 




White threshold 



This parameter defines the maximum tonal value of Yellow which is still 

regarded as white. 

The default value (STANDARD profile) is 50.9%. The values for the Cyan, 

Magenta and Black separation are calculated automatically from the respective 

LUMINANCE value. 

The WHITE THRESHOLD value specifies from which tonal value onward a 

separation is dark enough so that the other separations need not be 

trapped. A low value produces little trapping, a high value much trapping. 

Black threshold 

This parameter defines the minimum density of black which is still regarded 

as black. The default value (STANDARD profile) is 98%. 

Luminance 

These values indicate the darkness of the process color separations relative 

to each other. The darker the color, the higher this value should be. 

The default values (STANDARD profile) are C=30, M=59, Y=11, K=100. 

The value Y=11 means, for example, that Y100 appears as dark as K11. 

Click on the list above to select the color separation whose LUMINANCE 

you want to change. 

Minimum tolerance 

This parameter defines the degree by which two separation values may 

differ without causing any trapping. Only those separations are trapped 

which differ more than the percentage value specified here. 

A low value produces much trapping, a high value little trapping. The default 

values (STANDARD profile) are C=5.1, M=5.1, Y=9.8, K=5.1. 

Click on the list above to select the color separation whose MINIMUM 

TOLERANCE you want to change. 

Maximum tolerance 


No trapping is made if all separations of the two color areas are dark 

enough to exceed the WHITE THRESHOLD. However, if one or several separations 

differ more than the tonal value specified here, they are trapped 

regardless of this setting. 

A low value produces much trapping, a high value little trapping. The default 

(STANDARD profile) is C=80, M=69.8, Y=89.8, K=60. 





Using Bleed Pages 


Click on the list above to select the color separation whose MAXIMUM 

TOLERANCE you want to change. 

CT background color 

This is the color the program assumes for the entire CT against which 

the LW is trapped. It is used to decide whether trapping is required at all. 

If the MODE is set to LW CT COLOR DEPENDENT, the program uses 

this color to decide whether to choke or spread the LW to the CT. 

The default color (used in the STANDARD profile) is C23 M20 Y12 K10, 

which produces reasonably good results in many cases. Click on the 

color box to select another color (see also page 10-8). 

‘Save as’, ‘Export’ and ‘Delete’ Buttons 

Save as 

This button saves the parameters of both dialog tabs to a trapping profile. 

The profile can then be selected on the TRAPPING/SOFT EDGES tab 

of the EXPORT LAYOUT dialog. Enter a name for the new profile. If you enter 

the name of an existing profile, it will be overwritten. 

Export 

This button allows you to export the trapping parameters to a file. They 

can then be used in ORIS Works hotfolders which do not support the definition 

of trapping rules and exceptions. 

A file selection dialog opens and you must enter a name for the parameter 

file. The extension .DDX is added automatically. Use the hotfolder 

parameter TRAPPING PARAMETERS to select this file in ORIS Works. 

Delete 

This button deletes the trapping profile selected at the top of the dialog. 

The STANDARD profile contains the program’s default settings. It can neither 

be modified nor deleted. 


The documents you are processing can be merged with a so-called 

bleed page. A bleed page may contain objects that should appear on 

every document, e.g. the file name or modification date. If located within 

the bleed margins, these objects are always placed outside the page 

borders, regardless of the current page size. 







Predefined Bleed Page 

A predefined bleed page resides in the ORIS installation directory under 

the name Bleedpage.ddp. The default location is ..\Program 

Files\CGS\Common Files\Extras on Windows systems. 

This bleed page adds the document name, page size, creation date, 

user name and the separation names. It also creates crop and register 

marks. You can use this page as a template for your own bleed pages. 

Fig. 3-27 

Predefined Bleed Page 

Variables for layout size and color separation 

(4 process, 8 spot color separations) 

Variables for layout name, modification 

date and user name 

Register mark 

Bleed margin 13.5 mm 

Page format without bleed: 

A4 (210 x 297 mm) 

Crop mark 

Adding a Bleed Page 

To add a bleed page to your documents, select the PAGE MARKS tab and 

choose BLEED PAGE from the list labeled PAGE MARKS/BLEED PAGE. Then 

specify a bleed page using the BLEED PAGE option (see page 3-45). 

If the bleed page adds the page width and height, you can use the UNIT 

OF MEASUREMENT option to select the unit to be used for these values. 

Creating Your Own Bleed Page 

Bleed pages can be created and edited with ORIS PDF Tuner. We recommend 

to use the predefined bleed page Bleedpage.ddp as a template 

and modify it according to your requirements. 

Before doing so, you should save the predefined bleed page under a 

new name or to another directory, because the original file will be overwritten 

when a new software version is installed. 







Note: 

Defining Page Format and Bleed Margins 

Use the ORIS PDF Tuner command FILE | LAYOUT PARAMETERS. It opens 

the LAYOUT PARAMETERS dialog (see page 5-8). It allows you to define 

the gross page format (with bleed) and the size of the BLEED margins (to 

be subtracted from the page format). 

A bleed page should not be larger than the actual document. If the bleed 

page is larger, the page elements may overlap each other or may be 

placed outside the page borders. 

Adding Document Information 

A bleed page may contain any kind of layers (text, images, etc.) and also 

the variables listed below. All variables will be replaced by their actual 

values in the output document. The typographic attributes are retained. 

The predefined bleed page Bleedpage.ddp contains all of the variables 

listed below, but only 12 variables for color separation names. 

Variable *) Actual Value Created 

$JOB 

Document name (without path) 

$DATE 

Date and time of last modification 

$USER 

User name 

$HEIGHT Page height **) 

$WIDTH Page width **) 

$PLATE01 Cyan Process color 

$PLATE02 Magenta separation names 

$PLATE03 Yellow 

$PLATE04 Black 

$PLATE05 Name of 1. spot color separation 


etc. 

… 


*) You can also use @ instead of $. 

**) Unit of measurement selectable in EXPORT LAYOUT dialog (see page 3-45). 

Select LAYER | TEXT or click to create these variables (see page 12-1). 

The variable names must be capitalized, as shown above, and preceded 

by the character $ or @. Each PLATE variable must be in a separate text 

layer, whereas one or more of the other variables may be in the same 

layer. 







The text that replaces the PLATE variables is automatically set in the color 

that corresponds to the respective color separation. This text overprints, 

allowing you to position all PLATE variables on top of each other. 

Note: 

If you want bleed page layers to appear on all separations – including 

spot colors, make sure you fill them with a color defined in the REGISTER 

MARKS color space. See also page 10-10. 

How to Position Elements on a Bleed Page 

Page elements that should appear outside the page borders, e.g. crop 

or register marks, must be placed within the bleed margins of the bleed 

page. Thus they will always be printed outside the borders, regardless 

of the page size. 

Layers not placed inside the bleed margins (i.e. placed on the actual 

page) will appear on the page itself. This feature may be used for printing 

the text Demo across every page, for example. 

To understand how and where layers are positioned on the output document, 

note that the program divides the bleed page into 9 areas. The 

same areas are created on the output document, but outside the page 

borders – except for area 9, which is created in the center. This is illustrated 

by the following example: 

Fig. 3-28 Areas on a Bleed Page 

Format of page 

that was merged 

Bleed Page with bleed page * 

1 

8 

2 3 

9 

4 

Area no. 2 

Lower left 

area corner 

Bleed margin * 

Page format * 

Area no. 4 

1 

8 

2 3 

Output Document 

9 

4 

7 

6 

5 

Lower left 

area corner 

*) 

As defined in the LAYOUT PARA- 

METERS dialog (see page 5-7). 

7 

6 

5 

Each layer is positioned in the same area on the output document. The 

exact position depends on the distance between the lower left corner of 







the layer and the lower left corner of the area in which this layer is positioned. 

On the output document this distance can be calculated in two ways: 

• Relative position 

The distance between the layer and the corner of the page area is adjusted 

to the size of the document you are processing. If the document 

has twice the size of the bleed page, for example, the distance 

will also be twice as large. 

Use this setting for elements such as crop marks and register marks 

which must always be positioned at corners, centers or other fixed 

positions. 

To position layers relatively, you have to flag them using the MARK 

function in the MENU window (see page 16-17). 

• Absolute position 

The distance is always the same as on the bleed page, even if the 

document you are processing has a different size. 

Use this setting for elements consisting of multiple layers, e.g. logos. 

This makes sure that these layers remain together, i.e. that no space 

is added between them. 

To position layers absolutely make sure they are not marked. 

Example 

In this example, an A3 page (left) is merged with an A4-sized bleed page 

(center) on which most layers have been positioned relatively and some 

absolutely. The resulting output document is shown on the right. 







Fig. 3-29 

Original Page 

Merging a Layout with a Bleed Page 

Bleed Page 

A 

A 

D 

E 

D 

C 

C 

E 

B 

B 

The layers on the bleed page are positioned as follows in this example: 

A 

Bleed Page 

Layers 

Variables 

($Job…) at 

the top 

Positioning 

Method 

Absolute 

(layers not 

marked) 

Position on Output Document 

Layers are shifted to the left, because the distance 

to the lower left corner of the page area is 

the same as on the bleed page, but the actual 

page is larger than the bleed page. 

B 

Variables 

($Job…) at 

the bottom 

Relative 

(marked) 

No shift. The distance between the layer and the 

area corner is enlarged according to the difference 

in size between the two pages. 

C 

Register/ 

crop marks, 

DEMO 

Relative 

(marked) 

Ditto. The layers are therefore always in the 

corner or center of their respective area. 

D 

CGS logo on 

the left 

Relative 

(marked) 

The three layers that constitute the logo have 

drifted apart, because the position was recalculated 

individually for each of these layers. 

To avoid this, use logos that consist of a single 

image instead of multiple layers. 

E 

CGS logo on 

the right 

Absolute (not 

marked) 

The three layers remain together, but are shifted 

to the bottom, because the distance to the area 

corner is the same as on the bleed page (which 

is smaller). 







Creating Bleed or Trim Margin Lines 

Bleed pages can also be used for adding bleed or trim margin lines to a 

document. Lines and other objects on a bleed page are scaled according 

to the size of the document you are processing, provided that: 

• You have flagged the objects using the MARK function in the MENU 

window (see Marking Layers for Layout Export, page 16-17). 

• The object extends into the opposite area (refers to the 9 areas on a 

bleed page, see Fig. 3-28 above). The lower left corner must be 

located in one area and the upper right corner in the opposite area. 

Objects are scaled horizontally and/or vertically, depending on the areas 

where they begin and end, as shown in the following table: 

From area – to area 

Scaling applied to… 

1–3, 8–4, 7–5 Width only 

1–7, 2–6, 3–5 Height only 

1–5, 7–3 Width and height 

If a bleed page contains a rectangle defining the page size without bleed, 

for example, the rectangle will be enlarged to the page size of the document 

you are processing (see figure below). 

There is a certain tolerance for the areas 1–8. It amounts to 25% of the 

width or height of the document being processed. This means that objects 

are also scaled if they slightly extend inwards beyond these areas. 

This allows you to create type margin lines, for example. 







Fig. 3-30 

Adding Bleed or Trim Margin Lines 

1 

3 

Output Document 

Format of document 

that was merged 

with bleed page 

Bleed Page format * 

8 Bleed * 

8 

1 

3 

7 

*) As defined in the LAYOUT PARA- 

METERS dialog (see page 5-7). 

4 

Bleed margin lines 

Trim margin lines 

4 

Type margin lines 

5 

7 

5 











Layout Design 







4 Quick Start to Page Assembly 

This introduction presents a sample layout and provides step-by-step instructions 

explaining how to create it. We suggest you work through this 

chapter in the given order. Afterwards you will have a good understanding 

of basic ORIS PDF Tuner concepts and you will already master the 

main techniques of page assembly. 

A First Look at the ORIS PDF Tuner Window 

To understand the terms used here you should first take a look at the 

ORIS PDF Tuner window and its elements. In this example, a layout has 

been loaded (using the Windows version of ORIS PDF Tuner). The window 

looks different if an image or the image overview is active. 

Toolbar 

Menu bar 

Status window 

General information 

on layout 

Color window 

• Color values 

• Separations 

• Cursor position 

Active 

layer 

Menu 

window 

Internal name of 

active function 

Status bar 

Info on current 

layer 




Quick Start to Page Assembly 

Sample Layout 


Tip: 

You can hide all floating windows at the same time by pressing TAB. This 

applies to the MENU window, STATUS window, COLOR window and LAYER 

INFO window in this example. Press TAB again to display the windows. 

Sample Layout 

The following sections explain the procedures required for creating this 

sample layout. 

This layout is available under the name EXAMPLE in the ORIS PDF TUN- 

ER SAMPLES kit which you can download from the CGS Web site http:// 

www.cgs-oris.com. 

We recommend to install the kit, open this layout and ‘play’ a little with 

the layout elements. Then try to create the same layout by yourself. 

ORIS PDF Tuner Layout 

Page Elements (Layers) 

Text (headline) 

Tint 

Colored path, set to transparent 

Background image 

Positioned into a rectangle 

with rounded corners 

Gradient 

Mask filled with three colors 

shading into each other 

Dummy text 

Runs around the red circle (tint) 

Cut-out 

With soft edges 

Tint 

Colored path 

displaces dummy text 

Defining Layout Structure with Guides 

Guides are non-printing elements that allow the user to position elements 

accurately and to precisely define the structure of a layout (e.g. 





Creating Guides 

text columns). Guides have a ‘magnetic’ snap area. This means that the 

cursor snaps to the guide when you move it into this area. 

Types of Guides 

Horizontal 


Point 

Vertical 

Inclined 

Circular 


1. Select Function 2. Position Guide 

• Click on layout 

or 

• Enter coordinate 

(direct input, see 

page 29-7) 

For more details refer to Using Guides (page 6-1). 

Creating Layout Elements with Paths and Masks 

Objects on an ORIS PDF Tuner layout that appear in print are referred 

to as layers. A layer is created e.g. when you insert an image into a path. 





Creating Paths 


Paths and masks define the position and outline of layers, but do not appear 

in print. 

1. Define Position and Outline 2. Define Contents ==> Layer 

Paths 

Image 

Tints 

Pixel 

mask 

Gradient 

Dummy 

text 

Creating Paths 

1. Select Function 

Or: 

2. Define Coordinates 

• Click on layout 

or 

• Enter coordinates (direct 

input, see page 29-7) 


Creating Standard Paths (page 7-1) 

Rectangle Editor (page 7-2) 

Using the Path Editor (page 9-1) 






Activating Paths 


A color or image can only be inserted into active paths. If a path is inactive 

it must first be activated as shown below. The default color of active 

paths is magenta. See also Activating Paths (page 8-1). 

Path 

inactive 


Or: 

Path 

active 

2. Click on Path 

Or: 

Hold the mouse button 

pressed down and draw a 

selection rectangle around 

the paths to be activated 





Modifying Paths 



Active paths can be modified in many ways. They can e.g. be moved, 

scaled, rotated or mirrored. The same transformations can be applied to 

any layer, by the way. 

Example: Stretching a circle (increasing its height) 

1. Activate Path 

2. Double-click Path 

Or: 

3. Drag Handles 

Or enter Y scaling factor into toolbar 


Transforming and Moving Paths (page 8-6) 

Resize Handles (page 19-7) 

Transformations (page 19-1) 






Creating Tints 


Tints are layout elements (layers) that consist of a single color, as opposed 

to gradients. To create a tint you can e.g. insert a CMYK color into 

a path. 



Or: 

3. Define Color 

• Use sliders – or 

• Enter color values – or 

• Click on color box – or 

• SHIFT-click to pick color from layout 

Note: 

You can also insert color into pixel masks and into any active layer. 


Tints (page 10-1) 

Selecting Colors (page 10-8) 





Drawing Pixel Masks on a Layout 

Drawing Pixel Masks on a Layout 

To define the outline of a layer you cannot only use paths but also pixel 

masks. 


Or: 

2. Make brush 

settings 

Drawing: 

Erasing: 

Brush size: 


3. Draw Mask Hold mouse button pressed down. 

4. Fill outline Select this function, 

then click 

inside the mask 

5. Fill with color or image 

See below for more details. 


Creating Pixel Masks Using Brush (page 21-2) 

Using Pixel Masks on a Layout (page 22-14) 






Creating Gradients 


In this example a linear gradient is inserted into a pixel mask. Of course 

you can also insert gradients into any path and, by the way, also into any 

active layer. 

1st base point 

1. Create Pixel Mask 

Or activate path. 


Or: 

2nd base point 

3rd base point 

3. Insert Base Point 

Click on mask. 

4. Define Color 

Repeat steps 3 and 4 until 

you have defined all colors 

of the gradient. 

Note: 

ORIS PDF Tuner allows you to create also circular gradients, i.e., the individual 

colors are laid in circles around a central point. 


Gradients (page 10-2) 


Loading Images 

To open an image you can select it from an image overview. This is a 

window that displays thumbnails of all images contained in a specific directory, 

like a ‘picture gallery’. It allows you to select images by their 





Positioning Images (‘in the Background’) 

appearance. Thus you need not struggle with file names, which are often 

little meaningful. 


Or: 


2. Select Image 

Overview 

Select function in 

MENU window, then 

choose a folder. 

3. Double-click 

thumbnail 

Alternatively: 

Use FILE | OPEN 

IMAGE and select 

image by file name. 

For more details refer to Opening Images (page 20-6). 

Positioning Images (‘in the Background’) 

A ‘background image’ is an image inserted into another element, usually 

a path. The image is clipped by the path, i.e., only the image area inside 






Creating Cut-outs 

Note: 

the path is visible. If the image is moved, for example, other image areas 

become visible. 

Images can also be inserted into pixel masks and into any active layer. 



Or: 

3. 2. Select Image 

Double-click 

thumbnail. 

3. Position and Resize Image 

To move, hold mouse button pressed down. 

To enlarge, use handles or toolbar: 

• Enter scaling factor into X* or Y* box – or 

• Click into X* or Y* box, then position cursor on layout 

and move mouse upwards while holding SHIFT 

pressed down 


Placing Background Images (page 11-4) 



Masks can be used to define image areas you want to position on a layout. 

Masks are stored in files located in the same directory as the image 







and can be modified at any time. The following example explains the creation 

of a pixel mask. 

1. Open Image 


Or: 

3. Choose Mask Type 

8 BIT: Transparent mask 

1 BIT: Opaque mask 

4. 

Drawing 

Erasing 

Brush size 

Mask density 

5. Fill Outline 

Select FILL function in Menu window, 

then click inside mask 

6. Position Cut-out 

See below for more details. 

Note: 

ORIS PDF Tuner also allows you to create vector masks. To create vector 

masks you can use any path or the Path Editor, a helpful tool for complex 

outlines (see page 9-1). ORIS PDF Tuner also provides a function 

for automatic pixel mask creation. 


Creating Masks and Cut-outs (page 21-1) 

Working With Masks (page 22-1) 





Positioning Cut-outs (‘in the Foreground’) 


Positioning Cut-outs (‘in the Foreground’) 

A ‘foreground image’ is a cut-out positioned on a layout in a way that it 

is not clipped by another layer. 

1. Create a Mask 

2. Place it on Layout 

3. Position and Resize Image 

To move, hold mouse button pressed down. 

To scale down, use handles or toolbar: 

• Click into X* or Y* box, then position cursor on 

layout and move mouse downwards while 

holding SHIFT pressed down – or 

• Enter scaling factor into X* or Y* box. 

Note: 

You can also position a cut-out into another layer so that it is clipped by 

this layer. Such cut-outs are referred to as mixground images. 



Placing Foreground Images (page 11-9) 

Inserting Mixground Cut-outs (page 11-11) 

Adding Shadows to Cut-outs (page 29-4) 





Writing Headlines 


Writing Headlines 

Text can be set into any closed outline with automatic hyphenation and 

automatic line breaks. Alternatively, text can be written directly on a layout 

as shown in the following example: 


or: 

2. Click on Layout 

To indicate where text starts. 

3. Type Text 

Or insert from Scrapbook/Clipboard. 

New line: ENTER/RETURN 

Delete: BACKSPACE or (FORWARD) DELETE 

Copy/cut/paste: /CTRL+C/X/V 

Undo/Redo: /CTRL+Z/Y 

4. Typographical Changes 

Increases/Decreases... 

Kerning Leading 

Alignment: 

Left Centered Right Justified 

Style sheet Font Font size Kerning Leading Plain Bold Italic Underline Color 

Displays ‘Text Parameters‘ dialog, allows additional settings 

Note: 

To create the shadow, duplicate the headline, fill it with black color and 

move it slightly. Afterwards you must place the shadow layer behind the 

headline. See Changing Stacking Order (page 4-16). 

To set text into an outline, create the outline (use e.g. ), then click . 


Creating Text and Headlines (page 12-1) 

Adding Shadows to Text (page 12-22) 




Inserting Dummy Text 






Or: 

3. Set Dummy Text Parameters 

Note: 

To make the text run around the circular tint layer, you must enable text 

displacement for this tint layer. 


Creating Dummy Text (page 14-1) 

How to Enable Text Displacement (page 12-24) 

Activating Layers 

To work with a layer you must first activate it. If a layer is active it is covered 

by a mask. The default mask color is magenta. 


Only required if layer 

selection mode is not 

enabled (it is usually 

enabled). 

Or: 

Layer inactive 

Layer active 

2. Click on Layer 

Or: 

• Enter layer number (direct input, see page 29-7). 

• Hold mouse button pressed down and draw selection 

rectangle enclosing layers to be activated. 

Alternatively: 

• Next layer: CTRL-click (Mac OS) or 

right-click (Windows) 

• Previous layer: CTRL-SHIFT-click (Mac 

OS) or SHIFT-right-click (Windows) 





Creating Soft Edges 


See also Activating Layers (page 16-1). 

Creating Soft Edges 

Active layer 

Hard edges 

1. Activate Layer 


From MENU window. 

3. Set Parameters 

Define how to create the 

transition from transparent 

to opaque. We recommend 

the setting VERY SOFT. 

Define the size of the soft edge area. 

Define the location of the soft 

edge area with respect to the 

original layer edge. 

Soft edges 

For more details refer to Creating Soft Edges for Layers (page 17-9). 

Changing Stacking Order 

Each printable object on a layout is located on a separate level and 

therefore referred to as a layer. Each level is identified by a unique layer 





Creating Transparency 

number. This example shows how to change the order in which layers 

lie on top of each other (stacking order). 

Red tint below image 



...which will be moved to another level. 


...from MENU window. 

3. Click on Layer 

...on which active layer should be placed. 

Alternatively, CTRL-click (Mac OS) or rightclick 

(Windows) repeatedly. Each mouse 

click moves the layer up by one level. 

Red tint on top of image 

Note: 

You can also move multiple layers to another level. 

For more details refer to Changing Stacking Order (page 16-15). 

Creating Transparency 

Active layer 

100% opaque 



...from MENU window. 

3. Set Degree of 

Transparency 

1. Select one of the tabs 

indicated below. 

2. Use sliders or type transparency 

values into box. 

45% transparent 

For more details refer to Creating Transparency for Layers (page 17-1). 





Modifying Layers 



Layers can be modified in many different ways. This section provides an 

overview. 


2. Select Function from MENU window 

Correction with creation function 

Starts the same function that was used for 

creating the layer. Allows modifying the color 

of tints or moving an image inside its path. 

Transformations 

Scale, rotate, move, mirror, distort... 

Layer outline 

Corrects the path defining the layer outline. 

Duplication 

Duplicates the layer and allows the same 

modifications as the TRANSFORM function. 

Text correction 

Text editing and typographical changes. 

3. Make Modifications See below. 


Modifying Layers (page 16-1) 

Correcting a Layer Using its Creation Function (page 16-5) 


Duplicating Layers (page 16-9) 

Correcting Layer Outlines (page 16-7) 

Editing Text and Typography (page 12-12) 

Correcting Layers Using Creation Function 

The CORRECT function starts the same function that was 

used for creating the layer. This function has a different 

effect according to the layer type. 

• Background images 

The image can be moved, enlarged, rotated, etc. inside 

the path. The path that clips the image remains 

unchanged. See also page 11-5. 

• Foreground and mixground images 

The image can be transformed and moved across the layout or within 

the restricting layer respectively. Basically, the CORRECT function has 





Three Ways of Modifying Background Images 

the same effect as TRANSFORM (see also page 11-10 and 

page 11-13). 

• Tints, gradients and text 


Tints text can be changed in color. Each base point of a gradient can 

be changed in color and also repositioned. For more details refer to 

page 10-1 and page 10-3. 

• Dummy text 

Modification of typesetting parameters (see page 14-6). 

See also Correcting a Layer Using its Creation Function (page 16-5). 


In the MENU window of active layers there are three important functions 

for layer modification: CORRECT, TRANSFORM and LAYER PATH. 

The use of these functions will be illustrated in the following example – 

the scaling of a background image. This section provides an overview, 

details are provided in the subsequent sections. 

CORRECT 

Modifies layer outlines. e.g. 

enlarges image, without 

changing layer size 

TRANSFORM 

Modifies contents and 

outlines, e.g. layer size 

and position 

LAYER PATH 

Modifies layer outlines, 

e.g. size and corner form 

of clipping rectangle 

‘Correct’ Function 

The CORRECT function always starts the function that was used to create 

the layer. The image is then modified behind the path that clips it while 







the path itself – and thus the layer size – remains unchanged. If the background 

image is enlarged, for example, the visible image section becomes 

smaller by the same degree. 


2. Enlarge Image 

Drag handles with SHIFT button 

pressed down to keep proportions 

constant. 

Or use TRANSFORMATIONS toolbar: 

• Click into X* or Y* box, then position cursor 

on layout and move mouse upwards while 

holding SHIFT pressed down. – or 



Modifying Background Images (page 11-5) 

Correcting a Layer Using its Creation Function (page 16-5) 


‘Transform’ Function 

The TRANSFORM function modifies the layer regardless of its creation 

function. If you enlarge the image, for example, the path that clips it – 

and thus also the layer – is enlarged, too. The image itself does not 

change; you still see the same part of it. 


2. Enlarge Image 

Drag handles with SHIFT button 

pressed down to keep proportions 

constant. 

Or use TRANSFORMATIONS toolbar: 

• Click into X* or Y* box, then position cursor 

on layout and move mouse upwards while 

holding SHIFT pressed down. – or 







Moving and Transforming Layers (page 16-4) 


‘Layer Path’ Function 


Layout Reference List 

The LAYER PATH function always starts the creation function of the path 

defining the layer outline. In this case it starts the Rectangle Editor. 

Now all changes affect the path that clips the image and thus the layer 

outline, whereas the layer contents remains the same. Reducing the size 

of the path, for example, clips more parts of the image, but does not 

scale the image itself. 


2. Resize Rectangle 

Using the handles. 

Or use toolbar to specify one of the 

following: 

• Width and height of rectangle 

• Coordinates of corner points 



Rectangle Editor (page 7-2) 

Resize Handles (page 19-7) 


3. Change Corner Form 

Click this dialog button: 

Alternatively, click on a handle, then CTRL-click 

(Mac OS) or right-click (Windows) the handle. 

Images, pixel masks drawn on a layout, dummy text and brushed layers 

are not stored in the layout. ORIS PDF Tuner layouts only contain references 

to these elements as well as information on size, position, rotation 







Note: 

and other attributes. Elements that are stored in the layout (*.DDP file) 

are guides, paths, tints, gradients and text. 

Changes made to image layers do not affect the original image files. 

ORIS PDF Tuner Layout 

Stored as Reference List 

Headline text 

Attributes: Font Futura, font size 40 pt... 

Color: C7M26Y73 

Path 

Type: CONNECTED POINTS 

Attribute: Transparency (45%) 


Path 

Type: RECTANGLE 

Attribute: Rounded corners 

Reference to image 

Reference to pixel mask 

Gradient with three colors 

Path 

Type: RECTANGLE 

Reference to dummy text 

Attributes: Font Futura, font size 16 pt... 

Color: K100 

Reference to pixel mask 

Reference to image 

Attribute: Soft edges 

Path 

Type: CIRCLE 

Attribute: Text displacement 


See also ORIS PDF Tuner Files (page 32-5). 





5 Creating and Opening Pages 

Creating a New ORIS PDF Tuner Layout 

1. Click or select File | New ( +N/Ctrl+N). 

2. Select a directory and enter a file name, then click SAVE. 

3. The LAYOUT PARAMETERS dialog appears, allowing you to specify the 

page size, bleed margins, etc. These settings can be changed at any 

time using the FILE | LAYOUT PARAMETERS command. 

For more details on refer to ‘Layout Parameters’ Dialog (page 5-7). 

4. An empty layout is created – but not yet stored on disk. Now create 

the page elements you want, e.g. 

• Guides to visualize margins or text columns (see page 6-1) 

• Paths to define the outlines of text areas, tints, gradients and 

background images (see page 7-1 and 9-1) 

• Layers, i.e. the objects that will be actually printed, see 

Inserting Images Into Layout (page 11-1) 

Creating Text and Headlines (page 12-1) 

Creating Tints and Gradients (page 10-1) 

See also Quick Start to Page Assembly (page 4-1). 

5. Save the layout. 

To do so, click , select FILE | SAVE, or press +S (Mac OS) or 

CTRL+S (Windows). The file extension .DDP is added automatically. 




Creating and Opening Pages 

Opening Documents 



Opening ORIS PDF Tuner Layouts 

1. Click or select FILE | OPEN LAYOUT ( +O/CTRL+O). 

2. In the file selection dialog, make sure LAYOUTS (*.DDP) is selected on 

the list labeled SHOW (Mac OS) or FILES OF TYPE (Windows). 

3. Browse for the *.DDP file or enter its path name, then click OPEN. You 

can select multiple layouts and open all of them at the same time. 

Notes: • You can easily open the four layouts opened last by using the menu 

items at the bottom of the FILE menu. 

• If fonts used on a layout are not installed on your system, a warning 

appears and a substitute font is used automatically. 

• You cannot open several windows of the same layout. 

• Press ESC or click if you have opened a layout by mistake which 

takes very long to build up on the screen. When asked whether page 

reconstructions should be aborted, select YES. 

Opening Images as ORIS PDF Tuner Layouts 

Any image with a supported format (see page 20-1) can be opened as 

an ORIS PDF Tuner layout. 


2. In the file selection dialog, select ALL IMAGE FORMATS from the list labeled 

SHOW or FILES OF TYPE. 

3. Browse for the image file or enter its path name, then click OPEN. You 

can select multiple images and open all of them at the same time. 

A new layout is created with the name and the size of the image. The 

EXPECTED PRODUCTION RESOLUTION (see page 5-9) is set to the image 

resolution. It can be changed using FILE | LAYOUT PARAMETERS. 

The new layout consists of two layers: 

#1 White background layer (exists on every layout) 

#2 Image layer (background image, linework and 

CopyDot: foreground image, see page 11-1) 

4. Save the layout using FILE | SAVE AS. You cannot use SAVE. 

See also Opening Images (page 20-6). 







Note: 

If you convert this layout to the same format as the image (EXPORT function), 

do not save the output file under the same path name as the image. 

This may destroy the image and produce an unusable output document. 

Opening TIFF/IT and Handshake Files 

You can easily combine the CT, LW and HC files of TIFF/IT documents 

and the CT, NCT, LW and NLW files of Scitex Handshake documents into 

an ORIS PDF Tuner layout. This allows you e.g. to check the trapping 

on the screen after converting an ORIS PDF Tuner layout to one of these 

formats. 

To open a TIFF/IT or Handshake document with ORIS PDF Tuner, select 

the corresponding page description file. This is usually a file with the extension 

.PG, .PH or .ASSG (Handshake) or .FP (TIFF/IT). 


2. In the file selection dialog, select ALL LAYOUT FORMATS, TIFF/IT or 

SCITEX HANDSHAKE from the list labeled SHOW or FILES OF TYPE. 

3. Browse for the page description file, then click OPEN or double-click 

the file name. You can open multiple documents at the same time. 

A new layout is created with the name and size of the image files. The 

EXPECTED PRODUCTION RESOLUTION is set to that of the CT and LW 

file. Use FILE | LAYOUT PARAMETERS to change the resolution. 

The new layout consists of one layer for each file, e.g.: 

#1 White background layer (exists on every layout) 

#2 Image layer (CT) positioned as a background image 

#3 Linework (LW) positioned as a foreground image 

4. Save the layout using FILE | SAVE AS. You cannot use SAVE. 

Note: 

Scitex New CT (NCT) images with spot colors are currently displayed in 

grayscales, because ORIS PDF Tuner it not yet capable of displaying 

spot colors on the screen. In addition, transparent LW areas are displayed 

as opaque if NLW images are located below them. Spot colors 

and transparencies are calculated correctly when converting a layout to 

another format (EXPORT function). 





Inserting Layouts and Images Into a Layout 

Inserting Layouts and Images Into a Layout 

Into an ORIS PDF Tuner layout you can insert any document ORIS PDF 

Tuner is capable of treating as a layout. This includes other ORIS PDF 

Tuner layouts, TIFF/IT or Scitex Handshake documents and images. Do 

the following: 

1. Select FILE | INSERT LAYOUT. 

2. In the file selection dialog, select the appropriate filter (e.g. LAYOUTS) 

then select the layout or image file to be imported. 

3. If the document you are inserting is larger than the current layout or 

– after zooming in – larger than the current layout section, you are 

asked whether the document should be scaled down. 

Select YES to fit the document to the layout (section), NO to import it 

without any scaling, or CANCEL to terminate the function. 

4. The inserted layers are placed on top of all existing layers. All of the 

inserted layers can then be moved, resized or transformed together. 

To move, hold the mouse button pressed down. To resize, use the 

handles or the TRANSFORMATIONS toolbar, which provides a wide 

range of additional transformations functions (see page 19-1). 

5. To end the insertion function, click or select any other function. 

You can now modify each of the inserted layers individually. 

You cannot reverse the import process using or EDIT | UNDO. This 

will only reverse the transformations you have made. 

Annotations 


Please note the following when inserting an ORIS PDF Tuner layout into 

another layout: 

• The background layer (#1) of the inserted layout is not inserted. 

If you want to merge two layouts into a two-page spread, for example, 

the background layer of the imported layout has to be created as layer 

#2. 

• If the background layer of the inserted layout was used for restricting 

a mixground layer (see page 11-2), the background layer of the current 

layout automatically becomes the restricting layer. 

• If layers are outside the current window after being inserted, you can 

move them into the window as follows: 

Select TRANSFORM in the MENU window, click on 

on the layout. 

, then SHIFT-click 






Saving ORIS PDF Tuner Layouts 

• Layers or layers parts which exceed the layout format will not be 

printed or EXPORTED. 

• Layers on the inserted layout that exceed the layout borders will be 

inserted completely. 

Saving ORIS PDF Tuner Layouts 

Overwriting Original File 

Note: 

• Click , select FILE | SAVE. – or 

• Press +S (Mac OS) or CTRL+S (Windows). 

ORIS PDF Tuner automatically renames the layout currently stored on 

disk to *.DDP_BAK (i.e. same file name, different extension) before actually 

saving it. Thus you can always restore the previously saved state. 

You cannot overwrite images, TIFF/IT or Scitex Handshake documents 

opened as ORIS PDF Tuner layouts. Use SAVE AS to save them to a new 

file. 

Saving Under a Different Name 

• Use Select FILE | SAVE AS. – or 

• Press +SHIFT+S (Mac OS) or CTRL+SHIFT+S (Windows). 

The layout displayed on the screen is the layout saved under the new 

name. The original layout does not include the modifications you have 

saved under the new name. 

Exporting a Duplicate 

How to save a duplicate of the current layout under a new name or to 

another directory: 

1. Select FILE | EXPORT. 

2. Select EXPORT A COPY from the OUTPUT FORMAT list. 

3. Enter the new path name into the TARGET DIRECTORY box. 

On Windows systems this input box is only visible if you have expanded 

the dialog using the EXPAND >>> button. 

4. Click OK. 

Unlike the SAVE AS function, EXPORT A COPY additionally saves the current 

layout to make sure that both are identical. Moreover, it does not 

open the duplicate layout, but leaves the original layout open. 





Restoring Previous Version of a Layout 


This function is useful for transferring layouts to hotfolders where they 

will be printed (ORIS Color Tuner) or further processed (ORIS Works). 

In this case the TARGET DIRECTORY must specify the hotfolder input directory. 

To conveniently choose among different target directories, you should 

store them as profiles using the SAVE AS button. You can then select the 

directories from the PROFILE list (see also page 3-4). 

Restoring Previous Version of a Layout 

Whenever you save a layout, ORIS PDF Tuner automatically creates a 

backup copy of the layout currently stored on disk before it executes the 

SAVE command. This is done by renaming the layout to *.DDP_BAK, i.e. 

the same file name but a different extension. Thus you can always revert 

to the previously saved state of the layout, even if you lose the current 

layout e.g. due to a program error. To open a backup copy: 

Note: 

1. Click or select FILE | OPEN LAYOUT. 

2. In the file selection dialog, select BACKUP COPIES (*.DDP_BAK) on the 

list labeled SHOW (Mac OS) or FILES OF TYPE (Windows). 

3. Select the layout you want to open and click OPEN. 

4. If you want to work with the backup copy you have opened, you 

should select FILE | SAVE AS and change the file extension to .DDP. 

ORIS PDF Tuner does not automatically create backup copies of 

*.DDP_BAK files. You cannot open a layout and its backup copy at the 

same time. 

Closing and Quitting 

To close an ORIS PDF Tuner layout 

• Select FILE | CLOSE. – or 

• Press +W (Mac OS) or CTRL+W (Windows). – or 

• Click the or button on the title bar of the layout window. 

To close all ORIS PDF Tuner windows 

• Select WINDOW | CLOSE ALL (Windows only) 

To exit the ORIS PDF Tuner program 

• Select ORIS PDF TUNER | QUIT ORIS PDF TUNER (Mac OS) or FILE | 

EXIT (Windows) – or 

• Press +Q (Mac OS) or CTRL+Q (Windows). – or 

• Click the button on the program window’s title bar (Windows only) 





‘Layout Parameters’ Dialog 

If there are any unsaved modifications you are asked if they should be 

saved. 



Use this dialog to make basic settings for the current layout such as 

page size, origin of coordinate system and bleed margins. The parameters 

are explained below. 

This dialog appears automatically when you create a new layout. The 

settings can be changed at any time using the FILE | LAYOUT PARAME- 

TERS command. 

Fig. 5-1 


Note: 

Format, Width, Portrait... 

Select a predefined page size from the FORMAT list or enter the size you 

want into the WIDTH and HEIGHT boxes. Using the PORTRAIT and LAND- 

SCAPE options you can swap width and height. 

Type the unit of measurement into the WIDTH and HEIGHT input box or 

select it using the lists next to the ORIGIN POINT boxes (see page 32-12). 

Having changed the layout size, close the dialog and select VIEW | COM- 

PLETE PAGE ( +0 or CTRL+0). This reloads the layout and displays it in 

a way that it fills the entire window. 

The layout borders are indicated by a narrow yellow line. Layer parts exceeding 

the layout borders will not be printed or exported. However, the 

area outside the layout borders may be used to temporarily ‘store’ layers 

which are required at a later stage of the page assembly process. 







Origin point 

All objects can be precisely positioned on the layout by specifying a coordinate 

(X and Y value). By default, the lower left layout corner has the 

coordinate 0/0 and is therefore the origin point of the coordinate system. 

However, you can set the origin point anywhere you like. 

Enter the coordinate into the ORIGIN POINT X and Y boxes. Type the unit 

of measurement into the same input boxes or select it using the lists. 

Note that selecting from these lists changes also the units of the FORMAT 

and BLEED parameters. The unit that will be applied is always that in the 

input box, even if the list displays a different unit. 

Changing the origin point will shift all layers. For example, if you change 

it from 0/0 to +20/+20, the layers move to the right and upwards, if you 

change it to –20/–20, they move to the left and downwards. 

Having changed the origin point, close the dialog and select VIEW | COM- 

PLETE PAGE ( +0 or CTRL+0). This reloads the layout and displays it in 

a way that it fills the entire window. 

Note: 

Using the FILE | SYSTEM SETUP | LAYOUT REPRESENTATION command you 

can also set the origin point to the upper left corner (see also page 31-6). 

Bleed 

Use this parameter to define bleed margins for the current layout. Enter 

the size of the LEFT, RIGHT, TOP and BOTTOM margin into the respective 

input boxes. Enter the unit of measurement into the input boxes or select 

it from the lists to the right of the ORIGIN POINT parameter. Note that selecting 

from these lists changes also the units of the FORMAT parameter. 

Note: 

The bleed margins must be added to the page format. For example, to 

create an A4-sized (210 x 297 mm) layout with a 3 mm margin at the top, 

bottom, left and right, you must set the page format to 216 x 303 mm. 

When converting layouts to PDF or PostScript format, you can create 

crop marks which indicate the actual page size (without bleed margins). 

Use the PAGE MARKS tab on the EXPORT LAYOUT dialog. For more details 

refer to Exporting Layouts (page 3-1). 







Fig. 5-2 

Defining Bleed Margins (Example) 

Bleed Top 3 mm 

Bleed 

Left 

3 mm 

Bleed 

Right 

3 mm 

A4 Page 

210 x 

297 mm 

Layout 

Format 

216 x 

303 mm 

Bleed Bottom 3 mm 

Expected Production Resolution 

Use these parameters to specify the resolution expected to be used for 

producing the finished page. 

• Use the CT IMAGES box to enter the resolution to be used for 

images, gradients and other low-res elements. 

• Select a factor from the LW FACTOR list to specify the resolution of 

high-res elements such as tints, text and linework. The CT IMAGES 

resolution will be multiplied by this factor. 

These specifications are used as default values when converting the layout 

to another format (EXPORT function, see page 3-1). 

Specifying the expected resolution for CT IMAGES allows you to prevent 

a deterioration of image quality when exporting the layout. Image quality 

may deteriorate due to resampling, which is done in the following cases: 

• The image resolution differs from the output resolution 

• Images were rotated on the layout (except by 90°, 180° or 270°) 

• Images were moved using the TRANSFORM function (see page 16-4) 

Images can be scaled automatically in a way that their resolution is set 

to the expected output resolution, thus avoiding the need for resampling 

(provided that the images are neither rotated nor moved using TRANS- 

FORM and that the output resolution is actually used). There are various 

ways to do this: 

• Enable the AUTOMATIC SCALE 1 option in the LAYOUT PARAMETERS 

dialog (see page 5-10). Now, whenever you place an image on the 

layout, it will be scaled according to the specified CT IMAGES resolution. 

However, existing image layers are not modified. 







• When placing a new image on the layout, click the button on the 

TRANSFORMATIONS toolbar to scale the image accordingly. 

• To scale existing image layers, activate them (see page 16-1), select 

CORRECT on the MENU window, then click on the button. 

Use the same method to rescale images after changing the EXPEC- 

TED PRODUCTION RESOLUTION. They are not rescaled automatically. 

Note: If TRANSFORM is used instead of CORRECT, clicking restores the 

size the layer had before selecting TRANSFORM. It does not scale the 

layer according to the EXPECTED PRODUCTION RESOLUTION. 

Fine/Coarse 

Use this parameter to define how to display CT images and linework on 

a layout: 

• FINE: Highest display resolution possible 

This setting is required for the accurate positioning of high-res 

images and, above all, linework in magnified layout areas. 

• COARSE: Low display resolution 

The preview (if any) is displayed for Image EPS (see page 20-21) 

files. 

Having changed this setting, select VIEW | REBUILD LAYOUT or press F5. 

Automatic scale 1 

Enable this setting if you want CT images and linework to be automatically 

scaled according to the EXPECTED PRODUCTION RESOLUTION. If this 

resolution is actually used, the image resolution will be identical to the 

output resolution. This may prevent the need to resample the images, 

which would result in a deterioration of image quality. 

This option affects only new images placed on the layout. Existing image 

layers are not modified. For more details refer to Expected Production 

Resolution (page 5-9). 

Guides snap area 

The snap area is the area around a guide in which the cursor snaps to 

the guide. Use this parameter to define the size to which this area should 

default when you create new guides on a layout. 






Changing this value does not affect guides you have already created on 

a layout, neither does it affect guides you have saved to a file. 

Keep layer paths 


This option affects paths defining the outline of layers. If disabled, the 

paths are deleted automatically when you move, transform or delete 

these layers. New paths are created for the new layer position or shape. 

If enabled, the original paths are retained and you can reuse them to create 

new layers (e.g. by filling them with a tint, gradient or image). This 

means that the paths are duplicated when layers are moved or transformed. 

Tip: 

If the number of unused paths becomes too large, you can delete all of 

them in one go by selecting PATHS | ACTIVATE and then DELETE UNUSED 

in the MENU window. 

See also Hiding/Displaying Paths, Guides, Masks, Layers (page 30-18). 











6 Using Guides 

Note: 

Guides allow you to position elements accurately, to define margins or to 

divide a layout into columns. When the cursor approaches a guide (e.g. 

when you are creating a rectangle), it snaps to the guide as soon as it 

reaches the snap area. 

Guides can only be created on a layout and are automatically stored together 

with it. They are usually non-printing elements, but ORIS PDF 

Tuner also allows you to output guides when converting layouts to another 

format using the FILE | EXPORT function (see page 3-46). 

It is not possible to reverse the creation or deletion of guides using the 

EDIT | UNDO function. 

Defining Guide Color 

There are three different colors available for guides in order to distinguish 

them according to their usage. Before creating a guide, select the 

color to be used for it. All guides will be created with this color until you 

select another color or exit the program. 

To select a color, click or select GUIDES | ACTIVATE. Then select one 

of the following items on the MENU window: 

• COLUMNS 

For dividing a layout into columns (default color: blue) 

• BASELINES 

For horizontal guides defining text baselines (default: turquoise) 

• GUIDES 

For other guides, e.g. guides defining bleed margins (default: green). 

Note: 

All types of guides are identical except for their color. You can use a 

COLUMN guide to define bleed margins or text baselines, for example. 




Using Guides 

About Snapping 


About Snapping 

The current selection is displayed in the STATUS window below TYPE. 

To modify the default colors, use the FILE | SYSTEM SETUP | DISPLAY 

COLORS command (see page 31-2). 

Using the commands on the VIEW menu (see page 30-18) you can hide 

and display all guides of a particular type. This affects all open layouts. 

You can also press F7 to hide and display all guides of the type GUIDES. 

Snap Area 

All guides have a magnetic snap area. The cursor snaps to the guide 

when moved into this area. The snap area is defined as follows: 

Fig. 6-1 

Snap Area of Guides 

d 

Vertical 

guide 

d 

Circular 

guide 

d 

Guide 

point 

d 

Guide 

Snap area border 

Snap area size (default: 1.5 mm) 

When creating a guide, the snap area defaults to the value specified using 

the GUIDES SNAP AREA option in the LAYOUT PARAMETERS dialog (see 

page 5-7). Select FILE | LAYOUT PARAMETERS to open this dialog. Initially, 

the snap area is set to 1.5 mm. It can be set individually for every guide. 

How Snapping is Indicated 

When the cursor has snapped to a guide, the type of guide is indicated 

by a letter. This letter appears in the COLOR window (see page 30-21) on 

Mac OS and at the right end of the status bar under Windows. There are 

the following indicators: 

X horizontal guide I2 Cursor has snapped to the 

Y vertical guide 2C intersection of two or more 

I inclined guide 

inclined or circular guides, 

C circular guide 

respectively. 

P point 





Using Guides 



Horizontal and Vertical Guides 

1. Select GUIDES | HORIZONTAL or VERTICAL. 

A guide appears which you can move with the mouse. 

2. Click on the layout to position the guide. 

Alternatively, enter the horizontal or vertical position on the keyboard 

(direct input, see page 29-7). 

3. If necessary, change the default snap area (see page 6-4). 

4. Repeat step 2 to create additional horizontal or vertical guides. 

Inclined Guides 

1. Select GUIDES | INCLINED. 

2. Click on the layout to specify the first base point. Alternatively, enter 

the point’s coordinate on the keyboard (direct input, see page 29-7). 

A guide appears which you can move and rotate with the mouse. 

3. Click on the layout to define the inclination angle. Alternatively, enter 

the angle on the keyboard (direct input). 


5. Repeat steps 2 and 3 to create additional inclined guides. 

Circular Guides 

1. Select GUIDES | CIRCULAR. 

2. Click on the layout to define the center of the circle. Or enter the 

coordinate on the keyboard (direct input). 

3. Define the radius by doing one of the following: 

• Enter the value on the keyboard (direct input). 

• Click on the layout, move the mouse vertically, then click again. 


5. Repeat steps 2 and 3 to create additional circular guides. 




Using Guides 



Changing Snap Area 

d 

d 

Having positioned a guide, lines indicating the default snap area appear 

(see page 6-2). Now you can change the snap area as follows: 

1. SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) on the layout. 

The letter d in the STATUS window is displayed in boldface type, 

indicating that the snap area value is selected. 

2. SHIFT-click on the layout, move the mouse vertically, then click the 

(left) mouse button. Alternatively, enter the size of the snap area on 

the keyboard (direct input, see page 29-7). 

The distance between the lines indicating the snap area borders 

changes. 

Parallel and Perpendicular Guides 

Having created a horizontal, vertical or inclined guide, you can define 

any number of guides running parallel or perpendicular to this guide, all 

having the same distance from each other. 

1. Having created the guide, select PARALLEL or 90 DEGREES respectively 


A parallel or perpendicular guide appears on the screen. You can 

move this guide with the mouse. 

2. Define the distance between the guides. To do so, click on the layout 

or enter the distance on the keyboard (direct input). 

The position depends on whether positive or negative values are entered. 

When creating parallel guides for a vertical guide, for example, 

use a positive number to create the guides to the right and a negative 

number to create them to the left of the original guide. 

3. If you want to create more than one parallel or perpendicular guide, 

specify the number of guides to be created. Do one of the following: 

• First SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) 

on the layout. Then SHIFT-click and move the mouse vertically. 

Finally, click the (left) mouse button. 

• Enter the number of guides on the keyboard (direct input). 

4. Repeat steps 2 and 3 to create additional parallel or perpendicular 

guides. 





Using Guides 


Guide Points 

1. Select GUIDES | POINT. 

2. Click on the layout to place the point. Alternatively, enter the point’s 



4. Repeat step 2 to create additional guide points. 

Automatic Guide Points 

Guides can be created automatically on characteristic points of a path. 

1. Create (see page 7-1) or activate the path (see page 8-1). 

2. Select GUIDES | AUTOMATIC POINTS. 

This creates guide points for all corners, transitions from line to circle, 

circle centers and the base points of Combined Paths (see page 33-1). 

It also creates circular guides for all circle segments such as the rounded 

corners of rectangles (not of ellipses). 

Guide Grids 

Straight and inclined guide grids are useful tools for dividing a layout regularly 

into any number of rows and columns. You can also define a space 

between the rows and columns. 

1. Select GUIDE | GRID | GRID (= straight) or INCLINED GRID. 

2. Click on the layout to position the first corner of the grid. Alternatively, 

enter the point’s coordinate on the keyboard (direct input). 

3. When creating inclined grids you must also specify the degree of inclination. 

To do so, click on the layout or enter the inclination angle on 

the keyboard. 

4. Click on the layout to position the second corner of the grid. Alternatively, 

enter the point’s coordinate on the keyboard. 

5. Define the number of vertical lines. Do one of the following: 

• Click on the layout, move the mouse vertically, then click again. 

• Enter the number on the keyboard. 

6. Repeat the last step to define the number of horizontal lines. 

7. Likewise, define the vertical and then the horizontal space between 

the individual rows and columns. Enter 0 to create no space. 





Using Guides 



Note: 

To avoid confusion on the screen, the snap area is only displayed for one 

horizontal and vertical grid line. 

Invisible Guide Grid 

An invisible guide grid consists of several invisible guide points located 

at the intersections of the horizontal and vertical grid lines. Such grids 

are helpful e.g. to create paths for dummy text areas in which a certain 

number of lines should fit. 

By default, the invisible grid has the settings shown in the figure below. 

The default setting ensures that paths are always created on the grid. 

Fig. 6-2 

Invisible Guide Grid 

d1 

W1 

d2 

W2 

W1 

W2 

d1 

d2 

Guide point 

Border of snap area 

Horizontal space (1 mm) 

Vertical space (1 mm) 

Horizontal snap area (0.5 mm) 

Vertical snap area (0.5 mm) 

Origin point (0/0) 

Default settings are in parentheses. 

(De-)Activating Invisible Grid 

To activate the invisible guide grid, select GUIDES | GRID | BACKGROUND 

GRID ON. 

Now, when creating paths, an asterisk (*) in the status bar indicates that 

the invisible grid is active (not on Mac OS). When the cursor has snapped 

to one of the invisible guide points, G* is displayed in the COLOR window 

(see page 30-21) (Mac OS) or on the STATUS bar (Windows). 

To disable the grid, select GUIDES | GRID | BACKGROUND GRID OFF. Now 

the cursor no longer snaps to one of the grid’s guide points. 

Modifying Invisible Grid 

Having selected GUIDES | GRID | BACKGROUND GRID ON, you can adjust 

the grid’s default settings. 

Note: 

To make sure that paths are always created on the invisible grid, the 

horizontal snap area must be half the horizontal point distance and the 

vertical snap area half the vertical point distance. 





Using Guides 

Modifying Guides 

Method 1 

Enter the values on the keyboard (direct input, see page 29-7) in the order 

indicated below. Press RETURN/ENTER after each input. The current 

parameter is displayed in the STATUS window. 

1. Horizontal distance between grid points (W1) 

2. Vertical distance between grid points (W2) 

3. Horizontal snap area (d1) 

4. Vertical snap area (d2) 

5. Coordinate of lower left grid corner (origin point) 

Method 2 

The current parameter is indicated in the STATUS window. If you do not 

want to modify it, click to select the next. Otherwise do the following: 

1. SHIFT-click on the layout. 

2. Move the mouse vertically. The value corresponding to the current 

mouse position is indicated in the window’s status bar. 

3. Click the (left) mouse button to use this value. 

4. The next parameter is selected automatically and can be modify in 

the same way. 


Guides can be modified in the following ways: 

• Correct 

Position, circle radius, number of grid lines etc. can be modified, 

provided that the guide creation function is still active. 

• Deactivate 

Inactive guides disappear from the screen and the cursor no longer 

snaps to them. 

• Switch off display 

Guides disappear from the screen, but the cursor still snaps to them. 

• Switch off snapping 

Guides remain visible, but the cursor no longer snaps to them. 

• Delete 

Guides are removed irrevocably (no undo!) 

Inactive guides can be reactivated at any time. Snapping can be 

switched on again at any time. Deleted guides, however, cannot be undeleted. 




Using Guides 



Correcting Guides 

If the function for creating a guide is still active you can correct all values 

(position, radius, snap area) as follows: 

1. Step backward through all values you have specified. 

Repeatedly SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) 

until the parameter to be modified is selected. In the STATUS 

window the selected parameter is displayed in boldface type. 

2. Modify the selected parameter by doing one of the following: 

• SHIFT-click on the layout, then move the mouse vertically. The 

value corresponding to the current mouse position is indicated in 

the status bar. Click to use this value. 

• Or enter the value on the keyboard (direct input, see page 29-7). 

The next parameter is then selected automatically and can be modified 

in the same way. 

Activating and Deactivating Guides 

1. Click or select GUIDES | ACTIVATE. All guides appear on the 

screen. 

2. Use the MODE function to toggle between two settings, which are indicated 

in the STATUS window: 

• SELECT mode – Guides can be activated 

• DESELECT mode – Guides can be deactivated 

3. Take one of the following actions: 

• Click on all guides you want to (de-)activate. Or move the cursor 

slowly across a guide with the mouse button pressed down. 

• SHIFT-click to reverse the mode, i.e. to deactivate in the SELECT 

mode and to activate in the DESELECT mode. 

• Repeatedly CTRL-click (Mac OS) or right-click (Windows) to 

select the next guide. Additionally press the SHIFT key to select 

the guides in reverse order. To (de-)activate multiple guides, click 

the (left) mouse button before selecting the next/previous guide. 

• Use the following functions in the MENU window to (de-)activate 

the following types of guides: 

ALL All guides on the layout 

ALL VERTICAL All vertical guides and vertical lines of guide grids 

ALL All horizontal guides and horizontal lines of guide 

HORIZONTAL grids 





Using Guides 


ALL INCLINED All inclined guides and inclined lines of guide grids 

ALL POINTS All guide points 

ALL CIRCULAR All circular guides 

4. Click or select any other function. All inactive guides disappear 

from the screen. 

Annotations 

A guide is sensitive to mouse clicks within its snap area (see page 6-2). 

When being deactivated, guides change in color (default is dark yellow). 

You can change the color of active and inactive guides according to your 

personal preferences. To do so, use function FILE | SYSTEM SETUP | 

DISPLAY COLORS (see page 31-2). 

The ALL function in the MENU window automatically changes the mode 

from SELECT to DESELECT and vice versa. 

Deleting Guides 

Note: 

Click or select GUIDES | ACTIVATE, then do one of the following: 

• Activate all guides you want to delete. Make sure all other guides 

are inactive. Then select DELETE ACTIVE in the MENU window. 

• Deactivate all guides you do not want to delete. Make sure all other 

guides are active. Then select DELETE INACTIVE in the MENU window. 

Deleting guides cannot be reversed (no undo!). 

Hiding and Displaying Guides 

A large number of guides may create some confusion on the screen. In 

this case you can hide all guides of a particular color (see page 6-1). The 

cursor still snaps to hidden guides (unless you have disabled snapping). 

To hide guides, select one of the following function on the VIEW menu: 

GUIDES (shortcut: F7) 

COLUMN GUIDES 

BASELINE GUIDES 

To display the hidden guides again, reselect the corresponding function. 

A check mark next to the function indicates that guides of this color are 

displayed. 




Using Guides 

Saving and Importing Guides 


Switching Snapping Off/On 

The ability to snap the cursor can be switched off and on for all guides. 

To do so, press SHIFT+F7 or select GUIDES | SNAPPING. When disabled, 

the cursor no longer snaps to guides, although they are still visible. 

A check mark next to this function appears if snapping is enabled. 

Saving and Importing Guides 

In order to use the guides of a layout for other layouts, you must save 

them separately to a file. This is especially useful for frequently used 

standard layouts. 

To save all guides on a layout to a file: 

1. Click or select GUIDES | ACTIVATE. 

2. Select SAVE the MENU window. 

3. Enter a file name, select a directory and click SAVE. 

To import saved guides into a layout: 

1. Click or select GUIDES | ACTIVATE. 

2. Select LOAD the MENU window. 

3. Select the guide file (*.ALG) and click OPEN. 

Note: 

When importing stored guides, the new guides appear and the old 

guides disappear and become inactive. They can be reactivated. 

When saving a layout, all guides – including inactive and invisible guides 

– are stored together with the layout. It is therefore advisable to delete 

guides you no longer need before saving a layout. 





7 Creating Standard Paths 

Paths are required for defining outlines which are later filled with tints, 

gradients, images or text. Paths are non-printing elements which are 

stored together with the layout. 

ORIS PDF Tuner distinguishes between two types of paths: 

• Standard Paths such as rectangles, circles or stars, which all have 

an individual and specific creation function. 

Standard paths can be corrected at any time and in the same way in 

which they were created, e.g. by changing the individual coordinates, 

angles, radii, etc. 

• Combined Paths are paths which can only be corrected using the 

Path Editor. They can be created with this tool and are also the 

result of combining, separating or distorting standard paths. 

Click this button to create paths with the Path Editor (see page 9-1). 

Any path can be transformed in many different ways, e.g. scaled, rotated 

or mirrored. 

Moreover, the outlines of text characters are also defined by (combined) 

paths. When writing text, the paths are automatically filled with a color. 

Note: 

It is not possible to reverse the creation, modification or deletion of paths 

using the EDIT | UNDO function. 


Working With Paths (page 8-1) 

Correcting by Using Creation Function (page 8-4) 

Combining and Separating Paths (page 8-6) 




Creating Standard Paths 

Rectangle Editor 



The Rectangle Editor allows you to create any possible rectangle. Using 

this tool you can scale, rotate and skew rectangles and also modify the 

corner forms. 

Creating Rectangles 

1. Click or select PATHS | RECTANGLE. 

The Rectangle Editor dialog appears (see Fig. 7-1). 

2. Specify the two rectangle corners by clicking on the layout. 

Alternatively, type the coordinates into the P1 and P2 boxes of the 

dialog. Enter the X value on the left and the Y value on the right. You 

can also enter these values directly on the keyboard (see page 29-7). 

3. Now edit the rectangle. For more details refer to: 

Modifying Rectangles with Handles (page 7-3) 

Changing Rectangle Corners (page 7-3) 

Changing Rectangle Width and Height (page 7-4) 

Rotating and Skewing Rectangles (page 7-5) 

Moving Rectangles (page 7-5) 

4. To create additional rectangles in the same way, the creation mode 

must be active. Enable the NEW RECTANGLE option for this purpose. 

If the creation mode is not active, you can move the rectangle with 

the mouse button pressed down. 

Fig. 7-1 ‘Rectangle Editor’ Dialog 

Corner points Width 

X Y Height 

Rotation angle 

Skewing angle 

Corner lenghts 

Y/X 

Toggles between symmetrical and asymmetrical corners 

Current corner type 

Selected corner 

If enabled, you can create new rectangles 

If disabled, you can move the rectangle 

If enabled, corner transformations will affect all corners 







Modifying Rectangles with Handles 

Any active rectangle has handles which allow quick scaling, rotating, 

skewing and corner modification (see Fig. 7-2). 

Move the handles with the mouse button pressed down. To keep proportions 

constant when scaling, hold the SHIFT key pressed down. 

Fig. 7-2 

Handles of a Rectangle (Example) 

Selected 

corner 

3 2 3 

Changes corner 

1 lengths 

1 

3 2 3 

Handles on the corners change the 

width (1), height (2) or both (3) 

Changes 

skewing angle 

Changes 

rotation angle 

Changing Rectangle Corners 

1. Select the corner to be modified. To modify all corners at the same 

time, make sure the ALL CORNERS option is enabled. Otherwise disable 

this option and do one of the following: 

• Click one of the four buttons at the right end of the 

dialog. Each button represents a corner. 

• Click on the corner handle (see Fig. 7-2). 

• Make sure the cursor is not positioned on a handle, then CTRLclick 

(Mac OS) or right-click (Windows) repeatedly to step 

through the four corners. 

The selected corner is marked by a frame around the handle. 

2. Select the corner form by doing one of the following: 

• Click one of 

these dialog 

buttons: 

normal 

bevelled 

rounded 

inversely 

rounded 

• Position the cursor on the corner handle, then CTRL-click (Mac 

OS) or right-click (Windows) repeatedly. Each click selects one of 

the four corner forms. 







3. Use the button to toggle between the following settings: 

• Symmetrical corners (button not depressed) – Corner length Y 

is set automatically to the value of corner length X. 

• Asymmetrical corners (button depressed) – You can specify 

different values for the two corner lengths. 

4. Modify the corner lengths X and Y by doing one of the following: 

• Move the handle which changes the corner lengths. This handle 

appears near the selected corner (see Fig. 7-2). 

If you have selected asymmetrical corners, corner length X can 

be modified by horizontal movements and corner length Y by vertical 

movements (or vice versa). 

• Enter the values into the boxes labeled or , respectively. 

Changing Corner Lengths: Example 

Using the and parameters you can define the size of a corner. 

Here is an example of a rectangle with rounded corners. 

Fig. 7-3 Changing Corner Lengths (Example) 

Same values for both lengths Different values 

X 

X 

Y 

Y 

X 

X 

Corner 

handle 

Symmetrical corners 

Y 

Corner 

handle 

Y 

Asymmetrical corners 

Changing Rectangle Width and Height 

Do one of the following: 

• Move the handles on the rectangle corners (see Fig. 7-2). 

• Enter the width into the box and the height into the box. 

• Enter new coordinates into the P1 and P2 boxes. 






Creating Inclined Rectangles 

Note: The values in the and box may be negative, depending on the order 

in which the corner points were set and the position of the layout’s 

origin point (top left or bottom left). See also page 31-6. 

Rotating and Skewing Rectangles 

Do one of the following to rotate or skew a rectangle: 

• Use the rotation or skewing handle (see Fig. 7-2). 

• Enter the rotation angle into the box. 

Enter the skewing angle into the box. 

Moving Rectangles 

To move a rectangle, disable the NEW RECTANGLES option, position the 

cursor anywhere on the layout but on a handle, then drag the rectangle 

with the mouse button pressed down. 

SHIFT-drag if the NEW RECTANGLES option is enabled. New rectangles will 

be created if you do not hold the SHIFT key pressed down. 

Creating Inclined Rectangles 

Creating Grids 

All types or rectangles can be created and edited in any possible way using 

the Rectangle Editor. However, there is an additional function which 

creates rectangles with an inclined baseline: 

1. Select PATHS | INCLINED RECTANGLE. 

2. Click on the layout to set the first corner point. Alternatively, enter the 

point’s coordinate on the keyboard (direct input, see page 29-7). 

3. Define the inclination of the rectangle. 

To do so, click to set another point or enter the inclination angle. 

4. Click to set the second corner point or enter the coordinate. 

1. Select PATHS | GRID & LINES | GRID (straight) or INCLINED GRID. 

Position the first corner point by clicking on the layout or enter the 

point’s coordinate. 

2. When creating inclined grids you must define the inclination. 

To do so, click to set another point or enter the inclination angle. 





Creating Lines 



3. Position the second corner point by clicking on the layout or enter the 

point’s coordinate. 

4. Define the number of vertical grid lines by doing one of the following: 

• Click on the layout, move the mouse vertically until the desired 

number of grid lines is reached, then click again. 

• Enter the value directly on the keyboard. 

5. Define the number of horizontal grid lines in the same way. 


Framing Grids (page 8-13) 

Splitting Grids into Rectangles (page 8-9) 

Inclined Lines 

1. Select PATHS | GRID & LINES | INCLINED LINES. 

2. Set the initial point and then the end point of the line. 

To do so, click on the layout or enter the coordinates (direct input). 

3. Repeat the last step to create the next line. 

Straight Lines 

How to create lines consisting of several vertical or horizontal line segments: 

1. Select PATHS | GRID & LINES | VERTICAL & HORIZONTAL LINES. 

2. Repeatedly click on the layout to set the points. Alternatively, enter 

the points’ coordinates. 

Connected Points 

How to draw zigzag lines by connecting points: 

1. Select PATHS | GRID & LINES | CONNECTED POINTS. 

2. Specify points by clicking on the layout or entering the coordinates. 

3. If you want to close the path accurately select CLOSE PATH in the 

MENU window. This connects the first and the last point. 







Connected Points: Angle and Length 

How to draw zigzag lines by specifying points, angles and lengths: 

1. Select PATHS | GRID & LINES | POLAR CONNECTED POINTS. 

2. Click on the layout to position the initial point of the line or enter the 

point’s coordinate (direct input, see page 29-7). 

3. Define the length of the first line segment. 

Click on the layout. A circle around the specified point indicates the 

length. Move the mouse vertically to change the length. Click on the 

layout when the desired length is reached. 

Alternatively, enter the length directly on the keyboard. 

4. Use the same procedure to define the line’s rotation angle. 

5. Repeat steps 3 and 4 to define additional line segments. 

Connected Points: Arc 

How to connect points to form a line and achieve rounded transitions between 

the line segments: 

1. Select PATHS | GRID & LINES | ARC CONNECTED POINTS. 

2. Click on the layout to position the line’s initial point or enter the point’s 

coordinate. 

3. Define the length of the first line section by setting another point. 

4. Define the arc radius 

Click on the layout. A circle around the specified point indicates the 

radius. Move the mouse vertically to change the radius. Click on the 

layout when the desired radius is reached. 

Alternatively, enter the length directly on the keyboard. A radius of 0 

produces a corner 

5. Create additional line segments by specifying points and arcs. 

Smooth Lines by Connecting Points 

The SMOOTH LINE 1 function allows you to draw a smooth line by connecting 

points. The lines are bent as much as possible. SMOOTH LINE 2 

has the same effect, but the lines are not bent that strongly. 

1. Select PATHS | SMOOTH LINES | SMOOTH LINE 1 or 2. 

2. Create points by clicking or entering the coordinates (direct input). 

You can create a corner by specifying the same coordinate twice. 







3. If you want to close the path accurately, select CLOSE PATH from the 

MENU window. This connects the first and the last point. 

Smooth Lines with Points and Angles 

Function SMOOTH LINE 3 allows you to create a curved line. The degree 

to which the line is bent is defined by an angle. 

1. Select PATHS | SMOOTH LINES | SMOOTH LINE 3. 

2. Click to position the line’s first point or enter the point’s coordinate. 

3. Define the curve angle by doing one of the following: 

• Click on the layout to set another point. 

• Enter the angle on the keyboard (direct input, see page 29-7). 

4. Specify additional angles and points in the same way. 

You can create a corner by specifying the same coordinate twice. 

Creating Parallel Lines 

You can create any number of horizontal, vertical or inclined lines running 

parallel to each other. 

1. Use the following functions on the PATHS | GRID & LINES menu: 

HORIZONTAL PARALLEL LINES 

VERTICAL PARALLEL LINES 

INCLINED PARALLEL LINES 

2. Click on the layout to set the starting point of the first line. Alternatively, 

enter the point’s coordinate directly on the keyboard. 

3. Do the same to set the end point of the last line. 

4. Define the number of lines to be created between these two lines. 


number of lines is reached, then click again. 

• Or enter the value directly on the keyboard. 

See also Framing Parallel Lines (page 8-14). 




Creating Circles And Ellipses 

Circle: Center and Radius 


Creating Circles And Ellipses 

How to create a circle by specifying the center and the radius: 

1. Select PATHS | CIRCLES & ARC | CIRCLE RADIUS. 

2. Position the circle center by clicking on the layout or entering the 


3. Define the radius by doing one of the following: 

• Click on the layout, move the mouse vertically until the radius 

has the size you want, then click again. 


Circle: 2 Points 

How to create a circle by specifying the center and a point on the circle: 

1. Click or select PATHS | CIRCLES & ARC | CIRCLE 2 POINTS. 

2. Position the points by clicking on the layout or entering the coordinates 

on the keyboard (direct input). 

Circle: 3 Points 

How to create a circle by specifying three points on the circle: 

1. Select PATHS | CIRCLES & ARC | CIRCLE 3 POINTS. 

2. Position the points by clicking on the layout or entering the coordinates 

on the keyboard. 

Ellipses 


There is a function for creating straight ellipses and one for inclined ellipses. 

In both cases you have to specify three points. 

1. Select PATHS | ELLIPSE or INCLINED ELLIPSE, respectively. 

2. Specify three points on the outline of the ellipse. 

To do so, click on the layout or enter the coordinates on the keyboard. 

The inclination of inclined ellipses can only be defined by the position of 

the second point. It is not possible to do this by specifying an angle. 





Creating Polygons and Arcs 


Creating Polygons and Arcs 

Stars 

1. Select PATHS | POLYGONS | STAR. 

Define the center of the star by clicking on the layout or entering the 


2. Define the radius of the inner circle, the radius of the outer circle and 

then the number of points. Do one of the following: 

• Click on the layout, move the mouse vertically until the value you 

want is reached, then click again. 


Polygon: Center And Point 

How to create a polygon by specifying the center and a point on the outline: 

1. Select PATHS | POLYGONS | POLYGON (CENTER). 

2. Define the center and then the point on the outline. 


3. Specify the number of corners by doing one of the following: 


number of corners is reached, then click again. 


Polygon: Side Length 

How to create a polygon by specifying the length of a side and the number 

of corners: 

1. Select PATHS | POLYGONS | POLYGON (SIDE). 

2. Create the two points which define the polygon’s side length. 


3. Specify the number of corners by doing one of the following: 


number of corners is reached, then click again. 







Correcting Standard Paths 

Arc 

1. Select PATHS | CIRCLES & ARC | ARC. 

1. Specify the first, the second and then the last point of the arc. 

To do so, click on the layout or enter the coordinates on the keyboard 

(direct input). 

Note: When framing an arc using or it will have straight corners. To create 

a framed arc with rounded corners use PATHS | CIRCLES & ARC | FAN. 

Framed Arc (‘Fan’) 

How to create a framed arc with rounded corners: 

1. Select PATHS | CIRCLES & ARC | FAN. 

2. Specify the first, the second and then the last point of the arc. 


3. Specify the width of the frame by doing one of the following: 


width is reached, then click again. 


Correcting Standard Paths 

All values (points, angles, radii, etc.) of a standard path can be corrected. 

This is possible both during the creation and afterwards. For more details 

refer to page 8-4. 

Special Creation Methods For Paths 

Closing Paths Accurately 

To close open paths (e.g. CONNECTED POINTS) accurately you must 

specify exactly the same coordinate for the starting and ending point. 

There are various ways to do this. 

Using ‘Close Path’ Function 

For certain paths function CLOSE PATH is available in the MENU window 

during creation. This function connects the point specified last with the 

first point. 






Saving First Point 


For all paths it is possible to store and later recall the starting point: 

1. Select the function that creates the path and set the starting point. 

Note: 

2. Press F2, click or select EDIT | SAVE VALUE. 

3. Specify the values required for creating the path. 

4. Instead of setting the last point, press SHIFT+F2, click or select 

EDIT | APPLY VALUE. The ending point is placed on exactly the same 

position as the starting point. 

Saving and applying values is not possible if the Rectangle Editor is active. 

Using Guide Points 

Create a guide point and set the first and last point of the path on this 

point. 

Or generate automatic guide points after creating the open path. Then 

connect the starting and ending point with a new path. 

For more details refer to Guide Points (page 6-5) and Automatic Guide 

Points (page 6-5). 

Connecting Paths 

It is possible to connect two paths (of different or identical type) by specifying 

points on the same coordinate. There are several ways to do this. 

By Storing And Applying Values 

1. Create the first path. 

Having specified the point at which you want to connect the path, 

press F2 click or select EDIT | SAVE VALUE. 

2. If you want to connect it to a path of a different type, select the function 

that creates this path. 

3. Press SHIFT+F2, click or select EDIT | APPLY VALUE to specify the 

point in which the two paths should be combined. A new point is set 

automatically on the stored coordinate. 

Note: 

A stored value remains stored until it is overwritten by reselecting SAVE 

VALUE. Saving and applying values is not possible if the Rectangle Editor 

is active. 




Using Guide Points 



Create one or several guide points. When creating paths, specify the 

starting and ending point of the two paths on these points. 

Or create the path first and then generate automatic guide points. 

For more details refer to Guide Points (page 6-5) and Automatic Guide 

Points (page 6-5). 

Transferring Values 


In addition to coordinates, you can also store angles, lengths, radii etc. 

and recall these values for the same or a different path. 

Example: Creating two circles with exactly the same radius. 

1. Select PATHS | CIRCLES & ARC | CIRCLE RADIUS. 

2. Specify the center of the first circle, e.g. by clicking on the layout. 

3. Define the radius, e.g. as follows: 

Click on the layout, move the mouse vertically, then click again. 

4. Press F2, click or select EDIT | SAVE VALUE. 

5. Specify the center of the second circle. 

6. Press SHIFT+F2, click or select EDIT | APPLY VALUE. 

7. Press ENTER, or select any other function. A circle with the stored radius 

appears. 

Note: 

A stored value remains stored until it is overwritten by reselecting SAVE 

VALUE. Saving and applying values is not possible if the Rectangle Editor 

is active. 











8 Working With Paths 


This chapter deals with basic operations for modifying paths. 




Creating ‘Smooth Text’ (page 13-1) 

To be able to modify a path you must first activate it. If you want to modify 

several paths simultaneously, these paths must all be active at the same 

time. To avoid that a modification affects a specific path, make sure this 

path is inactive (i.e. deactivate it). 

Active and inactive paths are represented with different colors. By default 

active paths are magenta and inactive paths dark yellow. You can 

change these colors. See Defining Display Colors (page 31-2). 

If paths you want to activate are not visible, select VIEW | PATH AND MASK 

DISPLAY ON. All paths on the layout will appear and become inactive. 

To activate paths, you must first click or select PATHS | ACTIVATE to 

switch to the path selection mode. Immediately after creating it, a path is 

active and can be modified directly. 

How to Activate a Single Path 

Click or select PATHS | ACTIVATE, then click on the path. 

Alternatively, CTRL-click (Mac OS) or right-click (Windows) repeatedly to 

activate the next path. SHIFT-CTRL-click (Mac OS) or SHIFT-right-click 

(Windows) to activate the paths in reverse order. The cursor need not be 

positioned on a path, it must be anywhere on the layout. 




Working With Paths 



Note: 

On Windows systems, you can also hold SHIFT and the middle mouse 

button pressed down. As you move the cursor across the layout, the 

path touched by the cursor will be activated. 

A path is sensitive to mouse clicks within a distance of 4 pixels from its 

actual position. 

How to Activate Multiple Paths 

Click or select PATHS | ACTIVATE, then do one of the following: 

• SHIFT-click a path to add it to those already activated. 

• Hold the (left) mouse button pressed down and draw a selection 

rectangle enclosing all paths you want to activate. All paths not 

enclosed by the rectangle will be deactivated. 

• Additionally hold the SHIFT key pressed when drawing a selection 

rectangle to add the selected paths to those already active. 

• Activate a path, then OPTION-click (Mac OS) or CTRL-click (Windows) 

on another path to additionally activate this one and all paths 

between them. The sequence of paths is determined by the order in 

which they were created. 

• Take the following actions: 

1. Activate the first path, e.g. by clicking it. 

2. To activate the next path, CTRL-click (Mac OS) or right-click (Windows) 

repeatedly. This selects one path after the other. Additionally 

press the SHIFT key to select the paths in reverse order. 

3. (Left-)Click anywhere on the layout. The currently selected path 

will remain active in addition to that selected beforehand. 

4. Repeat the last two steps until all paths you want are active. 

How to Deactivate Paths 

Do one of the following to deactivate one or several paths: 

• SHIFT-click a path to deactivate it. 

• Hold the OPTION (Mac OS) or CTRL (Windows) key and the mouse 

button pressed down and draw a selection rectangle enclosing all 

paths you want to deactivate. 

• To deactivate all paths on the layout, draw a selection rectangle 

which encloses no paths. 

• Select VIEW | PATH AND MASK DISPLAY ON to deactivate all paths 

and, at the same time, display all paths which have been invisible. 







How to (De-)Activate Path Groups 

Path groups are a set of paths which belong together – either by nature 

(e.g. all paths of a text line) or because they have been grouped explicitly 

by the user. All paths of a group can be activated simultaneously: 

1. Click or select PATHS | ACTIVATE. 

2. In the MENU window click on ELEMENT to switch to the path group selection 

mode. 

To indicate that this mode is active, GROUP appears in the STATUS 

window (otherwise PATH). 

3. Activate one of the paths belonging to the group, e.g. by clicking it. 

All paths of this group become active. 

Paths Forming a Group by Nature 

• All text characters in the same line 

• All rectangles of a grid which was framed or split into individual rectangles 

(see page 8-9 and 8-13). 

• Copies of a path created using PATHS | EDIT | DUPLICATE MULTIPLE 

(see page 8-8) 

• Each single copy of a group 

• All copies of these elements 

How to Create Path Groups 

1. Activate all paths you want to combine into a group. 

2. Select GROUP in the MENU window. 

All grouped paths can now be activated simultaneously. 

Note: 

Grouping establishes a logical link between paths. Unlike the COMBINE 

function, it does not combine them permanently into a new path (see 

page 8-6). 

How to Separate Path Groups 

1. Activate the path group you want to remove. 

2. Select SEPARATE GROUP in the MENU window. 

The paths can now only be activated individually. 





Hiding and Displaying Paths 


Hiding and Displaying Paths 

Correcting Paths 

• To make all invisible paths on the current layout visible and inactive 

and to deactivate active paths: 

Select VIEW | PATH AND MASK DISPLAY ON. This function is useful if 

you want to activate certain paths which are currently invisible. 

• To make all paths on the current layout invisible: 

Select VIEW | PATH AND MASK DISPLAY OFF. The paths still exist but 

are no longer displayed. 

• To display only paths and to hide all layers, first select VIEW | PATH 

AND MASK DISPLAY ON, then take one of the following actions: 

• In the COLOR window (see page 30-21), click the C, M, Y and K 

buttons to hide all color separations. There must be no check 

mark inside these buttons. This affects only the current layout. 

• Select all functions on the VIEW | VIEW LAYERS submenu (IMAGES, 

TINTS, GRADIENTS, FILTERS and DUMMY TEXT). There must be no 

check mark next to these functions. 

This hides all of the layers of all open layouts. However, currently 

inactive layout windows are not updated automatically – you 

must first press F5. 

Correcting by Using Creation Function 

In the case of Standard Paths (see page 33-5), all parameters (base 

points, angles, radii etc.) specified during creation can be corrected at 

any time. This is done by starting the same function that was used for 

creating the path. 

1. If the path is not visible on the screen, select VIEW | PATH AND MASK 

DISPLAY ON. 

2. Activate the path if it is inactive (see page 8-1). 

3. Click or select EDIT | CORRECt ( +M/CTRL+M). 

In the case of rectangles and some other paths the Rectangle Editor 

(see page 7-2) appears. Use it to make modifications. For all other 

paths follow the subsequent instructions. 

4. Select the parameter you want to modify. 

SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) to select 

the previous parameter. Click to select the next parameter. 






Correcting Paths 

In the STATUS window the selected value is indicated in boldface type. 

If it is a coordinate, the corresponding point is marked by a cross. 

Example when correcting a circle: 

5. Modify this parameter by doing one of the following: 

• SHIFT-click, then move the mouse. Press the mouse button when 

the value you want is reached. 

• Enter the value on the keyboard (direct input, see page 29-7). 

The next value is selected automatically. 

6. Repeat these steps until you have corrected all parameters. 

7. End the function, e.g. by clicking or selecting any other function. 

If, instead of this, you click on the layout after correcting the last 

value, a new path of the same type will be created. 

Annotations 

You can only correct one path at a time. Only the path activated first is 

taken into account if several paths are active. 

Correcting a framed path removes the frame (see also page 8-10). 

The RECTANGLE EDITOR (see page 7-2) is used when you are correcting 

rectangles, framed grids, grids split into rectangles, framed parallel lines 

or frames created for highlighting text characters. 

Note: 

Correcting a path using its creation function is no longer possible once 

the path has been... 

• distorted perspectively, skewed or scaled unproportionally (see also 

Transformations, page 19-1) 

• edited using PATHS | EDIT | SEPARATE or COMBINE (see page 8-6) 

• modified using the Path Editor (see page 9-1) 

Such paths are no longer Standard Paths, but so-called Combined 

Paths and can only be modified using the Path Editor. 





Transforming and Moving Paths 


Correcting Paths with Path Editor 

The Path Editor is a powerful tool for creatively modifying paths using 

Bézier curves and by adding, moving and deleting points. This tool is 

started automatically if combined paths are corrected (see above). 

However, you can also use it for standard paths if you modify the path 

type beforehand. 

1. Activate the paths to be corrected (see page 8-1). 

2. Select PATHS | EDIT | COMBINE (see page 8-6). 

This function turns the paths into so-called Combined Paths which 

can now no longer be corrected by applying the function that was 

used to create them. This is also true if there is only one active path 

and therefore nothing to combine. 

3. Click or select EDIT | CORRECT to start the Path Editor. 

4. Refer to page 9-1 for more details. 

Transforming and Moving Paths 

Paths can be moved and also transformed in many different ways, e.g. 

scaled, mirrored, rotated, distorted perspectively, etc. To do so: 

1. Activate the path(s) to be modified (see page 8-1). 

2. Select PATHS | TRANSFORM or double-click one of the active paths. 

The TRANSFORMATIONS toolbar and resize handles are displayed. 

3. You can move the paths with the mouse button pressed down, resize 

and rotate them using the handles and transform them in many different 

ways. Refer to Transformations (page 19-1) for more details. 

Fig. 8-1 

Resize Handles and ‘Transformations’ Toolbar 

Combining and Separating Paths 

You can split up paths into segments and also combine several paths 

into a new path. Proceed as follows: 

1. Activate the paths you want to separate or combine (see page 8-1). 

2. Select PATHS | EDIT | SEPARATE or COMBINE respectively. 






Combining and Separating Paths 

Both functions create new paths and leave the original paths unchanged. 

The SEPARATE function deactivates all paths automatically. 

The SEPARATE function has the following effects: 

1. Overlapping paths are cut into individual segments at all intersection 

points. Each segment can then be activated individually. 

2. Framed paths are divided into the frame and the original unframed 

path. Each element can then be activated individually. 

3. When applied to a path consisting of several coherent elements that 

do not overlap, new paths are created for each element. 

This allows you e.g. to edit individual text characters if the whole text 

consists of a single path (e.g. because the text characters have been 

combined using the PATHS | EDIT | COMBINE function). 

Notes on Separating/Combining Paths 

No Correction Using Creation Function 

Paths created by SEPARATE and COMBINE become so-called Combined 

Paths (page 33-1) and can only be corrected using the Path Editor (see 

page 9-1). 

They can no longer be corrected by applying the same function that was 

used for creating them (see page 8-4). For example, a circle can no 

longer be corrected by changing the radius or center. 

Text characters can no longer be converted into a smooth text (see 

page 13-1) or framed using PATHS | MORE FRAMES | FONT BORDER (see 

page 12-23) in order to create a colored background. 

Dummy Text 

Dummy text can only be inserted into paths that are closed and one part. 

Path segments created using PATHS | EDIT | SEPARATE can only be filled 

with dummy text if the segments are joined using PATHS | EDIT | 

COMBINE. 





Duplicating Paths 


Splitting Complex Paths 

If a path is very complex and main memory is insufficient, the SEPARATE 

function does not cut the path at intersection points (effect 1). In this case 

it only creates new paths for non-overlapping elements (effects 2 and 3). 

If this occurs, you should activate some of the new (and now less complex) 

paths and reselect SEPARATE to cut these paths at their intersection 

points. 

Duplicating Paths 

1. Activate the path(s) you want to duplicate (see page 8-1). 

2. Select PATHS | EDIT | DUPLICATE MULTIPLE, or press +OPTION+D 

(Mac OS) or CTRL+ALT+D (Windows). 

A duplicate of the path appears at the cursor position and can be 

moved with the mouse. 

3. Click on the layout to position the duplicate or enter the coordinate 


4. Enter the number of paths to be created. Do one of the following: 

• Click the (left) mouse button, then move the mouse vertically. 

The value corresponding to the cursor position appears on the 

status bar. Click again when the value you want is reached. 

• Enter the number directly on the keyboard. 

Example: 2 produces the original path and one duplicate, 3 produces 

two duplicates etc. No duplicate is produced if you enter 0 or 1. 

Corrections 

You can correct the parameters specified when paths are duplicated or 

when grids are framed or split into rectangles. However, this is only possible 

if the respective function is still active. 

To do so, SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) to 

select the previous parameter, (left-)click to select the next. The current 

parameter is indicated in boldface type in the STATUS window. 

Then enter the new value on the keyboard (direct input, see page 29-7). 

Alternatively, do the following: 


2. Move the mouse. The value corresponding to the cursor position is 

indicated on the window’s status bar. 

3. Click again when the value you want is reached. The next value is selected 

automatically. 






Deleting Paths 

Deleting Paths 

To delete activated paths: 

1. Activate the paths you want to delete (see page 8-1). 

2. Click , select EDIT | DELETE, or press BACKSPACE (Mac OS) or 

DELETE (Windows). 

To delete all unused paths: 

To delete all paths on a layout at the same time, including inactive paths: 

1. It is advisable to select VIEW | PATH AND MASK DISPLAY ON to make 

sure you do not delete any paths you still need. 


3. Select DELETE UNUSED in the MENU window. 

4. A question dialog appears. Click OK if you really want to delete. 

Note: 

Paths defining the outline of layers cannot be deleted. It is not possible 

to reverse the deletion of paths (no undo!). 

Splitting Grids into Rectangles 

A grid (see page 7-5) can be split into individual rectangles without any 

outer border. You can define the size of the individual rectangles. The 

original grid remains unchanged. 

1. Activate the grid (see page 8-1). 

This function can only be applied to one grid at a time. 

2. Select PATHS | EDIT | RECTANGLES FROM GRID. 

3. First the grid is split into individual columns. Define the width of these 

columns by doing one of the following: 


The value corresponding to the cursor position appears on the 

status bar. Click again when the value you want is reached. 


4. The columns are now divided into individual rectangles. You can define 

the height of these rectangles in the same way. 





Framing Paths 


Framing Paths 

5. You can correct these parameters if the splitting function is still active. 

Proceed as described under Corrections (page 8-8). 

Interior, Exterior or Centered Frames 

You can draw a frame of any size around a path and then insert a color 

or an image in it. You can also frame several paths at the same time. Depending 

on the position of the frame relative to the original path, a frame 

is referred to as interior, exterior or centered. 

1. Activate the path(s) you want to frame (see page 8-1). 

2. Do one of the following: 

• Click or select PATHS | FRAME INNER & OUTER. 

• Click or select PATHS | FRAME CENTERED. 

3. If necessary, switch the overlap mode on or off (see page 8-11). 

4. Specify the frame size by doing one of the following: 


If FRAME INNER & OUTER is used, positive values create exterior 

frames and negative values create interior frames. However, this 

may be vice versa with Combined Paths (page 33-1). 


The value corresponding to the cursor position is displayed on 

the status bar. Click again when the value you want is reached. 

Annotations 

• Frames created by framing and coloring paths have no relation to 

the framed layer. They are not automatically moved or scaled 

together with the framed layer. To transform the layer and frame at 

the same time, the two elements must be activated together. 

• It is also possible to draw a frame around a layer. The advantage of 

such frames is that they are modified automatically together with the 

layer. For example, when the layer is scaled, the frame is automatically 

scaled by the same degree. For more details refer to Framing 

Layers (page 16-11). 

• After framing the original path no longer exists. You can restore this 

path by removing the frame. 






Framing Paths 

• The two segments of a frame can only be activated together. To 

activate them individually you must split the frame using function 

PATHS | EDIT | SEPARATE (see page 8-6). 

• Frame sizes of text characters strongly depend on each individual 

font. For fonts with complicated outlines such as Murray Hill Bold or 

Rockwell only fine frames can be drawn as the lines tend to cross 

themselves easily. 

Overlap Mode 

While working with the FRAME INNER & OUTER and the FRAME CENTERED 

function you can enable the so-called overlap mode by selecting OVER- 

LAP in the MENU window. To disable this mode, reselect the function. 

Fig. 8-2 

Switching Overlap Mode On/Off 

On 

Off 

The overlap mode provides considerably better results in many cases, 

above all with centered frames around text paths. It may, however, also 

provide poorer results when used with interior frames. 

Note: 

Frames created in the overlap mode should not be colored together with 

paths that were not created in this mode. This may produce unwanted 

results. 

How Overlap Mode Works 

In the overlap mode, the frame lines overlap each other at the corners 

(see figure below). When filled with a color or image, this would actually 

produce ‘holes’ in the frame. However, ORIS PDF Tuner uses another 

filling algorithm to compensate this effect. The quality of frames created 

in the overlap mode is often better. 





Framing Paths 


Fig. 8-3 

Path (text 

character) 

Overlap Mode for Path Frames 

Interior Layer 

frame 

ON 

OVERLAP 

mode 

OFF 

Correcting and Removing Frames 

Removing a frame may be necessary, for example, if you have colored 

an exterior frame and then want to insert an image into the original path. 

This is not possible without removing the frame as the two path segments 

of a frame cannot be activated separately. 

To correct or remove a frame: 

1. Activate the framed path (see page 8-1). 

2. Select the framing function you have used, i.e. 

FRAME INNER & OUTER – or 

FRAME CENTERED 

3. Modify the frame size by doing one of the following: 

• SHIFT-click, then move the mouse vertically. The value corresponding 

to the cursor position is indicated in the window’s status 

bar. Click again when the value you want is reached. 


To remove the frame, enter 0. This restores the original path. 

To remove a frame: 

1. Activate the framed path. 

2. Click or select EDIT | CORRECT ( +M/CTRL+M). 






Framing Paths 

Creating Multiple Exterior/Interior Frames 

This is a convenient method of creating several interior or exterior 

frames for the same path: 

1. Activate the path(s) you want to frame. 

2. Select PATHS | MORE FRAMES | MULTIPLE. 

3. Create the first frame by specifying the frame size. 


Positive values create exterior frames and negative values create 

interior frames. However, this may be vice versa with Combined 

Paths (page 33-1). 




4. Reselect PATHS | MORE FRAMES | MULTIPLE, then create the next 

frame in the same way. 

Note: 

Two of these frames must be active if you want to fill them with a color 

or an image. 

Creating Frames to Highlight Text 

Text can be easily highlighted with a colored background. To do so, create 

a frame using PATHS | MORE FRAMES | FONT BORDER, then fill it with 

a color. For more details refer to Highlighting Headlines (page 12-23). 

Framing Grids 

1. Activate the grid (see page 8-1). 

You can only frame one grid at a time. 

2. Select PATHS | MORE FRAMES | GRID & PARALLEL LINES. 

3. Frame the vertical lines by doing one of the following: 









Saving and Importing Paths 


4. Repeat the last step to frame the horizontal lines. 

5. You can correct these parameters if the framing function is still active. 

Proceed as described under Corrections (page 8-8). 

If you enter positive values, the grid rectangles remain within the borders 

of the original grid. If you enter negative values, the outer rectangles surpass 

these borders. 

Framing Parallel Lines 

Parallel lines (see page 7-8) can be framed in the following way: 

• A centered frame is created for the inner lines 

• The outer lines are framed inwards if positive values are specified 

and outwards if negative values are specified. 

1. Activate the parallel lines (see page 8-1). 

You can only activate one set of parallel lines at a time. 

2. Select PATHS | MORE FRAMES | GRID & PARALLEL LINES. 

3. Define the frame size by doing one of the following: 





4. If the framing function is still active, you can correct the frame size as 

described under Corrections (page 8-8). 


You can save paths to a file so as to be able to insert them into other layouts. 

Such files are automatically given the file extension .PAT. 

Saving Paths 

1. Activate all paths to be stored. 

2. Select STORE in the MENU window. 

3. Select a directory, type a name, then click SAVE. 

4. Define the point to which the cursor will be attached when the paths 

are imported into a layout. The default point is marked with a cross. 







To use the default point, press ENTER/RETURN or select any other 

function. Otherwise, SHIFT-double-click on the desired point or enter 

the coordinate on the keyboard (direct input). 

Importing Stored Paths 


2. Select LOAD in the MENU window. 

3. Select the .PAT file to be imported and click OPEN. 

4. Move the paths to the position you want, then click the mouse button. 

Or enter the corresponding coordinate (direct input). 

5. If the import function is still active, you can reposition the paths. 

To do so, SHIFT-click, drag the paths to the new position, then click 

again. Or enter the new coordinate. 











9 Using the Path Editor 

The Path Editor is a powerful tool for creatively designing virtually any 

path you like and for modifying paths in any possible way. This can be 

done e.g. by adding, moving and deleting points and by using handles. 

This tool is extremely useful for creating cut-out masks with complex outlines 

or any other complex paths. It allows you to quickly draft the outline, 

which often needs minor adjustments only. 




Path Editor Terminology 

Non-printing elements on an ORIS PDF Tuner layout defining the outline 

of tints, gradients or images are referred to as paths. In the Path Editor, 

however, the term path has a different meaning. When a path is created 

or modified using the Path Editor, each coherent segment of this path is 

also referred to as a path. 

A path may be open (like a line) or closed (like a circle). For example, 

when you type the letter D and edit its path, you can see that it consists 

of two closed paths, one defining the inner outline and another defining 

the outer outline (see Fig. 9-1). 

A path consists of one or several segments which may be vectors 

(straight lines) or curves. Two path segments are connected by points. 

The first and the last point of an open path are referred to as end points. 

There are two types of points: 

• Corner points (represented as squares) 

They connect two vectors or a vector and a curve or are the end 

points of a vector. 

• Curve points (represented as circles) 

They connect two curves or are the end points of a curve. 




Using the Path Editor 

Creating New Paths 


If there are several paths, only one of it can be active, i.e. ready to be 

modified. If a path is active, all points of this path are displayed. 

When you click on a point, the point becomes active, which is indicated 

by a change in color (default is magenta). In addition, one or two handles 

appear, which allow you to modify the form of the path segments that 

start from this point (see page 9-12). 

Points will be marked when you draw a selection rectangle around them. 

Marked points are represented as filled squares or circles. Marked and 

active points can be moved, deleted and modified in some other ways. 

Fig. 9-1 

Terms Used in Path Editor 

Corner point 

Path 1 

Path is active, 

points are therefore 

displayed 

Path 2 

Path is inactive, 

no points are 

displayed *) 

Path segment: Vector Curve 

Marked point 

Handle 

Active 

point 

Handle 

Curve point 

*) The points of an 

inactive path are 

displayed if 

there are any 

marked points 

among them 

You can create this example as follows: 

1. Click , then click on the layout and type a D. 

2. Click , then click the D in order to activate it. 

3. Click to start the Path Editor. 

4. Click on a point to make it active so that the handles appear. 

Creating New Paths 

1. Click or select PATHS | OTHER PATHS (if you work on a layout) or 

MASKS | PATHS | OTHER PATHS (if you create a vector mask). 

All paths disappear from the screen until you leave the Path Editor. 

2. Click repeatedly to set new corner points. The points will be connected 

by vectors (straight lines) until you SHIFT-click on the layout. 

3. If you prefer to create curves, click on the last point you have set. 

The point form changes from square (corner) to circular (curve). 

When you now proceed adding points, these will always be curve 

points connected by curved lines (see Fig. 9-2). 






Correcting Existing Paths 

Note: 

This is advisable when creating cut-outs, because outlines created 

with curves are usually more precise and easier to correct. 

4. The outline you are creating may consist of more than one path. To 

start creating another path, place the cursor anywhere but on a path 

and SHIFT-click on the layout. Then click to set new points. 

This will create a new path if no points were displayed before. Otherwise, 

the points will be appended to the path the points of which are 

displayed (unless this path is closed). 

5. To modify the path form, you can 

• move points with the SHIFT button pressed down 

• drag the handles (they appear when you set or click a point) 

SHIFT-click on a path if no points are displayed to make them visisble. 

See also Modifying Paths (page 9-7) and Using Handles (page 9-12). 

Fig. 9-2 

Creating a New Path (Example) 

First point is a corner point. 

Straight lines are therefore 

created. 

Curved lines and 

curve points are 

created from now on. 

Active point 

(last point) 

This point 

was clicked. 

Handle 

Correcting Existing Paths 

1. Activate the path you want to edit (see page 8-1). 

You can only correct one path at a time. 

If you want to correct several paths at the same time, you must first 

combine them into a new path by selecting PATHS | EDIT | COMBINE. 

2. If the path is a standard path (e.g. a rectangle or circle), select PATHS 

| EDIT | COMBINE to convert it into a combined path (see page 33-1). 

3. Click or select EDIT | CORRECT to start the Path Editor. 

All paths disappear from the screen until you leave the function. 





Correcting Layer Outlines 


4. If the element you are editing consists of several coherent parts 

(= paths), SHIFT-click on the path you want to modify. This path becomes 

active and its points appear. 

5. To modify the path form, you can move points with the SHIFT button 

pressed down, drag the handles of the active point and also add new 

points by clicking on the layout. 

Note: 

Having edited a standard path (e.g. a circle) with the Path Editor, it becomes 

a so-called Combined Paths (page 33-1) and can only be corrected 

using the Path Editor (see page 9-1). 

It is no longer possible to correct such paths by applying the same function 

that was used for creating them (see page 8-4). For example, a circle 

can no longer be corrected by changing the radius or center. 

Text characters can no longer be converted into a smooth text (see 

page 13-1) or framed using PATHS | MORE FRAMES | FONT BORDER (see 

page 12-23) in order to create a colored background. 


Modifying Paths (page 9-7) 

Using Handles (page 9-12) 


If a layer outline is defined by a path, you can modify it with the Path Editor 

as follows: 

1. Activate the layer to be corrected (see page 16-1). 

2. Select LAYER PATH in the MENU window. 

3. The Path Editor starts automatically if the layer was created using a 

combined path. Otherwise select PATH EDITOR in the MENU window. 

4. If the element you are editing consists of several coherent parts 

(= paths), SHIFT-click on the path you want to modify. This path becomes 

active and its points appear. 

5. To modify the path form, you can move points with the SHIFT button 

pressed down, drag the handles of the active point and also add new 

points by clicking on the layout. 

6. If the layer had been created using several paths: 

• Press RETURN/ENTER or click . The next path will be offered for 

correction. Then repeat steps 3–6. 






Selecting Points and Paths 

• Press ESC or select to undo all changes. 


Modifying Paths (page 9-7) 

Using Handles (page 9-12) 


Changing Outlines of Background Image Layers (page 11-8) 


The element you are editing may consist of several closed or open 

paths. In this case you may have to select the path you want before you 

are able to edit it. 

The points on a path must be selected before they can be moved or deleted. 

A point may have several states, which is shown in the following 

figure: 

Fig. 9-3 

Displayed, Active and Marked Points 

Displayed only 

Empty squares/circles 

Default color: dark yellow 

Active 

Empty squares/circles 

Default color: magenta 

Marked 

Filled squares/circles 

Default color: dark yellow 

Active and marked 

Filled squares/circles 

Default color: magenta 

How to Select a Path 

If an element consists of more than one path, you must first select the 

path you want to edit. The selected path becomes active, i.e. ready to be 

modified. 

To activate a path, SHIFT-click on it. All points of this path appear if they 

were hidden before. However, if the path is active already, SHIFT-clicking 

it will mark or unmark all of its points. 







Alternatively, you can select a path as follows: 

1. If a point is active (displayed in magenta), SHIFT-click on the layout, 

but not on a path. The point becomes inactive. 

2. CTRL-click (Mac OS) or right-click (Windows) repeatedly to activate 

the next path. Additionally press the SHIFT key to activate the previous 

path. When a path become active, all of its points appear. 

Note: 

Active paths can usually be recognized by the fact that all path points are 

displayed. However, if a path contains marked points, all points of this 

path are displayed always, even if the path is inactive. 

How to Display or Hide Points 

If no points are displayed for a path, SHIFT-click on it to display all points 

of this path. 

To hide all points of all paths, position the cursor anywhere on the layout 

but on a path, hold the SHIFT and the mouse button pressed down and 

move the mouse slightly. When you release the mouse button, all points 

will disappear. 

How to Activate a Point 

When you activate a curve point, its handles appear which allow you to 

modify the path segments starting from this point. Only one point at a 

time can be active. When you add new points or create new paths, the 

last point is always active. To activate an existing point: 

1. If there is more than one path, select the path you want (see 

page 9-5). 

2. Click on a point which is displayed or marked. 

3. You can now activate one point after the other on this path. 

To do so, CTRL-click (Mac OS) or right-click (Windows) repeatedly to 

activate the next point. Additionally press the SHIFT key to activate 

the previous point. 

When a point becomes active, it changes in color and handles appear if 

the point is a curve point. The default color of active points is magenta. 

You can change this color using the FILE | SYSTEM SETUP | DISPLAY 

COLORS function. For more details refer to page 31-2. 







To Mark and Unmark Points 

To mark a single point: 

1. Activate the point. 

2. SHIFT-click on this point to mark it. 

If the point is marked already, it will be unmarked. 

To mark one or several points: 

Hold SHIFT and the mouse button pressed down and draw a selection 

rectangle around these points. 

All points within this rectangle are marked and the active point becomes 

inactive. If a path contains marked points, all other points of 

this path are displayed, too. 

To mark all points of a path: 

1. If there is more than one path, select the path you want (see above). 

2. SHIFT-click the path to be edited. 

3. If there aren’t any marked points, all points of this path will be marked. 

Otherwise, all points will be unmarked. 


Moving Points 

When you move a point, all marked points of all paths move as well, the 

other points remain at their current position. To move one or several 

points: 

1. Mark all points you want to move (see above). 

2. Position the cursor on one of the points to be moved. 

3. Hold SHIFT and the mouse button pressed down and drag the points 

to their new position. 

When you move an end point on top of another end point of the same 

path, the path will be closed. If the end points belong to different paths, 

the two paths will be connected. If you move a point on top of a neighboring 

point, it will be deleted. 

Fixing Points 

You can fix points at their current position. When you move points, fixed 

points do not move although they are marked. However, fixed points can 







be deleted and their handles can be used for modifications. To fix one or 

several points: 

1. Mark or activate all points you want to fix (see above). 

2. Select FIX POINTS in the MENU window. 

A frame around a point indicates that this point is fixed. 

3. Reselect FIX POINTS to undo this, i.e. to make the points movable 

again. 

Fig. 9-4 

Screen Representation Of Fixed Points 

Movable points 

Fixed points 

Adding Points 

You can add new points to a path anywhere you like. A point can either 

be inserted on an existing path segment or – if the path is open – appended 

to the path, i.e. connected with one of its end points. 

To add a point to an existing path: 

1. If there is more than one path, select the path you want to edit (see 

above). 

2. Click on the position where you want to create the new point. 

A corner point (square) is created when you click on a vector, a curve 

point (circle) when you click on a curve. 

To create a new path: 

1. Make sure no points are displayed. To hide all points, hold SHIFT and 

the mouse button pressed down and move the mouse slightly. 

2. Set new points by clicking on the layout. 

For more details refer to Changing Point Type (Corner/Curve) (page 

9-10) and Creating New Paths (page 9-2). 

Deleting Points 

To delete one or several points: 

1. Mark or activate all points you want to delete (see above) 

2. Click or select DELETE POINT in the MENU window. 

Alternatively, press BACKSPACE (Mac OS) or DELETE (Windows). 







A single point can also be deleted as follows: 

1. Place the cursor on the point to be deleted. 

2. Hold the SHIFT key pressed down and drag the point on top of one of 

the neighboring points. This is only possible if these points are not 

marked. 

As you move the mouse, the neighboring points change in color (default 

is magenta). A minus sign (–) appears when the two points are 

on top of each other. The point is deleted as soon as you release the 

mouse button. 

Closing Paths 

There are two methods to close a path. 

Creating a new path segment that connects the two end points: 

1. If there is more than 1 path, select the path to be closed (see above). 

2. Select CLOSE PATH in the MENU window. 

Moving one end point on top of the other: 

1. If no points are displayed for a path, SHIFT-click on this path to display 

all of its points. 

2. Position the cursor on one of the path’s end points. 

3. Hold SHIFT pressed down and drag this point on top of the other end 

point. This is only possible if the end point is not marked. 

As you move the mouse, all end points change in color (default is magenta). 

A circle appears near the cursor when the two end points are 

on top of each other. The two points are combined into one as soon 

as you release the mouse button. 

Opening Paths 

To open a closed path: 

1. Activate the point at which the path is to be opened (see above). 

2. Select OPEN PATH in the MENU window. 

The path is cut at the active point and two end points covering each other 

are created. You can now move the active point away from the point located 

below it. 







Connecting Paths 

How to connect two paths by combining their end points: 

1. If no points are displayed for a path, SHIFT-click on this path to display 

all of its points. 

2. Position the cursor on one of the path’s end points. 

3. Hold SHIFT pressed down and drag this point onto the other path’s 

end point. This is only possible if this end point is not marked. 

As you move the mouse, all end points change in color (default is magenta). 

An infinity sign ( ) appears near the cursor when the two end 

points are on top of each other. The two points are combined into one as 

soon as you release the mouse button. 

Protecting Paths Against Modifications 

You can lock paths, i.e. protect them accidental modifications. When a 

path is locked, it is not possible to move or delete its points or to use the 

handles. 

1. Make sure all paths you want to lock (and only these paths) have displayed 

or marked points (see page 9-6). 

2. Select LOCK/UNLOCK in the MENU window. All paths with displayed or 

marked points are locked. 

3. Reselect LOCK/UNLOCK to undo this, i.e. to allow the paths to be modified. 

Changing Point Type (Corner/Curve) 

When Creating New Paths 

When you create a new path, corner points connected by straight lines 

are produced by default. If you want to create curves instead, click on 

the last point you have set. All points created afterwards will be curve 

points connected by curved lines. 

To produce corner points again, click again on the last point you have 

set, then set another point and click also on this point. All points created 

afterwards will then be corner points connected by vectors. 

See also Fig. 9-2 on page 9-3. 







When Editing Existing Paths 

To produce smooth transitions you can convert a corner point to a curve 

point: 

1. Activate the point you want to convert (see page 9-6). 

2. Position the cursor on this point and move it with the (left) mouse button 

pressed down. 

The handles appear allowing you to transform the two neighboring 

path segments. 

To produce corners, you can convert a curve point to a corner point: 

1. Activate the point to be converted. 

2. Click on this point. 

The smooth transition in the active point turns into a corner. If a neighboring 

point is a corner point, the connecting path segment becomes 

a vector (straight line). The example below illustrates this transformation. 

Example: Changing Curve Points to Corner Points 

1. Click and create a circle. 

2. Select PATHS | EDIT | COMBINE. 

3. Click to start the Path Editor. 

4. Click on the point at the top to make it active 

so that the handles appear. 

5. Click on the active point. 

The handles disappear and the path form 

changes. 

Now the two path segments form a corner at 

this point. There is no longer a smooth transition 

between them. 





Using Handles 


6. Click on the point at the right in order to activate 

it. The handles appear. 

7. Click on the active point. 

The handles disappear and the path segment 

which connects the previous point becomes 

a vector (straight line). 

The active point and the point clicked previously 

become corner points (squares) because 

they are the end points of a vector. 

At this point, too, the two path segments form 

a corner now. 

Using Handles 

A curve point has two handles, one for each path segment starting from 

this point. Use these handles for changing the form of these path segments. 

Depending on the length of a handle and the degree by which 

you incline it, you can achieve a wide variety of modifications to the path 

form and its curvature. 

For example, decreasing the length of a handle reduces the curvature of 

a path segment at the active point. You can produce a corner by reducing 

the handle length to 0 so that the handle disappears. 

How to Display Handles 

1. Activate the point, e.g. by clicking on it. 

The point changes in color (default is magenta). If it is a curve point, 

the handles appear automatically. 

2. If it is a corner point, position the cursor on the point and drag it with 

the (left) mouse button pressed down. 

The corner point is converted to a curve point, the path form changes 

and the handles appear. 

How to Modify Path Form Using Handles 

The two handles of a point can have two different properties: 

Locked 

Unlocked 






Using Handles 

Represented as filled circles 

Both handles can only be 

moved simultaneously 

Represented as empty circles 

Each handle can only be moved 

separately 

Click on one of the locked handles to unlock them. Click on an unlocked 

handle to lock the two handles. 

To modify the path form, drag the handle with the mouse button pressed 

down. This creates smooth transitions between the two path segments. 

To create corners, additionally hold the SHIFT key pressed down. 

The following table summarizes the different effects you can achieve 

with handles: 

Drag... Locked Handles Unlocked Handles 

without Both handles have always 

the same length and inclination 

angle. 

SHIFT 

key 

with 

SHIFT 

key 

Only the length of the current 

handle can be changed. The 

two handles move in opposite 

directions. 

Only the length of the current 

handle can be changed. Both 

handles are always inclined 

by the same angle. 

Only the current handle can 

be moved. The other handle 

remains fixed. 

Fig. 9-5 

Dragging Locked Handles 

Without 

SHIFT key 

or 

With 

SHIFT key 

Fig. 9-6 

Dragging Unlocked Handles 

Without 

SHIFT key 

or 

With 

SHIFT key 





Changing Screen Display 


Changing Screen Display 

Status Display 

Hiding Paths 

If there is a large number of complex paths, the screen display may easily 

become unclear and confusing. In this case it may be useful to temporarily 

switch off the display of paths you are currently not editing. 

Proceed as follows: 

1. Make sure points are displayed or marked on all paths you want to 

hide (see page 9-6). Also make sure no points are displayed on the 

paths you do not want to hide. 

2. Select HIDE PATH in the MENU window to switch off the display of all 

paths with displayed or marked points. 

3. To display these paths again, select SHOW PATH. 

Changing Path Color 

When using the Path Editor for creating cut-outs you can define the color 

to be used for active path elements. Select MASK COLOR in the MENU window 

and choose a color. Inactive path elements are displayed in the 

same color, but darker or lighter respectively. See also Selecting Colors 

(page 10-8). 

The following information is displayed in the STATUS window of the Path 

Editor: 

NO. OF PATHS 

Total number of paths of the current path 

NO. OF POINTS 

Total number of points 

POINT TYPE 

Type of active point: CORNER or CURVE. If no point is active the type 

is UNDEFINED. 

POINT IS 

Status of active point: MOVABLE or FIXED. If no point is active the status 

is UNDEFINED. 







PATH TYPE 

Type of active path: OPEN or CLOSED. If no path is active the type is 

UNDEFINED. 

PATH IS 

Status of current path: EDITABLE or LOCKED. If no path is active the status 

is UNDEFINED. 











10 Creating Tints and Gradients 

Basically, there are two different ways of adding color to a layout: 

• Filling tints or gradients into an outline 

The outline may be defined by active paths or layers. 

• Brushing colors on a layout 

Paths filled with a color are turned into layers, i.e. layout elements that 

will be visible on the printed page. 

Tints 

A tint consists of one single color, whereas a gradient consists of several 

colors shading into each other. 


1. Define the outline to be filled by doing one of the following: 

• Create or activate paths (see page 7-1 and and 8-1) 

• Paint or activate a mask on the layout (see page 22-14) 

• Activate layers (see page 16-1) 

2. Click or select LAYER | TINT. 

The COLOR SELECTION dialog appears. 

3. Specify the color you want (see Selecting Colors, page 10-8). 

4. As long as the COLOR SELECTION dialog is displayed, you can define 

transparency, trapping or soft edges for the layer. To do so, select 

TRANSPARENCY in the MENU window (see page 17-1). 

Correcting Tints 

1. Activate the tint layer (see page 16-1). 

2. You can only correct one layer at a time. 




Creating Tints and Gradients 

Gradients 


Gradients 

3. Click or , or select CORRECT in the EDIT menu or in the MENU 

window. The COLOR SELECTION dialog appears. 

4. Modify the color (see page 10-8). 

Gradients consist of several colors shading into each other. The transitions 

between neighboring colors are calculated automatically according 

to the specified points. You can specify a maximum of 200 points for a 

gradient. 

There are two gradient types: 

• Linear gradients 

The colors are calculated linearly from point to point. 

• Circular gradients 

The colors are laid in circles around each point. 


1. Define the outline you want to fill with a color. There are different 

ways to do this: 

• Create or activate paths (see page 7-1 and and 8-1) 


• Activate a layer (see page 16-1) 

Note: 

Gradients can only be inserted into the current (i.e. masked) layer, 

not into several layers at the same time. 

2. Click or select LAYER | GRADIENT (linear). – or: 

Click or select LAYER | CIRCULAR GRADIENT. 

3. Click on the layout to position the first base point. Or enter the corresponding 

coordinate (direct input, see page 29-7). 


4. Define the color of this point (see page 10-8). 

5. Repeat the last two steps until you have defined all colors. The coordinate 

of the current point is displayed in the STATUS window. 

6. If you want to define transparency or soft edges for the layer, select 

function TRANSPARENCY in the MENU window. 

For more details refer to Transparency and Soft Edges (page 17-1). 





Correcting Gradients 


Gradients 

Gradients can be corrected at any time. It is possible to change each 

base point in color and position and to add and delete base points. 

If a gradient layer is no longer active (i.e. you have left the gradient function), 

you must first do the following: 

1. Activate the layer (see page 16-1) 

Note that you can only correct one gradient layer at a time. 

2. Click or select CORRECT in the EDIT menu or MENU window. 

3. Follow the instructions in the sections below. 

Modifying Gradient Colors 

1. Select the base point whose color you want to correct. 

• Next point: CTRL-click (Mac OS) or right-click (Windows). 

• Previous point: SHIFT-CTRL-click/SHIFT-right-click. 

The selected point is marked with a cross-hair cursor. Its color values 

are displayed in the STATUS window. 

2. Click on the layout. The COLOR SELECTION dialog appears. 

3. Define the new color (see page 10-8). 

Changing Base Point Position 

1. Select the base point whose position you want to correct: 



2. Select CORRECT COORDinate in the MENU window. 

If you have selected this function by accident, CTRL-click (Mac OS) or 

right-click (Windows) to leave it. 

3. To define the new position for the base point, click on the layout or 

enter the corresponding coordinate (direct input, see page 29-7). 

The COLOR SELECTION dialog appears (see page 10-8). 

4. You can now define a new color for the current base point (see 

page 10-8). To leave the color unchanged select OK. 





Notes on Inserting Color 


Adding Base Points 

1. CTRL-click (Mac OS) or right-click (Windows) repeatedly until a new 

point without color values appears in the STATUS window. 

2. To set a new point, click on the layout or enter the coordinate directly. 


3. Define the color for the new point (see page 10-8). 

Deleting Base Points 

1. Select the point to be deleted: 



2. Select DELETE POINT in the MENU window. 

Modifying Transparency, Trapping or Soft Edges 

Select TRANSPARENCY in the MENU window. For more details refer to 

Transparency and Soft Edges (page 17-1) and Trapping (page 18-1). 

Notes on Inserting Color 

Coloring Paths 

Having inserted color into a path, the path still exists. 

Open paths are closed automatically when they are colored. This is done 

by automatically inserting a new path between the two end points. 

Coloring Text Paths 

Areas in which text characters overlap are not colored if one of the following 

is true: 

• The characters are colored together with a path which is not a text 

character. 

• Smooth text: The characters adjust to more than one line (see 

page 13-1). 

Coloring Text Layers 

Inserting a tint or gradient into a text layer (using , or ) sets all 

text characters to the same color, i.e. all color changes applied during 

text editing are lost. 




Coloring Linework Layers 


Brushing Colors on a Layout 

If you activate a linework layer, all colors of this layer are masked except 

for transparent colors (i.e., usually the background color). Tints or gradients 

are then inserted into this masked area. 

If linework is positioned on the layout using a vector mask and then filled 

with a color, the color will fill the entire mask, the outline of the linework 

is not taken into account. This problem does not exist when using pixel 

masks. 

Coloring Image Layers 

Inserting a tint or gradient into an image layer overwrites the image on 

the layout. The image layer cannot be restored by deleting the tint or gradient. 

Coloring Multiple Elements 

If several paths are active at the same time, the color fills all paths and 

one single layer is created. You can simultaneously color a maximum of 

8000 paths. 

Gradients can only be inserted into the current (masked) layer, whereas 

a tint can also be filled into several layers at the same time. Layers colored 

simultaneously remain separate layers. 

If several layers are colored simultaneously and at least one is a tint, the 

default color in the Color Selection dialog is the color of the layer with the 

lowest number. 



You can add colors to the layout using the brush tool. Layers created in 

this way are hereafter referred to as brushed layers. 

1. Create a rectangle that defines the area on which you want to brush. 

To do so, click or select PATHS | RECTANGLE. For more details refer 

to Rectangle Editor (page 7-2). 

2. Press F10 or select LAYER | RETOUCH. The RETOUCH dialog appears 


3. Select one of the following modes (other modes are unavailable): 

• BRUSH: normal brushing 

• GRADIENT: creation of gradients between two cursors 

• COLOR +/-: color addition/subtraction 







For more details refer to Retouching Modes (page 23-4). 

4. Choose the color you want using the functions in the MENU window 

(e.g. 1. COLOR). For more details refer to Selecting Colors (page 

10-8). 

5. Refer to the following sections for more details: 

Brush Settings (page 23-7) 

Retouching Parameters (page 23-8) 

Special Retouching Options (page 23-10) 

6. To brush the color, click inside the rectangle or drag the cursor across 

this area. You cannot brush outside the area defined by the rectangle. 

Use the and buttons to toggle between painting and erasing. 

You can also erase by holding the OPTION key (Mac OS) or CTRL key 

(Windows) pressed down. 

7. You can save your changes temporarily by selecting FIX CHANGES in 

the MENU window. Using UNDO you can undo the last changes (see 

page 23-12). You have created a brushed layer. 

Fig. 10-1 

‘Retouch’ Dialog 

Erasing 

Brush strokes 

will erase color 

Painting 

Brush strokes 

will apply color 

Brush size 

in pixels 

Distance between dots 

Indicates how far the mouse 

has to be moved before a new 

dot is brushed or erased 

Brush 

border 

Blurred 

or sharp 

Retouching mode 

e.g. brushing, 

pixel copy or 

color addition 

Brush shape 

Circle or box 

Brush display 

Enabled: Brush always 

displayed as a cross 

Disabled: Brush displayed 

as a circle or box, 

depending on the 

current brush shape 

Color density limit 

When brushing repeatedly 

on the same image area, 

the color density increases 

up to this value 

Initial color density 

Dot rate 

Number of dots 

per second to 

be brushed 

when the cursor 

is not moved 

Special options 

e.g. transparent 

retouching (default 

is opaque) 

Color 

separations 

to be modified 

Brushed Layers Stored as TIFF Images 

Internally, ORIS PDF Tuner stores a brushed layer as a TIFF image 

which is treated as if positioned in the foreground (see also About ‘Foreground 

Images’, page 11-1). The image areas included in the layout are 

defined by a mask. 







The rectangle you have created before starting the RETOUCH function 

defines the size of this image. The image resolution is the EXPECTED 

PRODUCTION RESOLUTION specified for the layout using the FILE | LAYOUT 

PARAMETERS command. 

As soon as you leave the RETOUCH function, the image is saved to the 

same directory in which the layout is stored. It is also displayed in the 

ORIS PDF Tuner image overview. The image name is Bn.TIF, where n 

is an ascending number. 

Note: • When you save a layout with brushed layers under a new name 

(SAVE AS function), the new layout still references the TIFF images 

used on the old layout. Changes to a brushed layer on the new layout 

will automatically affect the brushed layer on the old layout and 

vice versa. This can be avoided by selecting function FILE | MAKE 

CONSISTENT on the new layout. See also Making Layouts Consistent 

(page 11-16). 

• When you delete a brushed layer, the TIFF image defining this layer 

is not deleted automatically. 

• The rectangle defining the outline of the brushed layer is deleted 

automatically as soon as you select the RETOUCH function. 

See also Expected Production Resolution (page 5-9). 

Correcting Brushed Layers 

You can correct a brushed layer at any time. e.g. by brushing new colors 

on it or erasing color areas painted previously. 

1. Activate the brushed layer (see page 16-1). 

You can only correct one layer at a time. 

2. Click or select CORRECT on the EDIT menu or in the MENU window. 

The RETOUCH dialog appears (see page 10-6). 

3. Modify the brushed layer by brushing new colors or erasing color areas 

painted previously. 

For more details refer to Brushing Colors on a Layout (page 10-5) and 

Retouching (page 23-1). 

Note: 

It is not possible to reverse corrections made to brushed layers (no undo). 

You cannot brush outside the area defined by the brushed layer. 





Selecting Colors 



Note: 

All over the ORIS PDF Tuner program colors are selected in the same 

way. The Color Selection dialog allows you to 

• define colors by specifying CMYK, CIE Lab, HSB, RGB and grayscale 

values 

• select spot colors 

• store colors in a color palette and select them from there 

• pick colors from a layout or image 

• add/subtract colors and change color density 

When the COLOR SELECTION dialog is displayed for an image, the color 

representation is adjusted to the image’s color space, i.e., the color boxes 

may look slightly different for CMYK and RGB images. 

The ORIS PDF Tuner software includes a number of PANTONE® 1 and 

HKS® spot color systems. Refer to page 32-9 for a complete list. 

Fig. 10-2 

‘Color Selection’ Dialog 

CMYK color space selected: 

Color palette 

Place for storing 32 colors 

Click a box to select a color 

Old color for comparison 

Color selection field 

New color, applied 

when you click OK 

Specify CMYK values 

using sliders or input boxes 

Spot color selected: 

Spot color name 

and equivalent CMYK values 

Change tonal value 

using the slider or input box 

Select 

color space: 

Spotcolors 

CMYK 

Lab 

HSB 

RGB 

Grayscale 

Register Marks 

Displays spot 

color selection 

dialog 

Click here if you 

have closed it 

Selecting Colors from Palette 

To select a predefined color from the palette click on one of the palette 

boxes. The COLOR SELECTION dialog closes automatically. 

If you want to modify this color (e.g. using the sliders), you can also drag 

it to the color selection box (the large box at the bottom). 

1. PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, 

Inc. 







When finished, select OK or click anywhere outside the dialog to close 

the dialog. 

Picking Colors from Layout or Image 

You can pick a color from the layout or an image in order to apply it to 

another layer or image: 

1. Position the cursor on the image or layout 

that contains the color you want to 

pick up. 

2. SHIFT-click. 

The color located under the cursor is displayed 

in the color selection box. 

3. To close the dialog, select OK or click 

anywhere outside the dialog. 

Note: 

In the COLOR SELECTION dialog, the color you have picked up is always 

represented in the CMYK color space, even if the layer is a tint or gradient 

whose color has been defined in another color space (e.g. RGB) or 

if it is a spot color. 

Defining Colors by Specifying Values 

1. Select the color space to be used from the list. 

For details on selecting spot colors refer to page 10-11. 

2. Use the sliders to change the color values or type them into the input 

boxes. 

Note that the effect of a value input will not be visible until you click 

into another input box or select OK to leave the dialog. 

3. The new color is displayed in the color selection box. If you want to 

store it, drag it to a palette box (see page 10-11). 

4. Click OK to leave the dialog. 

Note: • On grayscale images you can only select the GRAYSCALE color 

space to prevent an unintentional conversion into a color image. 

• The color displayed in the selection field may change slightly when 

you change the color space from CMYK to RGB, HSB or Lab. This is 







caused by the fact that a 4-dimensional color space cannot be 

mapped exactly to a 3-dimensional color space. 

Supported Color Spaces 

Color space Meaning Value Range 

SPOT COLORS See page 10-11 for more details 

CMYK Cyan, Magenta, Yellow, Black 0 - 100 

CIE LAB 

HSB 

L = Lightness 

a = Green/Red 

b = Blue/Yellow 

Hue 

Saturation 

Brightness 

0 - 100 

–120 - +120 

–120 - +120 

0 - 360 

0 - 100 

0 - 100 

RGB Red, Green, Blue 0 - 255 

GRAYSCALE 0 - 100 

REGISTER 

MARKS 

See below 0 - 100 

(= grayscales) 

Use the REGISTER MARKS color space for layout elements to be output 

on all process and spot color separations of a PostScript final page, e.g. 

when using bleed pages (see page 3-60). Colors defined in other color 

spaces will only appear on CMYK process color separations or – in the 

case of spot colors – on the respective spot color separation. 

Adding/Subtracting Color, Changing Density 

You can mix colors with the color displayed in the 

color selection box (bottom left of the dialog). Colors 

can be added to or subtracted from this color. 

1. Select the starting color by doing one of the following: 

• Enter color values or select them using the sliders – or 

• SHIFT-click to pick it from a layout or image – or 

• Drag a color from a palette box to the color selection box 

2. Place the cursor on the color to be added or subtracted. This may be 

• a palette box – or 

• a color on a layout or image – or 






• the color selection box itself (this will change the color density) 



• CTRL-click (Mac OS) or right-click (Windows) to add the color or 

to increase its density. 

• SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) to subtract 

this color or reduce its density. 

Press the mouse keys repeatedly until the color is as you want. To 

add or subtract more quickly, move the cursor to and fro within the 

color box. The result is shown in the color selection box. 

4. If you want to store the new color, drag it to a palette box (see below). 

Note: 

When you add or subtract colors, the CMYK color space is always used, 

even if the colors were defined in another color space. 

Dragging Colors to Another Palette Box 

You can move a color from one palette box to another. Thus you can e.g. 

store a color picked from the layout in order to later apply it to another 

layer. 

Note: 

1. Place the cursor on the palette box that contains the color you want 

to move. 

2. Hold the mouse button pressed down and move the color to the other 

palette box. 

3. When you release the mouse button, the new color is stored in the 

palette box, overwriting the color previously stored there. 

You can store colors of different color spaces in the color palette. It is 

also possible to drag a color to the color selection box (the lower large 

box on the left). 

Selecting Spot Colors 

1. Select SPOT COLORS from the list displayed on the bottom right of the 

dialog. 

2. The SPOT COLORS dialog appears. Use it to load a spot color file and 

to select the spot color you want. See below for more details. 

The name of the selected spot color and the equivalent CMYK values 

are displayed in the COLOR SELECTION dialog (see below). 

Refer to page 32-9 for a list of spot colors included in the software. 







3. In this dialog you can reduce the density of the spot color. Use the 

slider or enter the tonal value (0% to 100%) into the input box. The 

CMYK values displayed in the dialog change accordingly. 

4. If you have closed the SPOT COLORS dialog (using or ), you can 

display it again by clicking the SPOT COLORS button in the COLOR SE- 

LECTION dialog. 

5. The new color is displayed in the color selection box. If you want to 

store it, drag it to a palette box (see above). 

6. Click OK to leave the COLOR SELECTION dialog. 

Note: 

Spot colors can only be output in PostScript, EPS or PDF format. They 

are automatically converted to CMYK process colors if other output formats 

are used. 

Spot Colors Dialog 

Use this dialog to load a spot color file and to select spot colors. It lists 

each spot color as a color box and specifies its name and the equivalent 

CMYK values. 

Fig. 10-3 

Spot Colors Dialog 







Note: 

Loading Spot Color Files 

Various spot color files are loaded already and can be selected from the 

list at the top (COLOR BOOKS). Use LOAD OTHERS to select files which are 

not listed there. The spot color files included in the ORIS PDF Tuner software 

are stored under ..\Program Files\CGS\Common Files\CC, by default. 

A list of these files is available in this document (see page 32-9). 

The following file types can be loaded: 

• ORIS Spot Color Files (*.OSC) 

• Logo ColorPicker Files (*.LCP). 

• User-defined spot colors stored in the file Private.OSC (see 

page 32-10). Use the entry PRIVATE BOOK to select this file. 

• Spot color files from ORIS Color Tuner (*.Lab, *.SCG) 

Having loaded a ColorPicker table, you are asked whether you would 

like to convert it to ORIS PDF Tuner format. If you work with ICC Color 

Management in ORIS PDF Tuner, the OUTPUT COLOR SPACE profile and 

the ICC profile used for creating the Color Picker table should be identical. 

Removing Spot Color Files 

If you have loaded a spot color file using the LOAD OTHER button, you can 

remove it from the list at the top (COLOR BOOKS). To do so, select the 

spot color file and click the REMOVE button. Note that the standard spot 

color files that are loaded automatically cannot be removed. 

Selecting a Spot Color 

There are several ways to select a spot color: 

• Click an item in the list of spot colors. 

• Click a color in the color spectrum displayed below this list. 

• Use the arrows displayed to the right of the spectrum to select the 

next or previous spot color in the list. 

Note on Creating ColorPicker Tables 

The Logo Color Picker from GretagMacbeth allows you to convert spot 

colors – which may be obtained by measurement – to the color space of 

your target device using ICC profiles. Please note the following when 

creating Color Picker tables for ORIS PDF Tuner: 

• Always use a CMYK profile. 

• Select EDIT | PREFERENCES and make sure the EDITING MODE option 

is set to DEVICE COLOR. 







• You should assign a name to every color you have measured. 

• Save the ColorPicker table to be able to load the data with ORIS 

PDF Tuner. 





11 Inserting Images Into Layout 

Different Ways of Positioning Images 

ORIS PDF Tuner offers a number of different ways of positioning images 

on a layout. An image may be one of the following types, depending on 

the way it has been positioned: 

• Background image 

• Foreground image 

• Mixground image 

• Overlapped background image 

About ‘Background Images’ 

Positioning an image ‘in the background’ means inserting it into a path 

which clips the image, i.e. the image parts extending beyond the area 

defined by the path are invisible. If the image is enlarged, only a part of 

the image remains visible, since the size and shape of the path defining 

the outline does not change. The following figure shows an example. 

Fig. 11-1 

Positioning an Image ‘in the Background’ 

Note: 

Images can also be inserted into pixel masks and into any active layer. 

About ‘Foreground Images’ 

Positioning an image ‘in the foreground’ means placing an image cut-out 

directly on a layout. The dimensions of the cut-out are only determined 

by the cut-out mask. The following figure shows an example. 




Inserting Images Into Layout 



Fig. 11-2 

Positioning an Image ‘in the Foreground’ 

The lady is cut out from its background using a mask and then 

positioned on the layout as a foreground image. 

About ‘Mixground Layers’ 

A ‘mixground’ layer is usually a cut-out inserted into another layer in a 

way that it is clipped at the edges of this layer. The cut-out is only visible 

within the limits of the layer into which it was inserted. A mixground cutout 

can be modified at any time. When moved, for example, other areas 

of the cut-out become visible. The figures below show examples. 

Note: 

A mixground layer (here: the cut-out) is referred to as a restricted or 

masked layer. The layer into which it was inserted (here: the background 

image) is referred to as the restricting or masking layer. 

Fig. 11-3 

Positioning an Image as a ‘Mixground Layer’ 

A cut-out is inserted into a background image. The cut-out is automatically 

cut off at the edges of the background image. 







Fig. 11-4 

Modifying a ‘Mixground’ Image 

The cut-out is enlarged and then mirrored. The edges of the background 

image always act as a border on which the cut-out is clipped. 

Other Mixground Layers 

You cannot only position cut-outs as mixground layers, but also any layer, 

e.g. texts, tints, gradients or background images. The figure below 

shows an example. 

Fig. 11-5 

Tints Positioned as Mixground Layers 

The blue tint was created using a path (STAR) and then inserted as a mixground 

layer into the image layer. The star is only visible within the limits 

of the image layer, the corners are cut off at the image edges. The text 

was inserted into the star as a mixground layer. 

About ‘Overlapped Background Images’ 

An ‘overlapped background image’ is the combination of a background 

image and a cut-out created from the same image. ORIS PDF Tuner automatically 

adjusts the cut-out to the position and size of the background 

image. The following figure shows an example. 





Placing Background Images 


Fig. 11-6 

Overlapped Background Image (Example) 

The image of the lady is first inserted into a rectangle which clips the 

image. The head and chest are cut out, inserted into the foreground 

and automatically adjusted to the background image. 


Background images are clipped by a path or mask (see page 11-1). 

How to Insert Background Images 

1. Define the outline in which the images will be inserted: 

• Create or activate paths (see page 7-1 and 8-1) 

• Activate layers (see page 16-1) 


2. Click , select LAYER | INSERT IMAGE, or press +E (Mac OS) or 

CTRL+E (Windows). This opens the current image overview, a ‘gallery’ 

of thumbnail images. 

Note: 

If the image is not available there, use OPEN OVERVIEW in the MENU 

window to select another image overview, or FILE | OPEN IMAGE. 

3. Double-click the image you want (see also page 20-6). 

The image appears on the layout inside the path or mask and the 

TRANSFORMATIONS toolbar is displayed. 

If you insert an EPS image having a clipping path, only the image 

section enclosed by the path will be displayed. Linework cannot be 

inserted ‘in the background’. 

4. You can move the object with the mouse button pressed down, resize 

and rotate it using the handles and transform it in many different ways 

with the toolbar. For more details refer to Transformations (page 

19-1). 

• Click if you want to modify the image like a cut-out, i.e. without 

being clipped by the path or mask (see page 11-7). 







• Click if you want to define transparency, soft edges or trapping 

(see page 17-1 and 18-1). 

Note: 

If a background image does not fill its path or mask entirely, a white area 

is displayed around the image and layers located under this area are not 

visible. However, the screen is displayed normally as soon as you end 

the current function. 

Modifying Background Images 

Images inserted into a path or mask can be modified at any time. ORIS 

PDF Tuner offers three fundamentally different methods: 

• Correcting an image behind its path/mask 

• Modifying the image layer like a cut-out (see page 11-7) 

• Changing the layer outline (see page 11-8) 

Correcting an Image Behind its Path/Mask 

With this method the image is modified ‘behind’ its path or mask that 

clips the image. The position and size of the clipping element remain the 

same. If the image is moved, other parts of the image become visible. If 

it is enlarged, the visible image section becomes smaller. The following 

figure shows an example. 

Fig. 11-7 

Enlarging a Background Image Behind its Mask 

This image is enlarged ‘behind’ the path that clips it, which reduces the 

image section that is visible on the screen. In other words, the layer contents 

changes, while the layer size and outline remain the same. 

How to Correct Background Images 

1. Activate the image layer (see page 16-1). 

2. Click , or press +M (Mac OS) or CTRL+M (Windows). 

Alternatively, select CORRECT on the EDIT menu or MENU window. 

This function cannot be applied if several layers are active. 







3. The TRANSFORMATIONS toolbar appears allowing you to modify 

(move, resize, rotate, etc.) the image inside its path or mask. 

Click if you want to modify the image like a cut-out, i.e. without 

being clipped by the path or mask (see page 11-7). 

For more details refer to Transformations (page 19-1). 

Correcting Background Images by Modifying Path on Image 

ORIS PDF Tuner offers a special correction method for background images 

inserted into a path. The image is loaded into a window and the 

path that clips the image is displayed. Modifications are made by moving, 

scaling, rotating etc. this path. The figures below show two examples. 

Fig. 11-8 

Enlarging Background Image by Modifying Path on Image 

The background image is loaded and the clipping rectangle appears 

on it. The rectangle indicates exactly the image area that is visible on 

the layout. Now the user decreases the size of the rectangle so that it 

only encloses the lady’s head and chest only. On the layout, this image 

part is enlarged so that it fills the entire path. 

Fig. 11-9 

Distorting Background Image by Modifying Path on Image 

In this example, the rectangle on the image is narrowed. As a result, 

the image on the layout is stretched accordingly, which makes the 

lady appear rather corpulent. 

How to Correct Background Images by Modifying Path on Image 


This correction method is only available if the image was not inserted 

into a pixel mask or layer and if only a single layer is active. 








Alternatively, select CORRECT on the EDIT menu or MENU window.. 

3. Click on the button on the TRANSFORMATIONS toolbar. 

The image is loaded into a separate window. The path into which the 

image was inserted appears. It encloses the image area currently visible 

on the layout. 

4. The path can now be moved, resized, rotated and modified in many 

other ways. This will not affect the original path on the layout. For 

more details refer to Transformations (page 19-1). 

5. When finished, press RETURN/ENTER or click . The image window 

closes and the transformation is applied to the image on the layout. 

Modifying Background Image Like Cut-outs 

With this correction method the background image is treated like a foreground 

image (i.e. cut-out). You modify the currently visible image area, 

without taking into account the path or mask that clips the image. This 

means, the image can be enlarged beyond its original borders and 

moved freely across the layout. The following figure shows an example. 

Fig. 11-10 

Modifying Background Image Like a Cut-out 

This is a background image inserted into a path. Now the currently 

visible image area is enlarged so that is exceeds the limits defined by 

the path. 

How to Modify Background Images Like Cut-outs 

Method (1) 

• Double-click the image layer. – or 

• Activate the layer, the select TRANSFORM in the MENU window. 

Method (2) 

1. Activate the image layer. 



3. Click on the TRANSFORMATIONS toolbar. 







For more details refer to Transformations (page 19-1). 

Changing Outlines of Background Image Layers 

With this correction method you modify the path that clips the image and 

thus the layer outline. The actual image, i.e. the layer contents, remains 

unchanged. The following figure shows an example. 

This method is only available if the image was inserted into a closed 

path. 

Fig. 11-11 

Modifying the Outline of a Background Image 

This background image was inserted into a rectangle. The corners of 

this rectangle are then rounded. The image itself remains unchanged 

in position, shape and size, but it is now clipped to a larger extent. 

How to Change the Outline of Background Images 

Note: 

1. Activate the layer (see page 16-1). 


This starts the function that was used to create the path in which the 

image was inserted. 

3. You can now modify the path in the same way in which you have created 

it (e.g. by enlarging a circle radius, changing rectangle corners, 

etc.). The way to do this differs according to the path. 

For more details refer to 

• Creating Standard Paths (page 7-1) 

• Correcting by Using Creation Function (page 8-4) 

4. There are additional options in the MENU window: 

• Select PATH EDITOR to start the Path Editor, a useful tool for 

modifying paths creatively (see page 9-1). 

• Select PATH to open the TRANSFORMATIONS toolbar, allowing you 

to move, resize or rotate the entire path, and many more transformations. 

For more details refer to page 19-1. 

This correction method is not available if the image was inserted into a 

pixel mask or layer. 




Notes on Background Images 


Placing Foreground Images 

Inserting Images into Several Paths Simultaneously 

If several paths, layers or masks are active when inserting a background 

image, they act as one single element into which the image is positioned 

once. This means that only one layer is created. 

You can insert an image into a maximum of 8000 paths. 

Inserting Images into Paths 

Having inserted an image into a path, the paths still exists. 

Open paths are closed automatically with a line created as a separate 

path between the starting and ending point. 

Linework 

If an image is inserted into a linework layer, all linework colors except 

transparent colors (i.e., usually the background color) constitute the 

mask that clips the inserted image. 

Linework cannot be inserted as a background image. 



Foreground images are cut-outs directly positioned on a layout and not 

clipped by a path or mask. For examples refer to page 11-1. 

How to Insert Cut-outs 

1. Make sure the window of the layout on which you want to position the 

cut-out is active. 

2. Load the image of which you want to insert a cut-out (see page 20-6). 

3. To do so, click or select IMAGES | OVERVIEW to display the current 

image overview, a ‘gallery’ of thumbnail images. 



4. Create a mask defining the image area to be inserted (see 

page 21-1). Or select an existing mask (see page 22-5). 

If you do not use a mask, the entire image will be positioned on the 

layout. A vector mask is created automatically for this purpose (except 

for linework). 







Note: 

EPS clipping paths are used automatically and need not be selected. 

If you select an ORIS PDF Tuner mask for an EPS image with a clipping 

path, the cut-out will consist of the image area shared by both 

masks. 

5. Press +OPTION+E (Mac OS) CTRL+ALT+E (Windows), or select 

COMPOSE | FOREGROUND. The cut-out is inserted into the current 

layout and the TRANSFORMATIONS toolbar appears. 

6. You can move the image with the mouse button pressed down, resize 



19-1). 

Click to define transparency, soft edges or trapping (see 

page 17-1 and 18-1). 

Correcting Cut-outs 

1. Activate the cut-out layer (see page 16-1). 

You can only correct one layer at a time. 



The TRANSFORMATIONS toolbar appears. 

3. You can move the object with the mouse button pressed down, resize 



19-1). 

4. Click to correct transparency, soft edges or trapping (see 

page 17-1 and 18-1). 

Alternative Method 

To modify a cut-out, you can also use TRANSFORM in the MENU window 

of the active layer or double-click the layer. However, this function does 

not start the layer’s creation function. Some of the consequences are: 

• The scaling factor and the angles displayed in the 

TRANSFORMATIONS toolbar do not take into account all of the transformations 

made after the image was inserted into the layout. They 

always refer to the last use of the TRANSFORM function. 

• Clicking the button does not resize the cut-out according to the 

EXPECTED PRODUCTION RESOLUTION (defined using FILE | LAYOUT 

PARAMETERS, see page 5-9). It only restores the size the cut-out had 

before the TRANSFORM function was selected. 






Creating Mixground Layers 

See also Scaling Images to Original Size (page 19-9). 

Copying Vector Cut-out Paths into Layout 

If you have positioned a vector cut-out (i.e. a cut-out created with paths), 

you can copy these paths into the layout, e.g. in order to create a frame 

around the cut-out (see page 8-10). 

1. Activate the layer of the cut-out (see page 16-1). 

2. Select COPY PATH in the MENU window. 

Note: 

When used for an EPS image, the COPY PATH function copies the EPS 

clipping path into the layout. If you have additionally used a vector mask 

to position the image, it additionally copies all paths of this mask. If you 

have used a pixel mask, however, only the clipping path is copied. 


Mixground images are cut-outs inserted into another layer which clips 

the image. You cannot only position cut-outs as mixground layers, but 

also any layer (e.g. a text or gradient). For more details and examples 

refer to page 11-2. 

Inserting Mixground Cut-outs 

1. Activate the layer into which you want to insert the cut-out (see 

page 16-1). 

2. Select MIXGROUND in the MENU window. This turns the layer into a 

restricting layer that will clip the mixground layer. 

3. Load the image of which you want to insert a cut-out. 

To do so, click or select IMAGES | OVERVIEW to display the current 

image overview, a ‘gallery’ of thumbnail images. 



4. Create a mask defining the image area to be inserted (see 

page 21-1). Or select an existing mask (see page 22-5). 

If you do not use a mask, the entire image will be positioned on the 

layout. A vector mask is created automatically for this purpose (except 

for linework). 







Note: 

EPS clipping paths are used automatically and need not be selected. 

If you select an ORIS PDF Tuner mask for an EPS image with a clipping 

path, the cut-out will consist of the image area shared by both 

masks. 

5. Select COMPOSE | MIXGROUND. The cut-out appears inside the layer 

you have marked in Step 2. The TRANSFORMATIONS toolbar appears. 

6. You can move the cut-out within the limits of the restricting layer and 

transform it in many ways (resize, rotate, mirror, etc.). For more details 

refer to Transformations (page 19-1). 

Using the button you can make these modifications by loading 

the image and modifying the path on it. For more details refer to Correcting 

Mixground Cut-outs by Modifying Path on Image (page 

11-13). 


page 17-1 and 18-1). 

Inserting other Layers ‘in the Mixground’ 

You can insert any layer on a layout (except dummy text) into another 

layer as a mixground layer, i.e., any layer can be clipped at its edges by 

another layer. An example is shown on page 11-3. 

Example: 

1. Activate the layer into which you want to insert the other layer (see 

page 16-1). 

2. Select MIXGROUND in the MENU window to turn this layer into a 

restricting layer that will clip the mixground layer. 

3. Activate the layer to be inserted as a mixground layer (i.e. the restricted 

layer). 

4. Select LAYER | MIXGROUND. A duplicate of the active layer is created 

and the TRANSFORMATIONS toolbar appears. 

5. Move the duplicated layer into the restricting layer. 

Tip: The easiest way to do this is to click on the toolbar and then 

SHIFT-click on the restricting layer. If the duplicated layer is still no visible, 

select INSERT SELECTION in the MENU window, then click on the 

restricting layer. 

6. You can move the layer within the limits of the restricting layer and 

transform it in many ways (resize, rotate, mirror, etc.). For more details 

refer to Transformations (page 19-1). 








page 17-1 and 18-1). 

Modifying Mixground Layers 

Mixground layers can be modified just like any other layer, but they will 

always be restricted by the layer into which they were inserted. Use the 

following functions in the MENU window, depending on the layer type and 

the modifications to be made: 

• TRANSFORM – To move, rotate, scale, mirror or distort the layer and 

to apply transparency, soft edges and trapping. 

• DUPLICATE – To duplicate and then move or transform the layer. 

• CORRECT – To recolor a tint or gradient, to move or transform a 

background image within the limits of its mask or to correct brushed 

layers and filter layers. 

• LAYER PATH – To change the layer outline without moving or transforming 

the layer itself. 

• CORRECT TEXT – To edit a text or change its typography. 

See also Modifying, Duplicating and Deleting Layers (page 16-4). 

Note: 

It is not possible to move or transform a restricting layer, i.e. the layer into 

which a mixground layer was inserted. However, you can activate both 

the restricting and restricted (= mixground) layer and modify both layers 

together. If a restricting layer is activated separately, the TRANSFORM 

function is unavailable (and also CORRECT in the case of cut-outs). 

In the case of nested mixground layers (a mixground layer inside a mixground 

layer), this restriction applies to all layers except for the topmost. 

Correcting Mixground Cut-outs by Modifying Path on 

Image 

ORIS PDF Tuner offers a special correction method for mixground cutouts 

inserted into layers created with a path. The image is loaded into a 

window and the path defining the outline of the restricting layer is displayed. 

Modifications are made by moving, scaling, rotating etc. this 

path. The figure below shows an example. 

For more details refer to How to Correct Background Images by Modifying 

Path on Image (page 11-6). 





Overlapped Background Images 


Fig. 11-12 

Correcting Mixground Cut-out by Modifying Path on Image 

In this example, a cut-out was positioned as a mixground layer on a 

background image which had been inserted into a rectangle beforehand. 

The image from which the cut-out was created is loaded and 

the rectangle appears. It defines the edges at which the cut-out is 

clipped. The rectangle is now rotated and decreased in size so that it 

encloses a smaller image section. On the layout, this image section 

is then enlarged accordingly and rotated to the opposite direction. 

Overlapped Background Images 

An ‘overlapped background image’ is the combination of a background 

image and a cut-out created from the same image. The cut-out can be 

positioned on top of the background image in a way that it automatically 

adjusts to the correct position and size. An example is shown on 

page 11-3. 

How to Overlap Background Images 

1. Insert a background image (see page 11-4) and transform it as you 

want, or activate an existing background image (see page 16-1). 

2. Press F2, click , or select EDIT | SAVE VALUE while the layer is active 

or the TRANSFORMATIONS toolbar is displayed. 

3. Press RETURN/ENTER or click to end the function. 

4. Load the same image you have just positioned. The easiest way to 

do this is selecting LOAD IMAGE in the MENU window. 

Alternatively, click to open the image overview, then double-click 

the thumbnail image (see also page 20-6). 

5. Create a mask defining the area that will overlap the background image 

(see page 21-1). Or select an existing mask (see page 22-5). 

Note: 

It is advisable to make the mask’s overlap area larger than necessary 

in order to be more flexible when positioning it. 






Directly Opening Images Used on Layout 

6. Press +OPTION+E (Mac OS) CTRL+ALT+E (Windows), or select 

COMPOSE | FOREGROUND. 

7. The cut-out is inserted and precisely adjusted to the position and size 

of the background image. Overlapping cut-outs are always the topmost 

layer. 

8. You can now move and transform the background and the cut-out 

together. For more details refer to Transformations (page 19-1). 

Note: 

If you want to overlap background images at several positions, you 

should mask and insert all overlaps together. If you use a different mask 

for each overlap, the overlaps cannot be transformed together with the 

background image. 


When editing a layout you can directly load any image you have inserted, 

without having to select the corresponding directory or image overview. 


This method is only available if a single layer is active. 

2. Select LOAD IMAGE in the MENU window. The image opens. 

If it is a cut-out, the mask used for positioning the image is displayed. 

Replacing Images 

Suppose you have retouched an image used on a layout, saved it under 

a new name and now want to replace the image on the layout with the 

modified image. The easiest way to do this is the following: 

1. Activate the image layer and note down the layer number. It is displayed 

in the STATUS window below CURRENT LAYER. 

2. Select IMAGES | LIST. 

This opens the ‘Image and Mask Update’ Dialog (see page 11-17). 

3. In the list click the image you want to replace. You can identify this 

image by the layer number displayed in the LAYER column. 

4. Click UPDATE and select or browse for the new image. 


The new image appears at the position of the previous image. All 

transformations (scaling, rotation, etc.) remain the same. 





Making Layouts Consistent 


Alternative method: 

Activate the image layer, save its transformations, insert the modified image 

into the active layer and apply the saved transformation values. For 

more details refer to Transferring Image Transformations (page 19-21). 

Making Layouts Consistent 

The FILE | MAKE CONSISTENT function automatically copies all images 

and masks of a layout to the directory in which the layout is stored. This 

includes also brushed layers (see page 10-5) since these layers are 

stored as TIFF images. The copied images are then referenced by the 

layout. This function is useful for archiving layouts in a consistent state. 

Note: • The MAKE CONSISTENT function saves the current layout automatically. 

• If you have opened a Scitex Handshake or TIFF/IT page (*.PG or 

*.FP file) and select MAKE CONSISTENT, the page will automatically 

be saved as an ORIS PDF Tuner layout under the same name and 

the file extension DDP. 

• If an image with the same name already exists in the directory of the 

layout, the image to be copied is saved under a new name. This 

name consists of the original name and the suffix _2 (or _3, _4 etc.). 

Listing and Updating Images and Masks 

The IMAGES | LIST function opens the ‘Image and Mask Update’ Dialog 

which lists all images and cut-out masks used on the current layout. 

When you open a layout or update the screen and access to an image 

or cut-out mask is not possible, you are asked whether this dialog should 

be displayed. You can then specify the new location and/or directory of 

the missing items. 







Fig. 11-13 

‘Image and Mask Update’ Dialog 

‘Image and Mask Update’ Dialog 

Information in ‘Image and Mask Update’ Dialog 

NAME 

Path name of image or mask file. Mask files are listed for images positioned 

as cut-outs. 

LAYER 

Number of layer on which image or cut-out mask is used. 

STATUS 

Status of image or mask, also indicated by the icon at the beginning 

of each line: 

Image Mask 

OK 

Displayed on layout 

TYPE 

Images: Color mode and file format. Masks: Mask ID (number). 

PIXEL X/Y 

SIZE 

MISSING 

CHANGED 

Image size in pixels (width/height) 

Image file size (in MB or KB) 

IMAGE RES(OLUTION) 

Deleted, moved or renamed 

New file name or save location was 

specified for an image or mask using 

the UPDATE button in this dialog. 

Original image resolution in lines per centimeters 







RES(OLUTION) ON PAGE 

Resolution of image on layout (depends on scaling factor) 

Tip: 

You can sort a column by clicking the column header. 

Updating Images and Masks 

If images or masks used on a layout cannot be accessed e.g. because 

they have been moved and/or renamed, you can use the ‘IMAGE AND 

MASK UPDATE’ DIALOG to specify the new path name. The ORIS PDF 

Tuner layout will automatically reference the files you select in this dialog. 

To update images or masks: 

Note: 

1. In the list, double-click the item to be updated or click it once and select 

UPDATE. 

To select multiple files, SHIFT-click on the first and last item (selects 

all files in between), or -click (Mac OS) or CTRL-click (Windows) on 

individual files. 

Press +A (Mac OS) or CTRL+A (Windows) to select all files. 


• Select the new file if you have selected a single list item, several 

identical images, or several masks of the same image. 

• Select the new directory, if you have selected several items 

belonging to different images. 

ORIS PDF Tuner automatically references all images and masks 

in this directory that have the same name as the selected items. 

3. The status is now CHANGED. 

You can reverse the changes by clicking UNDO CHANGE. 

4. Click OK to close the dialog. 

When you update a mask, ORIS PDF Tuner checks whether a mask with 

this ID is contained in the new mask file. 


*.MASKDAT and *.MASKIDX (page 32-7) 






12 Creating Text and Headlines 

Text can be... More details Examples 

...set into any closed outline 

using automatic 

hyphenation and automatic 

line breaks 

See below 

...written directly on a 

layout 

...adjusted to the outline 

of any path 

See page 12-3 

See page 13-1 

A wide range of typographic attributes can be applied to characters and 

paragraphs, including the use of style sheets. 

Text can be copied and pasted across different layouts, including pages 

of other DTP programs. All editing actions can be reversed step by step 

using the EDIT | UNDO function (see also page 16-18). 

Finished texts can be corrected at any time. Text layers can be modified 

in many different ways. When you resize a text layer, for example, you 

can decide whether you want a text to reflow without any change to the 

typography or to be scaled together with the layer. 

It is also possible to correct text of PDF and PostScript documents imported 

into ORIS PDF Tuner. 

To highlight text characters, you can easily create shadows and colored 

backgrounds. 




Creating Text and Headlines 

Setting Text into a Path 


Setting Text into a Path 

You can write text into any closed path. The text follows the outline of the 

path. Words are wrapped and hyphenated automatically at the end of 

each line. 

1. Create or activate a closed path (see page 7-1 and 8-1). 

If the outline consists of multiple paths, they must first be combined 

into one path using the PATHS | EDIT | COMBINE function. 

To make a text flow over various outlines (e.g. for multi-column text), 

create a path for each outline, then activate these paths in the order 

of the text flow. See also Linking Text Boxes (page 12-21). 

You cannot use grids or paths defining text characters. 

2. Click or select LAYER | TEXT. The TEXT EDITOR toolbar appears 


3. Type the text you want or insert it from the Scrapbook/Clipboard 

using +V (Mac OS), CTRL+V (Windows), or EDIT | PASTE. 

4. You can modify the typography using the TEXT EDITOR toolbar. 

• Apply character attributes to selected text or paragraph attributes 

to selected paragraphs or the current paragraph. 

• Select a style sheet to apply a set of pre-specified attributes to a 

paragraph in one step. 

• Click or , or press +SHIFT+D (Mac OS) or CTRL+SHIFT+D 

(Windows) to display the TEXT PARAMETERS dialog (see 

page 12-4). It allows you to apply additional attributes. 

For more details refer to Editing Text and Typography (page 12-12). 

5. Select EDIT | UNDO ( +Z/CTRL+Z) if you want to reverse your modifications. 

Select EDIT | REDO to restore modifications you have reversed 

( +SHIFT+Z/CTRL+Y). 

Text Baseline 

The baseline of text set into inclined or rotated rectangles is adjusted to 

the baseline of the path. The baseline is horizontal, however, if the text 

is set into 

• Combined Paths (see page 33-1) 

• several inclined or rotated standard paths with a different angle 




Writing Text Directly on a Layout 


Writing Text Directly on a Layout 

You can write text directly on a layout, i.e. without setting it into a path. 

This is usually appropriate when creating headlines. There are no automatic 

line breaks and no automatic hyphenation, i.e., you must press 

RETURN/ENTER to create a new line. 

1. Click or select LAYER | TEXT. The TEXT EDITOR toolbar appears 


2. Click on the position where the text should start or enter the corresponding 


3. If you want to set the text vertically, select VERTICAL in the MENU window. 

Otherwise the setting direction is horizontal. 


using EDIT | PASTE ( +V/CTRL+V). 

Press RETURN/ENTER to create a new line. 

5. You can modify the typography using the TEXT EDITOR toolbar. 

• Apply character attributes to selected text or paragraph attributes 

to selected paragraphs or the current paragraph. 

• Select a style sheet to apply a set of pre-specified attributes to a 

paragraph in one step. 

• Click or to display the TEXT PARAMETERS dialog (see 

page 12-4) which allows you to apply additional attributes. 

For more details refer to Editing Text and Typography (page 12-12). 

6. Select EDIT | UNDO ( +Z/CTRL+Z) if you want to reverse your modifications. 

Select EDIT | REDO to restore modifications you have reversed 

( +SHIFT+Z/CTRL+Y). 

‘Text Editor’ Toolbar 


Fig. 12-1 

‘Text Editor’ Toolbar 

Increases/Decreases... 

Kerning Leading 

Alignment: 

Left Centered Right Justified 

Style sheet Font Font size Kerning Leading Plain Bold Italic Underline Color 

Displays ‘Text Parameters‘ dialog, allows additional settings 





‘Text Parameters’ Dialog 


The TEXT EDITOR toolbar provides the most common attributes for 

changing the typography of your text. You can change character 

attributes (such as font size or boldface) and paragraph attributes (such 

as leading or alignment). 

Additional settings are available in the TEXT PARAMETERS dialog (see 

page 12-4), which can be opened by clicking the or button. 

Style Sheet 

A style sheet is a set of pre-specified paragraph and character attributes 

which can be applied in one go. Select the style sheet you want in order 

to apply its attributes to the paragraph that has the cursor or to all paragraphs 

with selected text. 

Note that applying a style sheet does not override character or paragraph 

attributes that have been assigned individually (i.e. not using a 

style sheet), unless the current style sheet is (NONE). 

For more details refer to Using Style Sheets (page 12-14). 

Individual Text Attributes 

Character attributes assigned individually (e.g. font size) apply to selected 

text or to all characters entered subsequently. Paragraph attributes 

apply to the paragraph that has the cursor or to all paragraphs with selected 

text. 

For a description of typographical attributes refer to ‘Text Parameters’ 

Dialog (see below). 

Note: 

If a text is not set into an outline, paragraph attributes apply to all text 

lines, because all text lines are treated as a single paragraph. 


Use this dialog to define paragraph and character attributes and to create, 

modify and delete style sheets. A style sheet is a set of character 

and paragraph attributes. 

When you close the dialog using OK the characters attributes are applied 

to all selected characters or to the text entered afterwards, and the 

paragraph attributes to all paragraphs which contain selected text or to 

the paragraph which has the cursor. 







Note: 

Some parameters allow you to enter the unit of measurement into the 

same box as the value. Although you can use any supported unit, the 

value will be displayed in points the next time you open the dialog box. 

See also Supported Units and Their Abbreviations (page 32-12). 

Fig. 12-2 


Style Sheet Parameters 

Name 

The list labeled NAME shows all style sheets available for the current layout. 

When no layouts are open, it lists the default style sheets defined for 

all layouts on your system. 

Select a style sheet to display its attributes in the dialog. When you close 

the dialog using OK, the attributes are applied to the selected text. However, 

the name of the style sheet assigned to the selected text remains 

unchanged. See also Using Style Sheets (page 12-14). 







Note: 

Text parameter sets stored with an ORIS PDF Tuner version lower than 

4.0 can no longer be used owing to the substantial changes made to the 

text functionality. 

Next style 

The NEXT STYLE list allows you to specify a style sheet to follow the 

current style sheet when you are entering text. For example, you could 

specify that a paragraph with a ‘Heading’ style sheet be followed automatically 

by a paragraph with the ‘Body text’ style sheet. The style 

automatically changes to the style specified in NEXT STYLE after RETURN/ 

ENTER is pressed at the end of the paragraph. NEXT STYLE does not 

affect existing text. 

The list displays all style sheets available for the current layout. When no 

layouts are open, it lists the default style sheets defined for all layouts on 

your system. 

Save as 

Click the SAVE AS button to save the attributes currently defined in this 

dialog under a name, thus creating a new style sheet. If you choose the 

name of an existing style sheet, the style sheet will be overwritten. This 

allows you to redefine style sheets. 

Delete 

The DELETE button removes the style sheet displayed in the NAME box 

from the current layout. If this style sheet is used on the current layout, 

paragraphs using this style sheet inherit the style sheet of the preceding 

paragraph or (NONE) if there is no preceding paragraph. You cannot delete 

the STANDARD style sheet. 

Character Attributes 

Font 

The FONT list displays all fonts installed on your system. Choose a font 

for the selected text or enter the font name into the box. It is sufficient to 

enter the first few characters. The complete name is displayed automatically 

as soon as it is recognized. 

Fonts can also be selected using the TEXT EDITOR toolbar (see 

page 12-3). 















Note: 

ORIS PDF Tuner supports Type-0 composite fonts (Asian fonts) such as 

Morisawa, Fontworks, Biblos, Dynalab, Sinotype and Hanyi. If you want 

to use such fonts, contact CGS for detailed instructions on entering text. 

Font size 

Enter a font size into the FONT SIZE box. The unit of measurement can 

be entered into the same box or selected from the list at the right. 

You can also use the TEXT EDITOR toolbar to define the font size. 

Font width relation 

Use the FONT WIDTH RELATION box to change the font width. This parameter 

indicates the ratio of font width and font size (height). Enter e.g. 2 to 

double the font width or 0.5 to set it to half the size. The default setting 1 

leaves the font width unchanged. 

Italic angle 

Enter an angle into the ITALIC ANGLE box to produce italicized text. Typically, 

italicized text is slanted by 10 or 12 degrees. 

Kerning 

Enter a value into the KERNING box to adjust the amount of space between 

a selected character and the character that follows. Positive values 

increase space, negative values decrease it and 0 leaves the space 

unchanged. The unit of measurement is 0.005 (1/200) em space. 

Kerning can also be adjusted using the TEXT EDITOR toolbar. 

Style 

Check the boxes you want in order to apply the styles to the selected 

characters or to all characters entered subsequently. The styles are explained 

below. 







You can apply type styles to selected text in almost any combination. 

However, UNDERLINE and WORD UNDERLINE, ALL CAPS and SMALL CAPS, 

and SUPERSCRIPT and SUBSCRIPT are mutually exclusive styles. 

A gray check box indicates that a style has been applied to at least one 

character, but not all characters, in selected text. 

Some styles are also available on the TEXT EDITOR toolbar (see 

page 12-3). In the descriptions that follow, the corresponding toolbar 

button is shown for such styles. 

Plain 

Automatically deselects all other type styles. 

Bold 

Accesses the bold version of the current font (if installed) or simulates 

bolding. 

Italic 

Accesses the italic version of the current font (if installed) or simulates 

italic. 

Outline 

Outlines characters. 

Strike through 

Draws a 1-point line through characters. 

Superior 

Raises characters so their ascents align with the cap height of the current 

font. 

Underline 

Underlines all characters and spaces. 

Word underline 

Underlines all characters except spaces. 

Subscript 

Offsets characters below the baseline by 33%. 

Superscript 

Offsets characters above the baseline by 33%. 

All caps 

Changes all lowercase letters to uppercase letters. 




Small caps 



Changes all lowercase letters to smaller versions of uppercase letters. 

Hyphenation language 

To have automatic hyphenation work correctly, choose the text language 

from the HYPHENATION LANGuage list or enter the language name into the 

box. It is sufficient to enter the first few characters. The complete name 

is displayed automatically as soon as it is recognized. 

Color 


Click the color box to choose a text color. The COLOR SELECTION dialog 

appears. For more details refer to page 10-8. 

You can also use the TEXT EDITOR toolbar (see page 12-3) to choose a 

text color. 

Note: You can use (LAYER | TINT) or (EDIT | CORRECT) to recolor a text 

layer after leaving the text editor. However, this sets all text characters 

to the same color, i.e. all color changes in the text are lost. 

Baseline shift 

Baseline shifting moves selected characters above or below their baselines 

by a specific amount without changing leading. Enter a value and 

a unit (e.g. pt) into the box. Positive values shift text up. Negative values 

shift text down. The value 0 makes no changes. 

Paragraph Attributes 

Leading 

The LEADING box allows you to define the amount of vertical space between 

lines of text. 

Leading can also be adjusted using the TEXT EDITOR toolbar (see 

page 12-3). 

There are three types of leading: absolute, incremental or automatic. 

• Absolute leading places the specified amount of space between 

lines regardless of the fonts and sizes used. Enter a value and a 

unit. 

• Incremental leading combines a base amount of leading, which 

equals the font size, with an absolute value. Specify the absolute 







value by entering a plus (+) or minus (–) sign before the value, followed 

by a unit. Enter e.g. +3 pt for a 12-point font to produce a 

leading of 15 pt. 

• Automatic leading equals 120% of the font size. To enable automatic 

leading enter the word auto or a 0 into the box. 

Note: 

Automatic leading spaces each line separately according to the design 

and size of the fonts used. If fonts or font sizes are mixed and 

matched, an auto-leaded paragraph may have a different amount of 

space between each line. Automatic leading starts with a base 

amount of leading, which ORIS PDF Tuner determines by looking at 

the user-specified font size, then calculating the ascent and descent 

values built into the fonts used in each line. 

Start setting at line start 

If this option is enabled, the first character of each line starts exactly at 

the edge of the text box, even if the character width (1) exceeds the 

space required for the actual character (2). 

From right to left 

Enable this option to enter text in languages that are written from right to 

left, such as Arab or Hebrew. 

Drop Caps 

Drop caps are initial caps that hang two or more lines below the first line 

of a paragraph (like the one on the right). 

To create drop caps for a paragraph, enter the number of drop characters 

into the NO. CHARACTERS box and the number of lines the characters 

are dropped into the NO. LINES box. 

The automatic drop caps function enlarges the drop cap characters and 

runs the paragraph around them automatically. The typeface and styles 

match the rest of the paragraph. 

Fig. 12-4 

Single Character Dropping from Two Lines 




Alignment 



Click one of the options to determine the paragraph alignment: 

The figures above show the corresponding buttons on the Text Editor 

toolbar (see page 12-3). 

Indents 

These parameters allow you indent paragraphs from the left and right 

edges of a text box and create hanging indents. 

• LEFT 

Specifies the distance from the left edge of a text box to the left edge 

of a paragraph. You can enter negative values to set text outside the 

text box. 

• RIGHT 


• LEFT 

Aligns paragraphs with the left indent. 

• CENTERED 

Centers each line between the left and 

right indents. 

• RIGHT 

Aligns paragraphs with the right indent. 

• JUSTIFIED 

Aligns paragraphs with the left and right 

indents; the last line may be shorter. 

Specifies the distance from the right edge of a column, text box, or 

text path to the right edge of a paragraph. You can enter negative values 

to set text outside the text box. 

• 1. LINE 

Specifies the distance from the LEFT indent to the beginning of the 

first line of a paragraph. Enter a positive value to indent the first line 

to the right of the LEFT indent. To indent the first line to the left of the 

LEFT indent (a hanging indent), enter a negative value in this box after 

entering a positive value in the LEFT box. 





Editing Text and Typography 



If you have ended the text editing function, activate the text layer (see 

page 16-1), then select CORRECT TEXT on the MENU window. See also 

Editing Texts of Imported PDF or PS Documents (page 2-20). 

Note: 

Creating New Lines and Paragraphs 

If the text is set into a path, press RETURN/ENTER to create a new paragraph. 

Additionally press the SHIFT key to create a new line of text without 

ending the paragraph. 

If the text is not set into a path, all text lines are treated as a single paragraph. 

Press RETURN/ENTER to create a new line in this case. 

You need paragraphs if you want to apply different style sheets (see 

page 12-14). 

Controlling Word Breaks 

Discretionary hyphen (soft hyphen) 

Press +SHIFT+– (Mac OS) or CTRL+– (Windows) to indicate where a 

word must be broken at the end of a line, thus overriding automatic hyphenation. 

A discretionary hyphen is not visible on-screen and does not 

print unless ORIS PDF Tuner hyphenates the word at this point. 

To prevent a word from being hyphenated at all, insert a discretionary 

hyphen at the beginning of the word. 

Discretionary new line (soft word break) 

Press CTRL+ENTER to indicate where a word can be broken at the end 

of a line, without overriding automatic hyphenation. If a word is broken 

at this point, no hyphen will be inserted. 

A discretionary new line character is not visible on-screen and is used 

only if ORIS PDF Tuner breaks the word there. 




Cursor Movement 




To move the cursor... 

To any position 

Click into text 

To next/previous line 

or character 

To beginning of line (Mac OS) or HOME (Windows) 

To end of line (Mac OS) or END (Windows 

To beginning of text CTRL+ or CTRL+HOME 

To end of text CTRL+ or CTRL+END 

Selecting Text 

To select ... 

Any characters Drag cursor across characters 

Next/previous 

characters 

SHIFT+ / / / 

All characters from cursor position to... 

... beginning of line SHIFT+ (Mac OS) or SHIFT+HOME (Windows) 

... end of line SHIFT+ (Mac OS) or SHIFT+END (Windows) 

... beginning of text SHIFT+CTRL+ or SHIFT+CTRL+HOME 

... end of text SHIFT+CTRL+ or SHIFT+CTRL+END 

... any position SHIFT-click this position 

Several text lines Drag cursor vertically outside the text box 

Complete text Press +A (Mac OS) or CTRL+A (Windows) or 

select EDIT | SELECT ALL. 

Deleting Text 

To delete... 

Next character 

Previous character 

Any characters 

Press (FORWARD) DELETE 

Press BACKSPACE 

Select text, then press (FORWARD) DELETE or 

BACKSPACE 







Copying, Moving and Inserting Text 

To... 

Copy text to Scrapbook/ 

Clipboard 

Copy text to Scrapbook/Clipboard 

and also delete it 

Insert text from Scrapbook/ 

Clipboard at cursor position 

Select it, then press +C (Mac OS) or 

CTRL+C (Windows) or select EDIT | COPY 

Select it, then press +X (Mac OS) or 

CTRL+X (Windows) or select EDIT | CUT 

Press +V (Mac OS) or CTRL+V (Windows) 

or select EDIT | PASTE 

Note: 

These function allow you to exchange text between ORIS PDF Tuner 

and other applications. Text inserted from other applications will lose all 

formatting, i.e., it becomes plain text. Formatting is only retained when 

text is exchanged between ORIS PDF Tuner layouts. 

Using Style Sheets 

A style sheet is a set of pre-specified paragraph and character attributes 

which can be applied to one or several paragraphs in one go. You can 

create, edit and delete style sheets. 

Style sheet list 

The list on the left of the TEXT EDITOR toolbar (see page 12-3) displays 

all style sheets available for the current layout and allows you to apply a 

style sheet to one or several paragraphs. 

Global and local style sheets 

Style sheets created when a layout is open are local, i.e. only available 

to that layout. 

Style sheets created when no layouts are open are global, i.e. available 

to all subsequently created layouts. 

‘Standard’ style sheet 

The STANDARD style sheet is always available to all layouts. This style 

sheet defines default paragraph and character attributes and is automatically 

applied to all newly created text layers. The STANDARD style sheet 

cannot be deleted, but you can edit its attributes at any time. To globally 

change this style sheet so that changes apply to all new layouts, edit it 

with no layout open. 




Applying Style Sheets 




How to apply a style sheet to one or several paragraphs 

1. Place the cursor anywhere in the paragraph to be modified. To apply 

a style sheet to several paragraphs, select a text area that extends 

across these paragraphs. 

2. Select the style sheet you want from the TEXT EDITOR toolbar (see 

page 12-3). 

Note: 

If a text is not set into an outline, paragraph attributes apply to all text 

lines, because all lines are treated as a single paragraph. 

Overriding attributes assigned individually 

Usually, applying a style sheet does not override character and paragraph 

attributes that have been assigned individually, i.e. not using a 

style sheet. 

For example, if you have italicized some characters by clicking on 

the TEXT EDITOR toolbar, these characters will remain italicized when another 

style sheet is applied, even if this style sheet defines characters to 

have plain style. 

If you want to apply all attributes defined in a style and override individual 

attributes previously assigned, you must first select (NONE) from the 

style sheet list before applying the style sheet you want. 

Selecting (NONE) removes the style sheet links from a paragraph while 

retaining the applied paragraph and character attributes. When you apply 

a new style sheet after selecting (NONE), all current character and 

paragraph attributes are stripped from the text. 

Creating and Editing Style Sheets 

1. If you want to create or edit a global style sheet, close all layouts. 

2. Select EDIT | STYLE SHEETS to open the TEXT PARAMETERS dialog (see 

page 12-4). 

If a layout is open, you can also click the or button on the TEXT 

EDITOR toolbar (see page 12-3) to open this dialog. 

3. You may want to select a style sheet that defines the initial parameter 

settings. 

If this is the style sheet you want to edit, remember its name or copy 

the name to the Scrapbook/Clipboard ( +C/CTRL+C). 

4. Make all changes you want to the character and paragraph attributes. 







5. Click SAVE AS. An input box appears. 

6. To create a new style sheet, enter a new name and click OK. 

To edit an existing style sheet, enter the name of this style sheet (or 

insert it from the Scrapbook/Clipboard using +V/CTRL+V), then 

click OK. The style sheet will be overwritten. 

7. Click OK to leave the TEXT PARAMETERS dialog. 

Note: 

It is not possible to reverse the creation or modification of style sheets 

using EDIT | UNDO ( +Z/CTRL+Z). 

Deleting Style Sheets 

1. If you want to delete a global style sheet, close all layouts. 

2. Select EDIT | STYLE SHEETS to open the TEXT PARAMETERS dialog (see 

page 12-4). 

If a layout is open, you can also click the or button on the TEXT 

EDITOR toolbar (see page 12-3) to open this dialog. 

3. Select the style sheet to be deleted from the list labeled NAME. 

4. Click the DELETE button. 

5. A warning appears. Click OK if you really want to delete the style 

sheet. 


Note: 

If the deleted style sheet is used on the layout, paragraphs with this style 

sheet take on the style sheet of the preceding paragraph. 

It is not possible to reverse the deletion of style sheets with EDIT | UNDO. 

Entering Unavailable Characters 

If characters are unavailable on the keyboard, such as special characters 

provided in Symbol fonts, you can do one of the following to insert 

them into an ORIS PDF Tuner layout: 

• Enter the character’s Unicode value 

• Insert it from the Character Map (Windows only) 

• Enter a special character sequence (Windows only, see page 32-15) 




Entering Unicode Values 



Any character in the ORIS PDF Tuner text editor can be produced by entering 

the character’s hexadecimal Unicode number preceded by


Modifying Text Layers (Overview) 


Fig. 12-5 

‘Character Map’ Dialog 


ORIS PDF Tuner allows you to modify text layers in many different ways. 

This section provides an overview. 

Note: 

In most cases, the text layer must be activated beforehand. If the text 

was not set into a path, you must click on any of its characters. If the text 

was set into a path, it is sufficient to click anywhere inside the path. 

Text Corrections 

Select CORRECT TEXT in the MENU window to correct the text or typography. 

For more details refer to Editing Text and Typography (page 12-12) 

and Editing Texts of Imported PDF or PS Documents (page 2-20). 




Reshaping Text Box 




Select LAYER PATH in the MENU window to modify the path defining the 

outline of the text layer. The text reflows and adjusts to the new outline. 

The text itself and its typography remain unchanged. For more details 

refer to Correcting Layer Outlines (page 16-7). 


Select TRANSFORM in the MENU window to modify the text layer as a 

whole. You can e.g. move, resize, mirror, rotate or distort it. Resizing 

changes the font size, for example. 

For more details refer to Moving and Transforming Layers (page 16-4). 

Shadows 

Refer to Adding Shadows to Text (page 12-22) for more details. 

Highlights 

Text can be easily highlighted with a colored background. Refer to 

Highlighting Headlines (page 12-23) for more details. 

Text Chains 

Text boxes can be linked so that text automatically flows from box to box. 

For more details refer to Linking Text Boxes (page 12-21). 






Runarounds 


Any layer can be set to displace text. For more details refer to Creating 

Text Runarounds (page 12-24). 

Annotations 

Distorted Text Layers 

Having selected TRANSFORM and then used the , or functions on 

the TRANSFORMATIONS toolbar (see page 19-1) in order to distort a text 

layer, the resulting text and text box can no longer be modified in the 

usual way. This means the following: 

• The CORRECT TEXT function is no longer available. It is therefore not 

possible to correct the text or its typography. 

• The LAYER PATH function does not allow you to correct the text box 

using the creation function (e.g. the Rectangle Editor). It will start the 

Path Editor, which allows you to creatively modify the outline of each 

individual text character. See also Using Text Paths (page 12-26). 

Skewed Text Layers 

Having selected TRANSFORM and then skewed a text using on the 

TRANSFORMATIONS toolbar (see page 19-1), the text will be italicized. 

To prevent text reflow, no path is created for the new layer outline. When 

you edit the text using the CORRECT TEXT function, the text is treated as 

if had been set directly on the layout, without automatic hyphenation and 

line breaks. In addition, it is no longer possible to use the LAYER PATH 

function for reshaping the text box. 

No Text Corrections 

The CORRECT TEXT function is unavailable in the following cases: 

• The text characters have a different rotation angle. 

• At least one character was distorted (see above) 

• More than one text layer is active. 






Linking Text Boxes 

Linking Text Boxes 

Text boxes can be linked so that text automatically flows from box to box 

(text chains). This allows you to create multi-column text, for example. 

There are two ways to achieve this: 

• Creating a single text layer consisting of several paths 

Activate several paths in the order of the text flow and insert the text 

into all of them at the same time. For more details refer to Setting Text 

into a Path (page 12-2). 

• Linking several existing text layers 

Activate the first text layer, select LINK TEXT in the MENU window and 

click on the next text layer. You can also unlink layers, i.e., interrupt 

the text flow to or from this layer. See below for more details. 

Fig. 12-6 

Three Linked Text Boxes 

How to Link Text Layers 

1. Activate the text layer that constitutes the start of the text flow (see 

page 16-1). 

2. Select LINK TEXT in the MENU window. 

3. Activate the next layer of the text flow, e.g. by clicking on it. 

4. Repeat steps 2 and 3 until all text layers are linked. 

When you now enter text, it will automatically flow from box to box. Existing 

texts are combined into a single text flow. You can edit the complete 

text flow by selecting CORRECT TEXT in the MENU window for any of 

the linked layers. 

Note: 

When you delete a linked text layer, the text of this layer is appended to 

that of the subsequent or preceding layer, which may cause the text outline 

to overflow. 

How to Unlink Text Layers 

Activate the layer you want to remove from the text flow (see page 16-1). 

Then select one of the following functions on the MENU window: 





Adding Shadows to Text 


• UNLINK PREVIOUS TEXT 

Interrupts the text flow between the current and the preceding layer. 

The text of the current layer is appended to that of the preceding layer, 

which may cause the text box to overflow. 

• UNLINK NEXT TEXT 

Interrupts the text flow between the current and the subsequent layer. 

The text of the subsequent layer is appended to that of the current 

layer, which may cause the text box to overflow. 

Adding Shadows to Text 

Fig. 12-7 

Examples of Headlines with Shadows 

Black headline with transparent shadow 

Colored headline with black shadow 

See also Adding Shadows to Cut-outs (page 29-4). 

Transparent Shadow for Black Headlines 

1. Activate the headline layer (see page 16-1). 

2. Select DUPLICATE in the MENU window. 

A duplicate of the headline is now located on top of the original layer. 

The duplicate will become the transparent (and soft-edged) shadow. 

3. Move the duplicated headline slightly down and to the right. 

The best way to do this is to OPTION- (Mac OS) or ALT- 

(Windows) repeatedly. Alternatively, enter the amount by which the 

layer should be moved into the X and Y boxes at the left end of the 

TRANSFORMATIONS toolbar, e.g. +2 and –2 (see also page 19-5). 

4. Click on the button to open the TRANSPARENCY... dialog. 

5. Define the degree of transparency, e.g. 40% (see also page 17-1). 

6. Click on the SOFT EDGES tab if you want to soft-edge the shadow. 





Highlighting Headlines 

7. Click OK to close the dialog, then press RETURN/ENTER to end the 

transformation function. 

8. The shadow is on top of the headline. To place it below the headline: 

Select INSERT SELECTION on the MENU window, then SHIFT-CTRL-click 

(Mac OS) or SHIFT-right-click (Windows) (see also page 16-15). 

Black Shadow for Colored Headlines 

1. Activate the headline layer (see page 16-1). 


A duplicate of the headline is now located on top of the original layer. 

The duplicate will become the black shadow. 

3. Move the duplicated headline slightly down and to the right (see 

above). 

4. Click to open the COLOR SELECTION dialog (see also page 10-1), 

then fill the duplicated headline with black color. 

5. The shadow is on top of the headline. To place it below the headline: 

Select INSERT SELECTION on the MENU window, then SHIFT-CTRL-click 

(Mac OS) or SHIFT-right-click (Windows) (see also page 16-15). 

Highlighting Headlines 


Headlines or any other text can be easily highlighted with a colored 

background. To do so, you have to draw a box around the paths defining 

the outlines of the text characters. The box can then be filled with a tint 

or gradient – or with an image. The frame size can be modified. The default 

size varies according to the font and font size. 

Tip: 

1. Click and activate all text characters to be highlighted. Make sure 

no other paths are active. See also Activating Paths (page 8-1). 

The fastest way to activate all text paths is to draw a selection rectangle 

around them. Alternatively, select ELEMENT in the MENU window 

to switch to the GROUP mode, then click one of the text paths. 

2. Select PATHS | MORE FRAMES | FONT BORDER. A rectangle is drawn 

around the text paths. 

3. You can now move the bottom, right, top and then the left side of the 

rectangle, thus enlarging the box. 

To do so, SHIFT-click on the layout, move the mouse vertically, then 

click again. Or enter the width or height on the keyboard (direct input, 

see page 29-7). 





Creating Text Runarounds 


4. You can step through the four parameters in order to correct them. 

Click to select the next parameter. SHIFT-CTRL-click (Mac OS) or 

SHIFT-right-click (Windows) to select the previous parameter. The 

currently parameter is displayed in the STATUS window. 

5. Click , or to open the COLOR SELECTION dialog (see also 

page 10-1), then fill the box with a color. For more details refer to 

Creating Tints (page 10-1) and Creating Gradients (page 10-2). 

Click if you want to insert an image (see page 11-1). 

6. If the text is hidden by the color or image, Select INSERT SELECTION 

on the MENU window, then SHIFT-CTRL-click (Mac OS) or SHIFT-rightclick 

(Windows). See also Changing Stacking Order (page 16-15). 


Any layer that overlaps a text layer can be set to displace the text. Thus 

you can easily create runarounds. The distance between text and displacing 

layer can be defined by the user. You can also prevent text layers 

from being displaced by other layers. Both features are also available for 

dummy text (see page 14-1). 

How to Enable Text Displacement 

1. Activate the layer which is to displace the text (see page 16-1). 

You can only assign the displacement attribute to one layer at a time. 

The displacing layer cannot be dummy text or text set into a path. 

2. Select DISPLACE in the MENU window. The TEXT DISPLACEMENT PA- 

RAMETERS dialog appears (see Fig. 12-8). 

3. Define the parameters you want, then select OK (see below). 

Fig. 12-8 

’‘Text Displacement Parameters’ Dialog 






‘Text Displacement Parameters’ Dialog 

Use this dialog to define the parameters of a layer that displaces the text. 

Select a displacement mode and define the distance between the text 

and the displacing layer. The parameters are explained below. 

Displacement Mode 


Text will not be displaced 

Use this option to switch off text displacement. 

Text will be displaced by rectangle 

This option is only available if the layer was created using a rectangle. 

The rectangle must have normal corners and all angles must be exactly 

90°. It may be straight or inclined. The text will run around the outline of 

the displacing layer. 

Text will be displaced by bounding box 

With this option the text will run around an assumed straight rectangle 

enclosing the outline of the layer. 

Text will be displaced by contour 

With this option the text will run around the outline of the displacing layer. 

Fig. 12-9 

Text Runarounds (Examples) 

Displacement by... 

Contour Bounding Box Rectangle 

Displacement Offset 

Use these parameters to define the distance between the text and the 

displacing layer. 

If text displacement is by rectangle or bounding box, you can specify different 

distances for the four rectangle sides. Enter these values into the 

LEFT, RIGHT, TOP and BOTTOM boxes. 

If text displacement is by contour, all distances are equal. In this case enter 

the offset value into the DISTANCE box. 





Using Text Paths 


Preventing Text Displacement 

1. Activate the text layer that should not be displaced (see page 16-1). 

You can only use text which is set into a path (see page 12-2). 

2. Select DISPLACE in the MENU window. A dialog appears (see below). 

3. Enable the TEXT LAYER WILL NOT BE DISPLACED option. 

4. Select OK to leave the dialog. 

New text displacements will have no effect on this text layer and existing 

text displacements are reversed. 

Fig. 12-10 

‘Text Displacement’ Dialog 

Status Display for Text Runarounds 

The STATUS window of an active layer provides information about text 

displacement. This information is displayed in the lower part, below 

DISPLACE. 

For displacing layers: 

Displacement mode: NONE, RECTANGLE, BOUNDING BOX or CONTOUR 

Distance between text and displacing layer in millimeters - or 

Left distance (if distances are different at the four rectangle sides) 

For text or dummy text layers: 

NORMAL: Displacing this layer is possible 

LOCKED: Displacing this layer is not possible. 


Usually text is corrected by activating the text layer and selecting COR- 

RECT TEXT in the MENU window. Alternatively, or if the CORRECT TEXT 

function is unavailable, you can modify the paths defining the outline of 

the text characters and then insert color into these paths. This allows you 

e.g. to edit text belonging to different layers. 





Creatively Editing Text Characters 



1. Click and activate the text character (i.e. path) to be modified. 


This starts the Path Editor. You can only edit one path. If you have 

activated multiple paths, only the first will be taken into account. 

3. Refer to page 9-1 for details on using the Path Editor. 

4. When finished, click , or and fill the path with a color. See 

also Creating Tints (page 10-1) and Creating Gradients (page 10-2). 

Transforming Text Paths 

Tip: 

1. Activate all text paths you want to modify. 




2. Select PATHS | TRANSFORM or double-click one of the active paths. 

The TRANSFORMATIONS toolbar appears. 

3. You can move the path with the mouse button pressed down, resize 



19-1). 

4. When finished, click , or and fill the paths with a color. See 

also Creating Tints (page 10-1) and Creating Gradients (page 10-2). 

Using Text Paths as Vector Cut-outs 

How to use the outlines of text characters as cut-out masks: 

1. Make sure the layout on which you want to place the cut-out is active. 

2. Open the image (see page 20-6). 







3. Click or select MASKS | PATH | TEXT. The Text Editor toolbar appears 


4. Click on the position where you want the text to start or enter the corresponding 


5. If you want to set the text vertically, select VERTICAL in the MENU window. 

Otherwise the setting direction will be horizontal. 


( +V/CTRL+V). Press RETURN/ENTER to create a new line. 

7. You can modify the typography using the Text Editor toolbar. 

Click or to display the TEXT PARAMETERS dialog (see page 12-4) 

which allows you to apply additional attributes. 

Note that paragraph attributes apply to all text lines, because all lines 

are treated as a single paragraph. 

For more details refer to Editing Text and Typography (page 12-12) 

8. Insert the cut-out into the current layout, e.g by selecting COMPOSE | 

FOREGROUND ( +OPTION+E/CTRL+ALT+E). 


How to Create Vector Masks (page 21-13) 

How to Insert Cut-outs (page 11-9) 





13 Creating ‘Smooth Text’ 

ORIS PDF Tuner allows the design of texts that follow any path. Such 

creatively designed texts are referred to as smooth text. You can achieve 

a wide variety of effects, depending of the form and number of paths 

used. The following figure shows some examples. 

Fig. 13-1 Examples of Smooth Text 

Text can be adjusted to... 

One line 

Two lines 

One line and one 

closed outline 

Two closed 

outlines 

One closed 

outline 

How to Create Smooth Text 

1. Create the paths that define the shape of the text (using e.g. the 

PATHS menu). See also Creating Standard Paths (page 7-1). 

Note: You cannot use text paths, unless you first apply the PATHS | EDIT | 

COMBINE function to them. 

Note: 

2. Click and type the text you want to transform. See also Creating 

Text and Headlines (page 12-1). 

You can later delete this text layer because all you need in order to 

create the smooth text are the paths defining the outlines of the text 

characters. 

3. Click and activate all paths (see page 8-1), i.e, 

• The paths that define the outline (e.g. one or two lines) 

• The text characters to be transformed 




Creating ‘Smooth Text’ 

How to Create Smooth Text 


Note that you can only use a single, horizontal text line. All characters 

must be on the same baseline. 

Tip: 




4. When all elements are active, double-click one of them or select the 

PATHS | TRANSFORM function. The TRANSFORMATIONS toolbar appears 


5. Click on the button. The text adjusts to the active path(s) and the 

SMOOTH TEXT toolbar appears. 

You can use the same button to close and reopen this toolbar. 

6. Using the toolbar you can now move the text along the path and 

transform it in many ways. The way to do this varies according to the 

number of paths (1 or 2) and their type (line or closed outline). 

1 line See page 13-3 

2 lines See page 13-6 

1 closed outline See page 13-9 

1 line and 

1 closed outline 

2 closed outlines 

See page 13-11 

See page 13-12 

7. General instructions for most of these transformations: 

There are points which act as handles. 

The selected point is marked by a frame . 

Drag any of these points to transform the text. Or SHIFT-click to 

position the selected point. 






Smooth Text Adjusting to Single Line 

You can CTRL-click (Mac OS) or right-click (Windows) to select all of 

the points one after the other. If four points are displayed, you can select 

them in reverse order by additionally pressing the SHIFT key. 

8. When finished, click , or press RETURN/ENTER. 

9. Fill the smooth text with a color or an image. To do so, use the following 

toolbar buttons: 

See Creating Tints (page 10-1). 

See Creating Gradients (page 10-2). 

See Inserting Images Into Layout (page 11-1). 

Note: 

It is not possible to apply the smooth text function to text characters that 

have been converted into a smooth text already. Neither the text itself 

nor the transformation defined by the paths can be corrected once you 

have filled the smooth text with a color. 


If text paths and one single line are active when you click , the text is 

automatically drawn on the line, i.e., the line becomes the baseline of the 

text. If the text is longer than the line, it will be scaled so that it fits exactly 

on the line. You can transform the smooth text using the options of the 

SMOOTH TEXT toolbar. They are explained below. 

Distortion 

Use this option to toggle between absolute and relative distortion. 

Relative 

With this setting the text is distorted as a 

whole, i.e., the ratio between characters as 

well as ascenders and descenders are maintained. 

Absolute 

With this setting each character is distorted 

separately, i.e., the ratio between the characters 

as well as ascenders and descenders are 

ignored. 






Baseline 

Use this option to define the position of the text relative to the baseline. 

Bottom 

Top 


With this setting the bottom of the text 

touches the baseline, i.e., the text is 

placed above the baseline. 

With this setting the top of the text touches 

the baseline, i.e., the text is placed below 

the baseline. 

Setting Direction 1/2 

Set either of the SETTING DIRECTion options 

(1 and 2) to COUNTER-CLockWise and the 

other to CLOCKWISE to mirror the text and to 

turn it upside down at the same time. 

Choose the same setting for both options to display the text normally. 

Trafo Type 

The TRAnsFOrmation TYPE option allows you to define the way the text 

will be transformed when being scaled. 

Character Size 

All text characters are 

scaled equally. 

Character Space 

Only character spacing is 

modified. The character 

size remains unchanged. 







Word Space 

Only word spacing is modified. Both character 

size and space within words remain unchanged. 

If the text consists of only one word, 

this setting modifies the character space. 

Move 

Use this button to move the text along 

the baseline without any scaling. 

All of the characters follow the shape 

of the line, i.e. are inclined in the same 

way as the baseline 

Note: 

You can only move a text if it is smaller than the baseline, i.e., if there is 

some space left for moving. It is not possible to move a text beyond the 

ends of the baseline. 

Points 

Use this button to change the character 

size, space between characters or space 

between words. 

The result depends on the currently selected 

TRANSFORMATION TYPE (see page 13-4). 

When dragging a handle, it follows the cursor 

while the other handle remains fixed. 

Move character 

Use this button to move individual text 

characters along the baseline. 

To do so, place the cursor on the character to be moved and drag the 

character holding the SHIFT key and the mouse button pressed down. 

(Left-)Clicking on the layout terminates the MOVE CHARacter function. 





Smooth Text Adjusting to Two Lines 



If text paths and two lines are active when you click , the text is drawn 

automatically between the lines. By default the bottom line becomes the 

baseline. If the text is longer than the line, it will be scaled so that it fits 

exactly on the line. 

The lines can have any position and may 

even cross each other. In this case note 

that the text always follows the baseline, 

i.e., the text is displayed upside down 

from the intersection point onward. 

You can transform the smooth text using the options of the SMOOTH TEXT 

toolbar. 

Distortion 

Use this option to toggle between absolute and relative distortion. 

Relative 


whole, i.e., the ratio between characters 

as well as ascenders and descenders 

are maintained. 

Absolute 


separately, i.e., the ratio between 

the characters as well as ascenders and 

descenders are ignored. 

Baseline 

Use this option to define which of the two lines is going to be the baseline. 







Bottom 

With this setting the bottom of the 

text touches the baseline, i.e., the 

text is placed above the baseline. 

Top 

With this setting the upper line becomes 

the base line. The text is set 

upside down. 

Setting Direction 1/2 

Set both SETTING DIRECTion options (1 and 2) 

to COUNTER-CLockWise in order to mirror the 

text. Set both options to CLOCKWISE to display 

the text normally. 

Trafo Type 

The TRAnsFOrmation TYPE option allows you to define the way the text 

will be transformed when being scaled. The result is similar to smooth 

text adjusting to a single line (see page 13-4). 

• CHARacter SIZE – All of the text characters are scaled equally. 

• CHARacter SPACE – Only character spacing is modified. The character 


• WORD SPACE – Only word spacing is modified. Both character size 

and space within words remain unchanged. If the text consists of 

only one word, this setting modifies the character space. 

Move 

Use this button to move the text within the two lines without any scaling. 

All characters follow the shape of the lines and adjust to their inclination. 







Note: 

You can only move a text if it is smaller than the baseline, i.e., if there is 

some space left for moving. It is not possible to move a text beyond the 

ends of the baseline. 

Points 

Use this button to distort the text and additionally 

change the character size, space between 

characters or space between words. 

The result depends on the currently selected 

TRANSFORMATION TYPE (see page 13-4). 

When dragging a handle, it follows the cursor 

while the other three handles remain fixed. 

Incline 

Use this button to incline the text within the 

two lines. 

If you drag one of the upper handles, the text 

remains fixed on the bottom line and is inclined 

on the top. If you drag one of the lower 

handles, the text remains fixed on the top 

line and is inclined on the bottom. 

Stretch 

Use this button to stretch or compress the 

text within the two lines. 

If you drag one of the handles on the left, the 

text remains fixed on the right and is 

stretched or compressed on the left. 

If you drag one of the handles on the right, the 

text remains fixed on the left and is stretched 

or compressed on the right. 




Move character 



Smooth Text Adjusting to Single Closed Outline 

Use this button to move individual text characters along the baseline. 

To do so, place the cursor on the character to be 

moved and drag the character holding the SHIFT 

key and the mouse button pressed down. 

(Left-)Clicking on the layout terminates the MOVE CHARacter function. 


If a single closed path (circle, ellipse, etc.) is active when you click , 

the text is automatically set on the outer side of this outline. You can 

transform the smooth text using the options of the SMOOTH TEXT toolbar. 

The following functions are not explained here, because they are used 

in the same way as when adjusting text to a single line or two lines: 

Trafo Type (page 13-4) 

Move (page 13-7) 

Points (page 13-8) 

Incline (page 13-8) 

Stretch (page 13-8) 

Move character (page 13-5) 

Mode 

Use the MODE option to define whether the path should be treated as a 

line or a closed outline. 

Baseline 

Contour 

In this mode the outline is 

treated as a normal line. 

In this mode the text is set 

within the outline. 

Setting Direction 1 

Use this option to define the setting direction on the outline (CLOCKWISE 

or COUNTER-CLockWise). The result differs according to the setting of the 

MODE option: 






If MODE is set to BASELINE: 


• The CLOCKWISE setting will cause 

the text to be set outside the outline, 

i.e. in clockwise setting direction. 

• The COUNTER-CLockWise setting will 

cause the text to be set inside the 

outline, i.e. in counter-clockwise setting 

direction. 

If MODE is set to CONTOUR: 

The text is set within the outline with both settings. 

• With the CLOCKWISE setting the text 

is set in clockwise direction, which 

causes the text to turn upside down. 

• With the COUNTER-CLockWise setting 

the text is set in counter-clockwise 

direction. The text is represented 

normally. 

Note: 

Do not use the SETTING DIRECTion 2 option, as it usually does not produce 

any reasonable results when working with a single closed outline. 

Baseline 

Use this option to define the position of the text relative to the path. The 

outline is treated just like a line in this case. The MODE option must be 

set to BASELINE. If set to CONTOUR, the BASELINE option has no effect. 

Bottom 

With this setting the bottom of the 

text touches the baseline, i.e., the 

text is placed outside the outline. 






Smooth Text Adjusting to Closed Outline+1 Line 

Top 

With this setting the top of the text 

touches the baseline, i.e., the text 

is placed inside the outline. 

Distortion 

Use this option to switch between absolute and relative distortion. 

Relative 


whole, i.e., the ratio between characters 

as well as ascenders and descenders are 

maintained. 

Absolute 


separately, i.e., the ratio between the 

characters as well as ascenders and descenders 

are ignored. 

The MODE option was set to CONTOUR in the examples shown here. 

Smooth Text Adjusting to Closed Outline+1 Line 

If a closed outline and a line are active when you click , the smooth 

text options are similar to those for two lines. Using the SETTING 

DIRECTion 1 option you can additionally set the text between the line and 

the inner side of the outline. 

For information on the toolbar options refer to: 

Distortion (page 13-6) 

Baseline (page 13-6) 

Setting Direction 1 (page 13-9) 












Smooth Text Adjusting to Two Closed Outlines 

What to Do if Text Turns Over? 

By default the text is set between the line and the part of the outline 

which lies next to the line. 

If the line is larger than the outline it may happen 

that the text turns over completely, i.e. is distorted 

in a way that it is no longer legible. 

In this case you have to use the POINTS function to drag the handles to 

the correct position. 

The text is also likely to turn over when it is positioned 

between the line and the inner side of 

the outline using the SETTING DIRECTion 1 function. 

You can also correct this using the POINTS function. Having done so, you 

will notice that the text is mirrored. Click to display it correctly. 


If two closed outlines are active when you click , the smooth text options 

are similar to those for two lines. For information on the toolbar options 

refer to: 

Distortion (page 13-6) 


Baseline (page 13-6) 

Setting Direction 1 (page 13-9) 






Note: 

For internal calculations the outlines are divided into an upper and a lower 

part at their extreme left and right points. Transformations that make 

sense are only possible if the text does not go beyond these extreme 

points. Otherwise the text turns over completely. 

Use the SETTING DIRECTion 1 and 2 options to change the setting direction 

for the first or second outline respectively. Thus you can define for 

each outline whether the text should be set inside or outside. 







There are four possible combinations of setting directions which are explained 

below. With all combinations of setting directions you can use 

the BASELINE option to make the second outline the baseline. Using the 

MOVE function you can rotate the text. If you imagine the outlines to be 

the ends of a transparent pillar, the text seems to rotate about this imagined 

pillar. 

Both Setting Directions Clockwise 

The text is set outside the lower and inside the 

upper outline. By default the lower outline is 

used as baseline. 

Imagine the outlines to be the ends of a transparent 

pillar. With this setting you have the impression 

as if the text was stuck inside the pillar 

with the face looking inwards. 

Both Setting Directions Counter-Clockwise 

The text is set inside the lower and outside the upper outline. By default 

the lower outline is the baseline. 

Let’s stick to our example of the pillar. With this 

setting you have the impression as if the text 

was stuck at the outside of the pillar, just like a 

poster on an advertising pillar (which is not 

transparent, of course). 

Setting Direction 1 Clockwise, 2 Counter-Clockwise 

The text is set as if it was stuck to the outside 

of the pillar. 







Setting Direction 1 Counter-Clockwise, 

2 Clockwise 

The text is set as if it was stuck to the pillar from 

inside with the face looking inwards. 





14 Creating Dummy Text 

Dummy text is used as a placeholder for the actual text by which it will 

be replaced at a later stage of the page design process. Any outline 

containing dummy text constitutes a so-called text area. Text areas are 

defined by paths. There is a variety of typographical options which allow 

you to format the dummy text like the actual text. 

Fig. 14-1 

‘Dummy Text Parameters’ Dialog 




Creating Dummy Text 




1. Create or activate paths (see page 7-1 and 8-1). 

If you want the text to run automatically into follow-up text areas you 

must activate all paths in the order of the text flow. 

2. Click or select LAYER | DUMMY TEXT. The DUMMY TEXT PARAME- 

TERS dialog appears. 

3. Specify the parameters you want (see below). 

4. Click OK to close the dialog. The dummy text appears on the layout. 

Annotations 

• You can insert dummy text into all closed outlines consisting of a single 

path. 

If a text area is defined by multiple paths (e.g. a triangle defined by 

three separate lines), they must first be combined into one path using 

the PATHS | EDIT | COMBINE function (see page 8-6). 

It is not possible to insert dummy text into grids, text characters, or 

frames of rectangles. 

• Inserting dummy text into several paths at the same time creates a 

dummy text layer consisting of several text areas. 

These areas are linked, i.e., the actual text will later automatically 

flow over to the follow-up areas. 

If the paths overlap, the text areas will be placed on top of each other. 

• The baseline of dummy text set into inclined or rotated rectangles is 

adjusted to the baseline of the path. 

The baseline is horizontal, however, if the dummy text is set into several 

inclined or rotated standard paths with a different angle or into 

so-called Combined Paths (page 33-1). 


Use this dialog to define the typography and typesetting parameters of 

dummy text. You can reopen this dialog at any time in order to correct 

these parameters by using the CORRECT function ( ) 

Area name 

Any outline containing dummy text constitutes a text area. Each text 

area on a layout is identified by a unique name which defaults to an ascending 

number. 







Note 

Modifying the area name is necessary, for example, if an article runs 

over several layouts, as there cannot be text areas with identical names 

in the same article. The maximum length of a text area name is 16 characters. 

If a dummy text layer consists of several areas, you can only specify the 

name of the first area. The names of the follow-up areas are created automatically 

by suffixing an ascending number (e.g. first area: NOVEL, follow-up 

areas: NOVEL1, NOVEL2, etc.). 

The area name is displayed in the STATUS window of active layers below 

TEXT AREA NO. If a layer consists of several areas, the name of the first 

and last area are displayed (e.g. 1..5). 

When you duplicate a dummy text layer, the new area names are given 

an ascending number. After deleting a dummy text layer the area names 

of the deleted layer are not available for new dummy text areas. 

Typography 

Font 

Enter the font number into this input box or click or to select it from 

a list. The name of the selected font appears above the FONT input box. 









Note: 

Font size, Font width and Leading 

Enter the value you want to use and select a unit of measurement. 

When you change the font size, the font width and leading are automatically 

set to the same value. If you want these values to be different, you 

must first specify the font size and then the leading and font width. 

If you choose a font in which a specific character is missing, this character 

will always be replaced by another character whenever the missing 

character occurs in the dummy text. 

Italic angle 

Enter an angle to produce italicized text. Typically, italicized text is slanted 

by 10 or 12 degrees. 






Typesetting Parameters 

Select the alignment you want to use by clicking one of the options to the 

right of ALIGNMENT. These options have the following meaning: 

BLOCK Right and left aligned 

LEFT Left aligned, right ragged 

CENTER Centered, right and left ragged 

RIGHT Right aligned, left ragged 

Unless you have selected BLOCK, you can define the size of the margin 

in which the text is wrapped to the next line. Use the ALIGNMENT AREA 

box for this purpose. 

Area Parameters 


Note: 

Adjustment 

This parameter defines the vertical position of a dummy text relative to 

the upper line of the path into which it will be inserted. 

Baseline 

The distance between the upper line of the path and the first baseline 

corresponds to the leading. Text areas with identical leading can thus be 

set in register even if different font sizes are used, i.e., the baselines of 

such areas are always set on exactly the same vertical position. 

Characters in the first line may exceed the path. If the font size is larger 

than the path, the line only appears if the leading is decreased accordingly. 

Baseline descender 

This adjustment is identical with BASELINE. In addition, descenders do 

not exceed the lower line of the path. The distance between the lower 

line of the path and the last baseline is 1/3 of the font size. 

Top point 

The body’s top of the first inserted line touches the upper line of the path. 

The distance between the upper line of the path and the first baseline is 

equal to the font size. 

Top capital 

The cap height’s top of the first inserted line touches the upper line of the 

path. The distance between the upper line of the path and the first baseline 

is 2/3 of the font size. 




Top accent 




Accents of upper-case letters in the first inserted line touch the upper line 

of the path. The distance between the upper line of the path and the first 

baseline is 5/6 of the font size. 

Point descender 

This adjustment type is identical with TOP POINT. In addition, descenders 

do not exceed the lower line of the path. The distance between the lower 


Capital descender 

This adjustment is identical with TOP CAPITAL. In addition, descenders do 

not exceed the lower line of the path. The distance between the lower 


Note: 

We recommend the settings BASELINE or BASELINE DESCENDER as they 

allow you to set text areas with identical leading in register even if different 

font sizes are used. 

Fig. 14-3 

Technical Terms for Characters 

B 

D 

A 

C 

E 

F 

A Em-square D Ascender 

B Body size E Descender 

C Cap height F Baseline 

Paragraph style 

You can use this parameter to specify the name of a QuarkXPress style 

sheet defining typesetting parameters for this area. Having transferred 

the layout’s typesetting parameter file to QuarkXPress, you can apply 

these parameters to the text. 

Rotation angle 

Use this parameter to specify the rotation angle of the dummy text relative 

to the baseline of the path. 





Modifying Dummy Text 


Number of lines 

Use this parameter to specify the number of text lines to be set into the 

path. The default setting is 0, which means that the path will be filled 

completely. 

Profile 

Store 

To save the current dummy text parameters to your hard disk, click 

STORE and type a name for the parameter set (= profile). 

Load 

To load a saved parameter set, click LOAD and select the parameter set 

you want from the list. 

Delete 

To delete a saved parameter set, click DELETE and select the parameter 

set you want from the list. 

Default 

Click the DEFAULT button to restore the original parameter values displayed 

when the dialog was opened. 


Changing Typography and Area Name 

1. Activate the dummy text layer (see page 16-1). 



3. Modify the parameters. Refer to page 14-2 for more details. 

4. Select OK to leave the dialog. The dummy text is recreated using the 

new parameters. 







Changing Dummy Text Color 

The default color of dummy text is black (K100). You can modify the color 

as follows: 

1. Activate the dummy text layer. 

2. Click or select LAYER | TINT. 

You cannot use gradients for dummy text. The high resolution would 

be lost and the text would become illegible. 

3. Choose a new color (see page 10-8). 

Duplicating Dummy Text Layers 

Note: 

1. Activate the dummy text layer. 

2. Select DUPLICATE in the MENU window (see also page 16-9). 

3. Position the layer and, if required, change the text area outlines. 

See also Transformations (page 19-1). 

Duplicated dummy text areas are automatically assigned with a new text 

area name. 

Changing Dummy Text Area Size/Shape 

To modify the path defining the text outline, activate the dummy text layer 

(see page 16-1), then select one of the following functions on the MENU 

window: 

• LAYER PATH (cannot be applied to multiple layers) 

This starts the function that was used for creating the path defining 

the outline of the text area. For more details refer to page 16-7. 

• TRANSFORM (alternatively, double-click the layer) 

This opens the TRANSFORMATIONS toolbar (see page 19-1). 

All of your changes will only affect the text area outline, the typography 

remains unchanged. The typography changes temporarily while 

you are making changes. However, this affects only the screen display. 

When finished, the text will be adjusted to the modified text area 

outline and the original text parameters will be restored. 

Modifying Dummy Text Contents 

By default, the first lines of a dummy text contain the following information: 

Width of text block, number of lines, area name or number, font 

name, font size and leading. The rest of the text provides general information 

about ORIS PDF Tuner. 





Creating Runarounds 


On Windows systems you can edit the general text about ORIS PDF 

Tuner. To do so, open the file DUMMY_TEXT_ENU.TEXT which resides in 

the installation directory (by default ..\Program Files\CGS\ORIS PDF 

Tuner). 

To make the changes visible, close and reopen the layout. Alternatively, 

activate the dummy text layer, press +M (Mac OS) or CTRL+M (Windows) 

to open the DUMMY TEXT PARAMETERS dialog, then click OK. 

Creating Runarounds 

Dummy text can be displaced by any overlapping layer. Thus you can 

easily create text runarounds. You can also prevent dummy text layers 

from being displaced by other layers. 

To enable text displacement 

1. Activate the layer that will displace the dummy text (see page 16-1). 

2. Select DISPLACE in the MENU window. The TEXT DISPLACEMENT PA- 

RAMETERS dialog appears (see Fig. 12-8). 

3. Refer to page 12-24 for more details. 

To prevent text displacement 

Note: 

1. Activate the text layer you want to prevent from being displaced. 

2. Select DISPLACE in the MENU window. 

3. Enable the TEXT LAYER WILL NOT BE DISPLACED option, then click OK. 

Text displacement is not taken into account when exporting the dummy 

text areas to Multitext LS systems in a GEO file (see page 14-9). 

Hiding and Displaying Dummy Text 

You can make all dummy text layers on a layout invisible without having 

to delete the layers. Use the VIEW | VIEW LAYERS | DUMMY TEXT function 

for this purpose, or press +OPTION+B (Mac OS) or CTRL+ALT+B (Windows). 

Use the same function to make hidden dummy text visible again. 

A check mark appears next to the function name if dummy text layers are 

currently displayed. 

See also Hiding/Displaying Paths, Guides, Masks, Layers (page 30-18). 





Replacing Dummy Text With Actual Text 



ORIS PDF Tuner allows you to export the dummy text areas on a layout 

to Multitext LS systems (by Multicom GmbH) and to reimport the actual 

text created on these systems into an ORIS PDF Tuner layout. 

The outline and typesetting parameters of all dummy text areas on a layout 

are stored in a so-called GEO file. This is a file with the extension GEO 

and the full path name of the ORIS PDF Tuner layout. Please note that 

text displacements (runarounds) are not taken into account when the 

GEO file is created (see page 14-8). 

Note: 

Please contact CGS if you are interested in this functionality. CGS has 

to set up your system accordingly, e.g. define the location where GEO 

files are stored. 

Having imported the GEO file into the Multitext LS layout, the outlines of 

the dummy text areas appear and can be filled with text. When finished, 

the layout must be converted to PostScript format and then imported into 

the corresponding ORIS PDF Tuner layout e.g. using FILE | IMPORT PDF 

OR POSTSCRIPT. See also Importing PDF and PostScript Files (page 

2-1). 

GEO files can also be imported into ORIS PDF Tuner layouts using the 

FILE | INSERT LAYOUT function. In the file selection dialog, make sure you 

select the file type GEO FILES so that GEO files are displayed in the file 

list. 











15 Using Filter Layers 

Filter layers allow you to make image modifications on a layout. You can 

e.g. improve the colors of an image without having to modify the image 

file. There is a separate type of filter layer for each image modification: 

• Gradation changes 

• Color transformation 

• Conversion to grayscales 

• Sharpening/Softening 

• Adding noise 

• Removing noise 

• Pixelation (mosaic filter) 

A filter layer acts on all layers (of any type) located below it, i.e. layers 

with a lower layer number. If there are several filter layers placed upon 

each other, the effects add to each other. The filter layer itself has no color 

and is therefore invisible if there are no layers located below it. 

Filter layers are handled just like any other layer. They can e.g. be duplicated, 

resized, mirrored, soft-edged or set to transparent. 

Note: 

You should only apply filter layers to low-res page elements such as images 

or gradients. All high-res elements modified by filter layers will be 

output with CT image resolution. There is only one exception: 

If 1-bit linework (such as CopyDot data) is modified by gradation layers 

and output in monochrome TIFF format with CCITT Group 4 compression, 

the linework resolution will be retained. Note that a gradation layer 

is always applied to the entire linework, even if it does not cover the linework 

completely. 




Using Filter Layers 

Examples of Filter Layers 


Examples of Filter Layers 

Fig. 15-1 

Creating a ‘Gradation’ Filter Layer 

On this layout, the man’s face appears too dark. To brighten it up, a 

mask is painted on the face and then converted into a filter layer of 

the type ‘Color Gradation’. A gradation curve is created that reduces 

the color density. Finally, the filter layer soft-edged to produce a 

smooth transition. 

Fig. 15-2 

Moving a ‘Gradation’ Filter Layer 

In this example, the gradation filter layer that brightens up the man’s 

face is moved onto the woman’s face. Now the woman’s face appears 

brighter, too, just like the man’s face before. (The filter layer’s size still 

needs to be adjusted in order to cover the face completely). 






Creating Filter Layers 

Fig. 15-3 

Example of a Pixelation Filter Layer 

On this layout, the man’s face is made unrecognizable using a pixelation 

filter layer (mosaic filter) whose outline is defined by a rectangle. 

The filter layer is then moved downwards and pixelates the new 

layout area in the same way. 

Creating Filter Layers 

1. Define the outline of the filter layer by doing one of the following: 

• Create or activate paths (see page 7-1 and 8-1) 


• Activate any layer, except dummy text (see page 16-1) 

2. Depending on the image manipulation you want to use, select one of 

the following functions on the LAYER menu: 

Function Purpose More details 

COLOR GRADATION 

Gradation changes 

Tone value corrections 

Page 25-3 

Page 25-7 

COLOR TRANSFORMATION Replacing colors, saturation... Page 24-1 

GRAYSCALE Conversion to grayscales Page 27-1 

FILTER | SHARPNESS Sharpening and softening Page 28-1 

FILTER | DE-NOISE Removing noise Page 28-2 

FILTER | NOISE Adding noise Page 28-2 

FILTER | MOSAIC Pixelation Page 28-3 

If an image layer is used to define the outline, a duplicate of this layer 

is created and placed on top of the image layer. Any trapping, soft 

edges and transparency settings of the image layer are transferred to 

the duplicate. 





Notes on Pixelation Filter Layers 

All other layer types (tints, gradients, texts, other filters) are replaced 

by the new filter layer. 

3. The respective image editing function starts. Refer to the pages indicated 

above for more details. 

4. If the filter layer seems to have no effect, it may be located below the 

layers you are modifying. In this case you have to move the filter layer 

up to the top. 

Refer to Changing Stacking Order (page 16-15) for more details. 

Notes on Pixelation Filter Layers 

To calculate an image pixel, the program has to access also the neighboring 

pixels. As a result, pixelations may look different with different 

magnification levels (zoom factors) and the result on the printed page 

varies according to the output resolution. 

If an exact visualization of the final pixelation result is essential for you, 

we recommend to apply the pixelation filter to the image itself (see 

page 28-3). 

Pixelation filters may require a large amount of memory when converting 

pages to another format (FILE | EXPORT function), depending on the layout 

size and output resolution. The conversion process may fail in case 

of insufficient memory. 

Correcting Filter Layers 


How to Modify Filter Properties 

1. Activate the filter layer (see page 16-1). You can only correct one layer 

at a time. 



This starts the image manipulation function that was used to create 

the filter layer. 

3. Depending on the filter type, refer to the pages indicated below for 

more details. 

COLOR GRADATION Page 25-3 and 25-7 

COLOR TRANSFORMATION Page 24-1 

GRAYSCALE Page 27-1 

SHARPNESS Page 28-1 

DE-NOISE Page 28-2 







NOISE Page 28-2 

MOSAIC Page 28-3 

Other Modifications for Filter Layers 

Filter layers can be modified just like any other layer. First of all, you 

have to activate the layer (see page 16-1). 

Moving, scaling, mirroring and other transformations 

Double-click the layer or select TRANSFORM in the MENU window. 

Refer to page 19-1 for more details. 

Duplicating 

Select DUPLICATE in the MENU window and refer to page 19-1. 

Correcting the outline (if defined by a path) 

Select LAYER PATH in the MENU window. This starts the function that 

was used for creating the path. For more details refer to page 16-7. 

Soft edges and transparency 

Select SOFT EDGES or TRANSPARENCY in the MENU window. For more 

details refer to page 17-1. 











16 Modifying Layers 


Every printable object on a layout resides on a separate level and is 

therefore referred to as a layer. To be able to modify a layer, you must 

make it active. Usually the easiest way to do this is to click on it, but there 

are also other methods to activate a layer which are explained below. 

Activating layers is only possible if the layer selection mode is enabled. 

It is by default. If it isn’t, click , press F8, or select LAYER | ACTIVATE. 

The layer selection mode is enabled if the toolbar button is displayed as 

being pressed down or if a check mark is displayed next to the LAYER | 

ACTIVATE function. 

Fig. 16-1 

Indication of Layer Selection Mode 

Enabled 

Disabled 

Active layers are indicated by a mask which covers the layer entirely. 

The default color of this mask is magenta. You can change this color using 

the FILE | SYSTEM SETUP | DISPLAY COLORS function (see page 31-2). 

Using VIEW | MASKS TRANSPARENT you can toggle between a transparent 

and opaque mask display. 

Fig. 16-2 

Mask Indicating Active Layer 

No layers selected 

One layer selected 







The STATUS window (see page 16-20) displays the total number of active 

layers (under SELECTed LAYERS) and the number of the CURRENT LAYER, 

i.e. the layer selected last. 

Activating a Single Layer 

Take one of the following actions: 

• Click on the layer. 

• Enter the layer number (direct input, see page 29-7). 

• Select TOP LAYER in the MENU window to activate the topmost layer 

(the layer with the highest layer number). 

• Repeatedly CTRL-click (Mac OS) or right-click (Windows) on the layout 

to activate the next layer (i.e. that with the next higher number). 

Additionally press the SHIFT key to activate the previous layer (i.e. 

that with the next lower number). 

If multiple layers are active already, they will remain active, unless 

switching to the layer selection mode has been your last action. 

Note: 

To activate a text that was not set into a path, click on any of its characters. 

If the text was set into a path, however, it is sufficient to click anywhere 

inside the text area. 

Activating Multiple Layers 


• To add a layer to those which are active already, SHIFT-click it or 

enter its layer number (direct input, see page 29-7). 

• Draw a selection rectangle enclosing all layers you want to activate 

(see Fig. 16-3). 

• Draw a selection rectangle with the SHIFT key pressed down to add 

the selected layers to those which are active already. 

• To activate all layers, press +A (Mac OS) or CTRL+A (Windows). 

Alternatively, use EDIT | SELECT ALL or select SELECT ALL in the 

MENU window. 

This does not activate the layout’s background layer (#1). 







Fig. 16-3 

Drawing a Selection Rectangle Around Two Layers 

Activating a Range of Contiguous Layers 

To easily activate all layers from number 17 through 24, for example, you 

can proceed as follows (only on Windows systems): 

1. Activate layer number 17, e.g. by clicking on it. 

2. CTRL-click layer number 24. 

This will additionally activate the layers 18, 19, 20, 21, 22, 23 and 24. 

Activating All Tint Layers of Same Color 

To activate all tint layers on a layout that have the same color: 

1. Activate one of the tint layers, e.g. by clicking on it. 

2. Select the SELECT BY COLOR function in the MENU window. The COL- 

OR SELECTION dialog appears (see page 10-8). The color of the selected 

layer appears in the color selection box. 

3. Click OK to close the dialog. All tint layers having the selected color 

become active. 

Note: 

You can also choose the SELECT BY COLOR function without having activated 

a tint layer beforehand. In this case you can specify the color you 

want in the COLOR SELECTION dialog, e.g. by clicking on a color box. 

You should not pick colors from a layout (by SHIFT-clicking), as this may 

change the color values slightly, making it impossible to activate the layers 

you want. 

To Activate all Layers of Imported PDF/PS/EPS 

Files 

Having imported a PDF, PostScript or EPS document into an existing 

layout, all layers created from this document can be activated simultaneously 

and then modified as a group. 





Modifying, Duplicating and Deleting Layers 


Note: 

1. Select one of the layers of the imported document. 

In the STATUS window such layers are marked by the letter P behind 

the layer number. 

2. Select SELECT PS INPUT in the MENU window. All layers of the imported 

document become active. 

This function is unavailable if the active layer does not belong to the 

imported document. 

The group attribute indicated by P refers only to the document imported 

last. If you import another PostScript, EPS or PDF document, the P is 

removed from all layers created from the document you have imported 

first. It is also removed when importing the layout into another ORIS PDF 

Tuner layout using the FILE | INSERT LAYOUT function. 

See also Importing PDF and PostScript Files (page 2-1). 

Deactivating Layers 


• SHIFT-click on all layers you want to deactivate. 

• Draw a selection rectangle with the CTRL key (Windows) pressed 

down to deactivate several active layers simultaneously. 

• Click DESELECT in the MENU window to deselect all layers. 

Alternatively, click anywhere outside the layout borders. 


Moving and Transforming Layers 

Any layer can be moved across the layout, resized, rotated and subjected 

to many more transformations. 

1. Activate the layers to be modified (see page 16-1). 

2. Select TRANSFORM in the MENU window or double-click one of the 

active layers. The TRANSFORMATIONS toolbar appears. 

3. You can move the layers with the mouse button pressed down, resize 

and rotate them using the handles and transform them in many different 

ways. For more details refer to Transformations (page 19-1). 







Fig. 16-4 

Resizing a Cut-out using Handles or Toolbar 

Notes on ‘Transform’ Function 

Mixground Layers 

A mixground layer (see page 11-2) and the layer which restricts (or clips) 

it can only be moved or transformed if both layers are activated together. 

If activated separately, the TRANSFORM function is unavailable. 

Background Layer 

The background layer of a layout (layer #1) cannot be moved or transformed. 

Layer Status ‘Outside’ 

When moving a layer beyond the layout borders, the layer will disappear 

at a certain point and receive the status OUTSIDE. You should move such 

layers back into the layout or delete them. 

The best way to move such layers back is to select TRANSFORM in the 

MENU window, click on , then SHIFT-click on the layout. 

Text Layers 

Transformations made to text or dummy text layers do only affect the text 

area outlines, the text and its typography remain unchanged. The text reflows 

and adjusts to the modified outlines. 

Layer Paths 

Having modified a layer, the path defining the outline of the original is retained, 

provided that the KEEP LAYER PATHS option is enabled. To enable 

this option, select FILE | LAYOUT PARAMETERS (see also page 5-11). 

Correcting a Layer Using its Creation Function 

You can correct a layer by applying the function used for creating it. You 

can only correct one layer at a time. 

First activate the layer to be corrected (see page 16-1). Then click , 

or press +M (Mac OS) or CTRL+M (Windows). Alternatively, select 

CORRECT on the EDIT menu or MENU window. 






The way the correction is performed depends on the layer type: 

Cut-outs 


Using the TRANSFORMATIONS toolbar the cut-out can be moved, resized, 

rotated, mirrored, distorted, etc. For more details refer to Transformations 

(page 19-1). 

Note: 

Basically, TRANSFORM has the same effect on cut-outs as CORRECT. 

However, if CORRECT is used, the scaling factor, rotation angle and other 

specifications displayed in the dialog are always relative to how the image 

was originally placed on the layout. In addition, it is possible to scale 

images to their original size using the button (see page 19-9). 

If TRANSFORM is used, all specifications refer to the last use of this function, 

i.e. the scaling factor is always reset to 1 and the angle to 0°. 

Background Images 

You can move or transform the image behind the path or mask that defines 

the visible image area. The shape and position of this path or mask 

remains unchanged. For more details refer to Correcting an Image Behind 

its Path/Mask (page 11-5). 

Fig. 16-5 

Correcting a Background Image 

Tints, gradients and text 

You can correct colors and also add, delete or relocate a gradient’s base 

points. For more details refer to Correcting Tints (page 10-1) and Correcting 

Gradients (page 10-3). 

Brushed layers 

The RETOUCH dialog appears. You can brush new colors and erase color 

areas painted previously. For more details refer to Correcting Brushed 

Layers (page 10-7) and Retouching (page 23-1). 




Dummy text 



The DUMMY TEXT PARAMETERS dialog appears. For more details refer to 

Modifying Dummy Text (page 14-6). 

Filter layers 


The respective image editing function starts, allowing you to modify the 

filter properties. The procedure to be used depends on the filter type: 

COLOR GRADATION See page 25-1 

COLOR TRANSFORMATION See page 24-1 

GRAYSCALE See page 27-1 

SHARPNESS See page 28-1 

DE-NOISE See page 28-2 

NOISE See page 28-2 

MOSAIC See page 28-3 

Correcting Texts and Typography 

1. Activate the text layer (see page 16-1). 

2. Select CORRECT TEXT in the MENU window. 

You can now edit the text, change its typography and move or transform 

it. For more details refer to Editing Text and Typography (page 12-12). 

Note: 

To activate a text that was not set into a path, click on any of its characters. 

If the text was set into a path, however, it is sufficient to click anywhere 

inside the text area. 


You can modify the path defining the outline of a layer. As a result, a different 

part of the layer becomes visible, whereas the layer itself remains 

unchanged. 

In the case of a background image (see page 11-1), for example, you 

can reduce the layer’s path and thus display a smaller section of the image. 

The image itself remains unchanged. In the case of text, the text reflows 

and adjusts to the new outline. The typography remains unchanged. 







Fig. 16-6 

Correcting the Outline of a Background Image 

How to Correct Layer Outlines 

1. Activate the layer (see page 16-1). 

You can only apply this function to one layer at a time. 


This starts the function that was used for creating the path. If this is 

not possible, e.g. because the path was distorted or is a combined 

path (see page 33-1), the Path Editor will be started (see page 9-1). 

3. If the path creation function is started, you can correct every single 

parameter, e.g. the rotation angle and corner forms of a rectangle or 

the radius and center of a circle. 

To select the previous parameter, SHIFT-CTRL-click (Mac OS) or 

SHIFT-right-click (Windows). Click to select the next parameter. 

To modify the selected parameter, SHIFT-click, then move the mouse 

and press the mouse button when the value you want is reached. 

Alternatively, enter the new value directly (see page 29-7). 

4. There are additional options in the MENU window: 

• Select PATH to open the TRANSFORMATIONS toolbar, allowing you 

to move, resize or rotate the entire path, and many more transformations. 


• Select PATH EDITOR to start the Path Editor, a useful tool for 

modifying paths creatively (see page 9-1). 

Note that once you have corrected a standard path (see 

page 33-5) using the Path Editor, it is no longer possible to apply 

the original path creation function. 

5. If the layer consists of more than one path, click or press RETURN/ 

ENTER. The next path is now offered for correction. Repeat the last 

two steps to correct this path. 


Correcting by Using Creation Function (page 8-4) 





Notes on ‘Layer Path’ Function 

Availability 



The LAYER PATH function is unavailable for cut-outs and for images inserted 

into pixel masks or into layers. 

It is also unavailable for text layers that were skewed ( ), because this 

transformation creates no path for the new layer outline. 

Correcting the Outline of Frames 

Frames that have been colored or filled with an image can also be corrected 

by using LAYER PATH. This is not possible, however, in the case of 

framed grids, since framing splits the grid up into single rectangles which 

can no longer be modified as a whole. 

Original Layer Paths 

The path defining the original layer outline is retained if the KEEP LAYER 

PATHS option is enabled. To enable this option, select FILE | LAYOUT PA- 

RAMETERS (see also page 5-11). 

Duplicating Layers 


1. Activate the layers to be duplicated (see page 16-1). 

2. Select DUPLICATE in the MENU window or press +D (Mac OS) or 

CTRL+D (Windows). 

This function is unavailable for the background layer (layer #1). 

3. Move the duplicated layers to the position you want. 

To do so, drag the layers with the mouse button pressed down or use 

the arrow keys. 

4. The duplicated layers can now be resized, rotated, mirrored and 

transformed in many different ways using the Transformations toolbar. 


Note: 

Having duplicated a brushed layer, both the original and the duplicated 

layer reference the same data (i.e. a TIFF image). Corrections made to 

one of these layers also effect the other layer. This is not visible until you 

update the screen (F5). 


Notes on ‘Transform’ Function (page 16-5) 

Brushing Colors on a Layout (page 10-5) 






Deleting Layers 

1. Activate the layers to be deleted (see page 16-1). 

2. Click , press BACKSPACE (Mac OS) or DELETE (Windows), or select 

EDIT | DELETE. 

The layers are deleted and the previous layer becomes active (i.e. 

the layer with the next lower number). 

Annotations 


• A message appears if you are deleting several layers. It specifies 

the number of the first and last active layer as well as the total number 

of layers you are deleting (see example below). 

• A question dialog appears if you try to delete a restricting layer, i.e. a 

layer into which a mixground layer was inserted. See also 

page 11-2. 

• The background layer of a layout (layer #1) cannot be deleted. 

• Paths defining the outline of deleted layers are retained, if the KEEP 

LAYER PATHS option is enabled. To enable this option, select FILE | 

LAYOUT PARAMETERS (see also page 5-11). 

Note on Non-Contiguous Layers 

If you move, duplicate or transform multiple layers at the same time and 

if these layers are not contiguous (e.g. layer 2, 5, 7 as opposed to 2, 3, 

4), the layers may temporarily appear out of stacking order. A message 

appears informing of this situation. 






Framing Layers 


As soon as you have finished the function, the layers will be displayed 

correctly. 

You can create frames of any size and width around a layer. Such frames 

extend outwards from the layer edge. 

1. Activate the layer you want to frame (see page 16-1). 

You can also activate several layers and frame all of them at the 

same time. If there are text layers among the active layers and you 

want to frame only these text layers, you can do this by enabling the 

TEXT LAYERS ONLY... option in the LAYER FRAME PARAMETERS dialog. 

2. Select FRAME in the MENU window. 

3. The LAYER FRAME PARAMETERS dialog appears which allows you to 

define parameters for the frame. For more details see page 16-12. 

Note: 

Linework layers cannot be framed. Although such frames are displayed 

on the screen, they will not appear on documents created with the FILE | 

EXPORT function (see page 3-1). 

Frames around rectangular layers have slightly rounded corners. 

Fig. 16-7 

‘Layer Frame Parameters’ Dialog 







Note: 

‘Layer Frame Parameters’ Dialog 

Use this dialog to define the properties of the frame you are creating for 

the active layer. 

Frame visible on 

Enable the IMAGES, TINTS and GRADIENTS options to define that only 

such parts of a frame are visible which are located on top of an image, a 

tint and/or a gradient (see figure below). 

Click the ALL button if you want the frame to be completely visible, regardless 

of its background. Click NO FRAME to remove a frame. 

The background layer of a layout is treated as a tint. To prevent this, you 

can fill it with a gradient consisting of one color only. 

Fig. 16-8 

Text Frame only Visible on Images (Example) 

In this example the white text contrasts sufficiently with the red tint, 

but is hardly visible against the light background color of the image. 

The text was therefore framed in a way that the frame is only visible 

on the image, but not on the tint. 

Width 

Specify the width of the frame. The frame extends outwards from the layer 

edge. 

Color 

Click the color box to define the frame color. The COLOR SELECTION 

dialog appears (see page 10-8). 

Note: 

In this dialog it is not possible to pick a color from the layout (by SHIFTclicking). 

As a workaround, pick the color before selecting the FRAME 

function and store it in a color palette box. 







Note: 

Apply this Layer Frame Parameters to 

These options are only available if you have activated more than one 

layer and if one or several of them are text layers: 

• ALL SELECTED LAYERS – All active layers will be framed, regardless of 

their layer type. 

• TEXT LAYERS ONLY ... – Only the text layers will be framed, all other 

active layers will not be framed. 

• ONLY TEXT LAYERS WITH COLOR ... – Only text layers with a specific 

color will be framed, all other active layers will not be framed. Click 

the color box to select the color you want (see also page 10-8). 

If a text layer uses different colors, only the first color is taken into account. 

Status Display for Layer Frames 

The STATUS window of active layers displays information about framing. 

It appears in the lower part, below FRAME: 

NONE: The layer has no frame 

ON IMAGES: Only frame parts located on images are visible 

ALWAYS: The layer has a frame which is completely visible 

The next line displays the frame size. 

Additional Framing Methods 

Layers created with paths can also be framed by framing and then coloring 

these paths. For more details refer to Framing Paths (page 8-10). 

If vector cut-outs are used, the paths used as cut-out masks must first 

be copied into the layout. To do so, activate the layer of the cut-out and 

select COPY PATH in the MENU window. 

Note: 

Frames created by coloring paths have no relation to the framed layer. 

They are not automatically moved or resized together with the framed 

layer. To transform the layer and the frame at the same time, the two elements 

must be activated together. 





Filling Layers 


Filling Layers 

Inserting Colors or Images into Layers 

Any layer can be filled with a color or background image. It is possible, 

for example, to fill a cut-out completely with a tint, gradient or image. 

First of all, activate the layers to be filled (see page 16-1). The next step 

depends on the type of layer to be created: 

LAYER | TINT See page 10-1 

LAYER | GRADIENT See page 10-2 

LAYER | CIRCULAR GRADIENT See page 10-2 

LAYER | INSERT IMAGE See page 11-4 

Annotations 

• Only tints can be filled into several layers at the same time. All other 

functions are only available if a single layer is active. 

• Inserting color into an image layer overwrites the image layer. The 

image layer cannot be restored by deleting the tint or gradient. 

Inserting ‘Mixground’ Layers into Layers 

Any layer can be positioned as a mixground layer (see page 11-2). This 

means that it is inserted into another layer which clips the inserted layer 

at its edges. Typically, cut-outs are positioned in this way, but you can 

also use any other layer. The figure below shows an example. 

For more details and instructions refer to Inserting other Layers ‘in the 

Mixground’ (page 11-12). 

Fig. 16-9 

Tints Positioned as Mixground Layers (Example) 

The blue tint was created using a path function (STAR) and then inserted 

as a mixground layer into the background image. The star is only 

visible within the limits of the image. The corners are cut off at the image 

edges. 








Note: 

Each printable object on a layout is located on a separate level and 

therefore referred to as a layer. Each level is identified by a unique layer 

number. The order in which layers lie on top of each other (stacking order) 

can be changed. If a layer is hidden it can be moved up to a higher 

level, for example. 

First of all, activate (see page 16-1) all layers to be shifted to another level. 

Then select INSERT SELECTION in the MENU window and do one of the 

following: 

• Click on the layer on top of which you want to place the active layers. 

This layer must not be one of the active layers. 

Alternatively, enter the layer number directly (see page 29-7). 

• CTRL-click (Mac OS) or right-click (Windows) repeatedly. Each 

mouse click shifts the layer up by one level. 

Additionally press the SHIFT key to shift the layers down. 

To continue activating layers, reselect INSERT SELECTION. 

• Select TOP LAYER in the MENU window to place the layers on top of 

all other layers. 

• Click on the background layer or enter the layer number 1 to place 

the layers below all other layers. 

The background layer (layer #1) cannot be shifted to another level. 

Neither is it possible to place a layer below the background layer. 

Fig. 16-10 

Changing the Stacking Order (Example) 

The yellow headline is hidden by the image. To move it on top of the 

image, activate the headline, select INSERT SELECTION and click on the 

image. 





Saving Layers as a New Layout 


Saving Layers as a New Layout 

You can save selected layers as a new layout, e.g. in order to include 

them in another layout. 

Note: 

1. Activate all layers you want to save (see page 16-1). 

2. Select SAVE SELECTION in the MENU window. The SAVE AS dialog appears. 

The name of the new layout defaults to Parts of .DDP, where 

is the name of the original layout. 

3. Select a directory and change the default name (if required). 

To insert the saved layers into another ORIS PDF Tuner layout, use FILE 

| INSERT LAYOUT (see also page 5-4). 

Hiding and Displaying Layers 

You can hide all layers of a specific type, e.g. all dummy text layers. The 

layers disappear from the screen, but are not deleted. To hide layers, select 

the appropriate function on the VIEW | VIEW LAYERS submenu. Reselect 

the function to display the layers again. 

You can select the following layer types: 

• IMAGES 

• TINTS 

• GRADIENTS 

• FILTERS (see page 15-1) 

• DUMMY TEXT 

A check mark appears next to these functions if layers of the corresponding 

type are displayed. These settings apply to all open layouts. 

However, layouts which are currently inactive are not updated automatically 

– you must first press F5. Opening a layout or creating a new layout 

resets these settings, i.e. all layers are displayed again. 





Additional Functions for Layers 

See also Adding Shadows to Cut-outs (page 29-4). 


Additional Functions for Layers 


The last PDF, PostScript or EPS document imported into an ORIS PDF 

Tuner layout can be replaced by another PDF/PS/EPS document. Proceed 

as follows: 

1. Select the function FILE | REPLACE PDF OR POSTSCRIPT. This opens 

the CREATE LAYOUT FROM PDF OR POSTSCRIPT DATA dialog. 

2. Select the document to be imported and specify the conversion parameters 


3. Having closed the dialog with OK, the last PDF/PS/EPS document is 

deleted from the ORIS PDF Tuner layout and the new document is 

added. 

Marking Layers for Layout Export 

When layouts are converted to another format using FILE | EXPORT (see 

page 3-1) there are special options for layers you have marked on the 

layout such as: 

• Marked layers can be omitted from the output document (using the 

SELECT tab, see page 3-48). 

• Marked images can be omitted from color corrections with ICC profiles 


• Marked layers on bleed pages (see page 3-60) are treated differently. 

To mark a layer: 

1. Activate all layers to be marked (see page 16-1). 

2. Select MARK in the MENU window. The letter M appears in the STATUS 

window indicating that this layer has been marked. 

3. To undo layer marking, reselect the MARK function. M disappears. 

Fig. 16-11 

MENU and STATUS Window of ‘Mark’ Function 





Reversing Modifications (Undo/Redo) 


Reversing Modifications (Undo/Redo) 

The EDIT | UNDO function allows you to reverse modifications made on a 

layout. You can select this function repeatedly to step by step reverse all 

modifications made since you opened or created a layout. Use EDIT | 

REDO to restore modifications you have reversed. 

The keyboard shortcuts are: 

UNDO: -Z (Mac OS) or CTRL+Z (Windows) 

REDO: -Y (Mac OS) or CTRL+Y (Windows) 

These functions reverse or restore the creation, modification and deletion 

of layers including any changes made to text. They are only available 

if the layer selection mode is active (toolbar button pressed down) 

or when you are editing text. 

If the TRANSFORMATIONS toolbar is displayed, e.g. after selecting TRANS- 

FORM or CORRECT in the MENU window, the UNDO function applies to the 

last transformation only and REDO is unavailable (see also page 19-1). 

Note: 

The UNDO function has no effect on guides, paths, style sheets (see 

page 12-14) and brushed layers (see page 10-7). 

Getting Information on Layers 

‘Layer Info’ Window 

The LAYER INFO window appears automatically when you activate layers. 

It displays information on the currently active layer. Below are examples 

of such windows. 

If you feel this window takes up too much space on your screen, you can 

hide it by selecting LAYER INFO on the pull-down menu WINDOW (Mac 

OS) or VIEW (Windows). Reselect this function to display the window 

again. A check mark next to this function indicates that the LAYER INFO 

window is displayed. 







Fig. 16-12 

‘Layer Info’ Window for CT Image 

The numbers behind the image name indicate the pixel size (X,Y). 

The line at the bottom indicates the ICC profile currently used for this 

image. 

Fig. 16-13 

‘Layer Info’ Window for Linework 

Fig. 16-14 

‘Layer Info’ Window for Text Layer 

This text layer has a spot color. The color name and the CMYK equivalents 

are indicated behind TINT. If the color name is REGISTER, the 

color is will appear on all process and spot color separations of a 

PostScript final page (REGISTER MARKS color space, see page 10-10). 

Fig. 16-15 

‘Layer Info’ Window for Gradient 

This gradient consists of 5 colors. The CMYK values of the first two 

colors are listed in this window (TINT 1 and TINT 2). 

‘Info’ Function for Current Layer 

Select INFO in the MENU window to have additional information on the 

current layer displayed in the STATUS window. The information displayed 

in the STATUS window differs according to the layer type: 

Image layers and brushed layers 

Image name, image format, pixel size, resolution, number of mask, 

dimensions, number of Photoshop paths (see also Getting Information 

on Images, page 20-19). 







In the case of a brushed layer, the information refers to the TIFF image 

that stores the painted colors. 

Tints, gradients and text layers 

• CMYK color values 

If the layer is a gradient, the values refer to the first base point. Select 

the INFO function repeatedly to display the values of the other points. 

• Spot color name (if the color is a spot color) 

Spot color density (%) 

Dummy text 

Text area name, font size, font width, leading, italic angle, alignment 

type, rotation angle, adjustment type, number of lines and QuarkX- 

Press style sheet. 

Filter layers 

Information depends on type of image manipulation (e.g. color transformation 

mode, pixelation, etc.) 

Checking Frame Size and Type 

How to check the size and type of a frame created by filling color into a 

path. 

1. Activate the layer of the frame (see page 16-1). 


The frame size is displayed in the STATUS window. 

The frame type is indicated in the status bar at the window bottom: 

• LINE_WIDTH_1: Interior or exterior frame 

• LINE_WIDTH_2: Centered frame 

Layer Information in ‘Status’ Window 

The STATUS window displays the following information for active layers: 

No. of layers 

Total number of layers on the layout 

Current layer 

Number of the currently selected layer, i.e. the one activated last 

The following letters may appear to the right of the layer number: 

M Marked layer (see page 16-17) 

P Layer created by importing PDF or PS files (see page 16-3) 







S 

G 

Tint layer with a spot color (e.g. PANTONE® * or HKS® color) 

The name of the spot color is displayed in the LAYER INFO window. 

Tint layer that is part of a gradient formed by several adjacent 

tint layers with slightly different colors. 

Such layers are created during PostScript input if ORIS PDF 

Tuner is unable to recognize a gradient. This usually occurs if a 

gradient involves more than two colors. All layers marked with 

a G become part of the low-resolution (CT) when the layout is 

exported to another format. 

The G attribute is removed when you apply the CORRECT function 

( ) to an active layer. 

* PANTONE® and other Pantone, Inc. trademarks are the property of 

Pantone, Inc. 

Layer type 

There is one of the following displays: 

TINT 

GRADIENT 

CIRCUL. GRADIENT 

DUMMY TEXT 

BACKGR. IMAGE 

FOREGR. IMAGE 

LINEWORK 

MIXGR. IMAGE *) 

MIXGROUND LW *) 

COLOR GRADATION 

COLOR 

TRANSFORMATION 

COLOR FILTER 

Layer with a single color or a text layer 

Linear gradient 

Circular gradient 

Placeholder for text 

Background image 

Foreground image (cut-out or brushed layer) 

Cut-out positioned as a mixground image 

Linework positioned as a mixground image 

Filter layer performing a gradation change 

Filter layer performing a color transformation 

(including conversion to grayscales) 

Filter layer for sharpening/softening, adding/ 

removing noise or pixelating 

*) The number of the layer restricting (or clipping) the mixground 

layer is displayed below the current layer number. 

Status 

One of the following is displayed: 

OK 

Normal status 

DON’T SHOW A layer is hidden because of the settings on the 

VIEW | VIEW LAYERS submenu. 







COVERED 

OUTSIDE 

TOO SMALL 

A layer is completely covered by one or several 

others 

A layer has been moved too far away from the 

layout borders 

A layer is too small to be displayed on the 

screen (e.g. a very thin horizontal line not created 

with a framing function). 

Selected layers 

Number of layers activated simultaneously 

Text area no. 

Dummy text area number. 

If the layer consists of several text areas: 

Number of the first and last area. 

The displays further down in the STATUS window refer to settings for 

soft edges, trapping, high-resolution masks, transparency, framing 

and text runarounds. 

Fig. 16-16 

STATUS Window of Active Layers (Example) 





17 Transparency and Soft Edges 

Creating Transparency for Layers 

Layers can be set to transparent by a user-defined degree so that the 

layer’s background shows through. Transparency can be set to any value 

between 0 and 100% and also separately for each color separation. 

The transparency function also allows various color transformations, 

e.g. the transfer of color values from one separation to another. 

How to Create Transparency 


• Activate the layers (see page 16-1), then select TRANSPARENCY 


• When creating tints or gradients select TRANSPARENCY in the 

MENU window. 

• When moving or transforming layers, or when inserting images 

into the layout: 

Click on the TRANSFORMATIONS toolbar (see page 19-1). 

This opens the TRANSPARENCY, TRAPPING, SOFT EDGES dialog (see 

page 17-2). There is a separate dialog for linework. 

2. In this dialog, click one of the following tabs: 

SIMPLE 

BY SEPARATION 

COMPLEX 

Allows you to set all 4 color separations to the 

same transparency value (see page 17-2). 

Allows you to set each color separation to a 

different transparency value (see page 17-3). 

Allows you to define complex transparencies that 

may involve color transformations (see page 17-3). 




Transparency and Soft Edges 


MATRIX 

LINEWORK 

TRANSPARENCY 


Same as COMPLEX, but allows you to specify values 

using a two-dimensional matrix (see page 17-4). 

Allows you to set individual separations of linework 

to 100% transparent (see page 17-6). 

3. Additional options (see also Dialog Buttons, page 17-7): 

• Click STORE to save the current transparency parameters. 

• Click ALL OPAQUE to remove any transparency. 

• Click RESET to restore the parameters that existed when the 

dialog was opened. 

‘Simple’ Tab (Transparency, Trapping...) 

Use this dialog tab to set the transparency of all 4 color separations to 

the same value. You can use the slider or enter the degree of transparency 

into the input box. 

Fig. 17-1 

‘Simple’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) 

Complex Settings 

Use this option to decide how to handle complex transparency settings 

previously made on the COMPLEX and MATRIX tabs (see below), e.g. color 

transformations achieved by adding parts of the Magenta separation 

to the Cyan separation. 

• The KEEP COMPLEX SETTINGS setting adds the new transparency to 

any existing complex transparency. If you switch to the MATRIX tab 

afterwards, you can see that only the values on the two matrix diagonals 

(C/C, M/M, Y/Y, K/K) have changed, other values remain 

unchanged. 

• The RESET TO SIMPLE TRANSPARENCY setting cancels any existing 

complex transparency settings. If you switch to the MATRIX tab afterwards, 

you can see that all values not located on the two diagonals 

have changed to 0. 







‘By Separation’ Tab (Transparency...) 

Use this dialog tab if you want to set the transparency of each color separation 

to a different value. You can use the sliders or enter the degree 

of transparency into the input boxes. For help on the COMPLEX SETTINGS 

option refer to the previous section. 

Fig. 17-2 

‘By Separation’ Tab (‘Transparency, Trapping...’ Dialog) 

‘Complex’ Tab (Transparency...) 

This dialog tab allows you to define complex transparency settings which 

may also involve color transformations. For each color separation you 

can specify the amount of C, M, Y and K to be used from the current layer 

(FOREGROUND) and the layers behind it (BACKGROUND). 

Fig. 17-3 

‘Complex’ Tab (‘Transparency, Trapping...’ Dialog) 


1. Use the TARGET SEPARation option to select the color separation to be 

modified. 

2. Use the sliders or input boxes beneath FOREGROUND to adjust the 

percentage of C, M, Y and K to be used from the active layers themselves. 

3. Use the sliders or input boxes beneath BACKGROUND to adjust the 

percentage of C, M, Y and K to be used from the layers behind the 

active layers. 

You can specify positive values to add colors and negative values to 

subtract them. 







The MATRIX tab provides the same functionality as this tab, but uses a 

different input method. See below for more details on complex transparency 

and examples of color transformations. 

‘Matrix’ Tab (Transparency, Trapping) 

Use this dialog tab to define complex transparency settings which may 

also involve color transformations. This tab provides the same functionality 

as the COMPLEX tab, but uses a 2-dimensional matrix for specifying 

transparency values. 

How to Specify Matrix Values 

You can specify values ranging from –100 to +100. Use negative values 

to subtract colors from a separation, use positive values to add colors to 

a separation. 

To modify a matrix value do one of the following: 

• Double-click a matrix box, then type the new value. 

• Click the field once, then edit it (e.g. delete using BACKSPACE). 

• Click the field once, then modify the value by dragging the slider up 

or down. 

You can use the TAB key to select the next matrix box and SHIFT+TAB to 

select the previous box. 

How to Read Transparency Matrix 

This matrix reflects the fact that transparency is the result of merging the 

active layer (FOREGROUND) with the layers behind it (BACKGROUND). 

Each color separation of the transparent layer can be created by adding 

or subtracting percentages of the FOREGROUND and BACKGROUND separations. 

The figure below shows the matrix of a 100% opaque layer. 

Fig. 17-4 

‘Matrix’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) 







Note the two highlighted diagonals and read this matrix as follows: 

• CYAN is composed of 100% FOREGROUND cyan and 0% BACK- 

GROUND cyan (and 0% of any other FOREGROUND or BACKGROUND 

separation). 

• MAGENTA is composed of 100% FOREGROUND magenta and 0% 

BACKGROUND magenta. 

• YELLOW is composed of 100% FOREGROUND yellow and 0% 

BACKGROUND yellow. 

• BLACK is composed of 100% FOREGROUND black and 0% 

BACKGROUND black. 

This is the matrix of a layer which is 30% transparent in all four color 

separations: 

This matrix reads as follows: 

• CYAN is composed of 70% FOREGROUND cyan and 30% 

BACKGROUND cyan. 

• MAGENTA is composed of 70% FOREGROUND magenta and 30% 

BACKGROUND magenta. 

• etc. 

A matrix containing values not located on the two diagonals (highlighted 

in this figure) produces color transformations. See below for more details. 

Examples of Complex Transparency and Color Transformations 

By transferring parts of a color separation to other separations you can 

produce various optical effects, e.g. improving the contrast or keeping 

dark shades. Color transformations can be applied to the BACKGROUND 

only, to the FOREGROUND only and to both. 


Manipulating Image Color Separations (page 24-4) 

Changing Image Color Mode (page 27-1) 







Fig. 17-5 

Transferring 20% from Cyan to Black 

Fig. 17-6 

Keeping 75% ‘Background’ Black and Substituting the Rest by 

50% of ‘Foreground’ Cyan 

Fig. 17-7 

Converting Layer Colors to Grayscales 

The matrix shows that the Y, M and C separations of the FOREGROUND 

are all 0 and that all FOREGROUND colors are merged equally into the 

black separation, with 50% of the FOREGROUND black being used. 

‘Linework Transparency’ Tab 

Use this dialog tab to define the transparency of linework. Select the color 

separations you want to set to transparent. Each separation of a linework 

can either be 100% transparent (check mark) or 100% opaque (no 

check mark). 

Fig. 17-8 

‘Linework Transparency’ Tab of ‘Transparency...’ Dialog 




Dialog Buttons 



The buttons on the right of the TRANSPARENCY, TRAPPING, SOFT EDGES 

dialog have the following meaning: 

All Opaque 

Removes any transparency from the active layers. This button has no effect 

on soft edges or trapping. 

Reset 

Restores the initial settings that existed when the dialog was opened. 

This applies to both transparency, soft edges and trapping. 

Overprint 

Use this button to set tints to overprint. This automatically sets a tint to 

transparent in all CMYK and spot color separations which are not contained 

in the tint. 

The transparent separations are displayed in the STATUS window (see 

page 17-9). If this button is applied to a spot color layer, the information 

OVERPRINT appears in the STATUS window. 

This button applies only to tints. It has no effect on other layer types. 

Load 

Displays a list of all stored settings. There is a separate list for transparency, 

soft edge and trapping settings. You can load a setting by doubleclicking 

it. Click the list header to sort the list in ascending or descending 

order. 

Store 

Saves the current parameters to the list corresponding to the current 

function (transparency, soft edges or trapping). Enter a name for the parameter 

set, then click OK. 

Delete 


Deletes the currently loaded setting without any warning. 







Notes on Transparency Function 

Transparency for Linework and CT Images 

Transparency cannot be defined if you have activated both linework layers 

and non-linework layers (CT images, text, tints etc.). You must activate 

these layers separately. 

Restrictions for Linework and Dummy Text 

The transparency of linework and dummy text layers is restricted to settings 

in which each color separation is either 0% or 100% transparent 

(e.g. Y 100%, M 0%, C 100% K 0%). 

Restrictions for Text 

Transparent text layers cannot have more than one color, unless each 

color separation is either 0% or 100% transparent. 

If such layers contain characters with different colors, the colors are ignored 

and all characters are given the default color (black). 

Color Transformations with Black 

For color transformations involving black there may be a considerable 

discrepancy between the screen display and the final print result if RGB 

images are used. 

The reason is that for this kind of images the black percentage is produced 

electronically from the colors red, green and blue. This is particularly 

obvious for background colors that show through behind the white 

areas of a grayscale image. 

Screen Display During Modifications 

When modifying transparent layers or layers located under such layers, 

the layout may not be displayed correctly on the screen. Examples: 

• Text is displayed as opaque when being corrected. 

• Multiple layers moved or transformed at the same time are displayed 

as opaque. 

• While transparent layers are moved or transformed, layers located 

under them are not displayed correctly. 

• When setting multiple layers to transparent at the same time, they 

may temporarily appear out of stacking order. A message appears in 

this case informing of this situation (see also page 16-10). 

The screen display is correct again when the modification has finished. 




Status Display for Transparency 


Creating Soft Edges for Layers 

The STATUS window displays the following information about the transparency 

of the current layer: 

Opaque 

The layer is 100% opaque (i.e. not transparent). 

Invisible 

The layer is 100% transparent (i.e. invisible) and the background is entirely 

visible. 

0–100 

Simple transparency, the number specifies the degree of transparency 

in percent. An average value is displayed if the color separations have 

different transparency values. 

C M Y K 

Simple transparency, each color separation is either 100% opaque or 

100% transparent. The letters indicate the transparent separations. 

Complex 

Complex transparency, e.g. a color transformation achieved by composing 

the Cyan separation of 61% ‘foreground’ Cyan and –17% ‘background’ 

Cyan. 

Overprint 

Overprinting spot color 



Note: 

Layers with soft edges do not end abruptly at their borders but are 

smoothly melting with their background. This functionality is particularly 

useful for cut-outs. 

You can also create soft edges automatically for specific layer types 

when converting an ORIS PDF Tuner layout to another format (FILE | 

EXPORT function). For more details refer to page 3-1. 

How to Create Soft Edges 


• Activate the layers to be soft-edged (see page 16-1), then select 

SOFT EDGES in the MENU window. 






• When creating tints or gradients select TRANSPARENCY in the 

MENU window. 

• When moving or transforming layers, or when inserting images 

into the layout: 

Click on the TRANSFORMATIONS toolbar (see page 19-1). 

2. This opens the TRANSPARENCY, TRAPPING, SOFT EDGES dialog (see 

below). Make sure the SOFT EDGES tab is selected. 

3. Select one of the AREA TYPE options (see page 17-11) to define the 

way transparency increases inside a soft edge (e.g. VERY SOFT). 

4. Use the AREA WIDTH slider to define the size of the soft edge area. 

You can also enter the width into the input box. 

5. Use the AREA POSITION slider to define the location of the soft edge 

area with respect to the original layer edge (see page 17-11). 

Alternatively, enter the percentage of the soft edge area located inside 

or outside the original layer edge into the input box: 

+100%: 

0%: 

–100%: 


area entirely outside 

area exactly centered 

area entirely inside 

or any 

intermediate 

value 

6. Additional options (see also Dialog Buttons, page 17-7): 

• Click STORE if you want to save the current soft edge parameters. 

• Click the SHARP option if you want to remove the soft edges. 

• Click RESET to restore the parameters that existed when the dialog 

was opened. 

Fig. 17-9 

‘Soft Edges’ Tab of ‘Transparency, Trapping...’ Dialog 







‘Soft Edges’ Tab (Transparency... Dialog) 

These parameters allows you to create 

soft edges for the activated layers. 

Area Type 

Transparency increases gradually from 0 to 100% within a soft edge. 

The AREA TYPE option allows you to choose between different transitions 

from opaque to transparent. Select SHARP to leave edges unchanged. 

SOFT VERY SOFT HARD VERY HARD 

Note: 

The setting FRAME does not create any soft edges, but adds or removes 

pixels at the edges without changing the layer outline (if possible). 

In most cases VERY SOFT provides the best results. The setting SOFT creates 

an entirely linear transition between opaque and transparent. With 

VERY SOFT, by contrast, transitions are smoother at the beginning and 

end of the soft edge and almost linear in the center. However, the soft 

edges must be made larger compared to the setting SOFT. 

Area Width 

Use the AREA WIDTH slider to define the size of the soft edge area. You 

can also enter the size into the input box. 

Layer corners are rounded off if a soft edge area is extremely wide. 

Area Position 

Use the AREA POSITION slider to define the location of the soft edge area 

with respect to the original layer edge. You can also use the input box to 

specify the percentage of the soft edge area located inside or outside the 

original layer edge (see also figure): 

• Negative value: Percentage located inside original edge 

• Positive value: Percentage located outside original edge 

• 0 Centered position 







Fig. 17-10 

Position of Soft Edges 

INSIDE OUTSIDE INSIDE and OUTSIDE 

The white outline indicates the position of the original (sharp) edge. 

Notes on Soft-Edged Layers 

Linework and Dummy Text 

Linework and dummy text layers cannot be soft-edged. 

Text Color 

Soft-edged text layers cannot have more than one color. 

If such layers contain characters with different colors, the colors are ignored 

and all characters are given the default color (black). 

Trapping 

You cannot define both soft edges and trapping for a layer. The property 

defined last always overrides that defined previously. 

Inserting Layouts 

If soft-edged layers are inserted into another layout using the FILE | IN- 

SERT LAYOUT function (see page 5-4) and the inserted layout is scaled 

down, the soft edge area will also be scaled down by the same degree. 

Screen Display During Modifications 

When modifying soft-edged layers or layers located under such layers, 

the layout may not be displayed correctly on the screen. Examples: 

• If two soft-edged layers overlap each other and one of them is 

moved or transformed, the other layer is not displayed correctly. 

• A soft-edged layer is displayed with hard edges if a layer located 

under it is moved or transformed. 

• Text is displayed with hard edges when being corrected. 

• When soft-edging multiple layers at the same time, they may temporarily 

appear out of stacking order. A message appears in this case 

informing of this situation (see also page 16-10). 

The screen display is correct again when the modification has finished. 




Status Display for Soft Edges 



The STATUS window of the current layer displays the following information 

for soft edges: 

• Soft edge type (e.g. VERY SOFT) 

• Area width (in millimeters) 

A negative value indicates that the soft edge is positioned inside the 

original layer edge, a positive value that it is positioned outside. 

The value is rounded to one decimal place. For example, 0.1 appears 

for values between 0.05 and 0.09 and 0 for values lower than 0.05. 

• Area position (in percent) 












18 Trapping 

Misregistration on the printing press may lead to white areas between 

touching objects. Trapping tries to compensate for the possibility of misregistration 

by printing small areas of overlapping color where objects 

meet. These overlaps are created by increasing or reducing individual 

color separations (spreads or chokes). See also Fig. 18-2 on page 18-4. 

Trapping Entire Layout Automatically 

All of the layers on a layout can be trapped automatically when converting 

the layout to another format. This is supported for most of the output 

formats. Select FILE | EXPORT and use the TRAPPING/SOFT EDGES tab. 

For more details refer to Exporting Layouts (page 3-1) and Trapping 

(page 3-53). 

Automatic trapping applies to all high-resolution layout elements, i.e. all 

tint, text and linework layers, except for layers that are soft-edged or 

transparent or layer parts located under transparent layers or soft-edged 

layers. This exception does not apply to layers with color separations 

which are exactly 0% or 100% transparent. 

Layers of any type can also be trapped manually when editing a layout. 

Trapping Individual Layers Manually 

Manually trapping individual layers may be necessary e.g. if you want to 

have several trap areas of different sizes on a layout or if a layer cannot 

be trapped automatically when converted using FILE | EXPORT. 


1. Activate the layers to be trapped (see page 16-1). 

2. Select TRAPPING in the MENU window. The TRANSPARENCY, SOFT ED- 

GES, TRAPPING dialog appears and the following tab is selected: 




Trapping 



TRAPPING 

LINEWORK 

TRAPPING 

CT images, text, tints, gradients, filter layers, brushed 

layers (see below) 

Linework and dummy text (see page 18-5) 

3. Select the color separations that should be enlarged or reduced, the 

trap mode (choke, spread, or both) and the size of the trap area (see 

below). Click the OFF button if you want to switch off trapping. 

Fig. 18-1 

‘Trapping’ Tab (‘Transparency, Trapping, Soft Edges’ Dialog) 

‘Trapping’ Tab (‘Transparency...’ Dialog) 

Separations 

Use the check boxes to select the color separations you want to trap. 

The separations with a check mark are increased (spread) or decreased 

(choked), depending on the trapping mode. If the trapping mode is 

CENTER, the selected separations are spread and the other separations 

are choked. 

Select AUTO CMYK if you want the program to determine the separations 

automatically. However, this is only possible for tint, text and gradient 

layers. When you close and reopen the dialog (for a single layer), the 

separations determined by the program are indicated with a check mark. 

Note: 

The AUTO CMYK option has no effect on image layers, filter layers (see 

page 15-1) or brushed layers (see page 10-5). Layers of this type are not 

trapped if AUTO CMYK is enabled. 

The AUTO CMYK option may not always provide optimum results, since 

it does not take into account the colors of adjacent layers. 




Trapping area 


Trapping 


Specify the size of the trap area using the slider or input box. The selected 

separations are increased (spread) or decreased (choked) within this 

area. 

If the trapping mode is CENTER, the trap area is divided equally between 

the separations that are spread and those that are choked. If the trap 

area is 0.3 mm and you have selected CYAN, for example, the Cyan separation 

is spread by 0.15 mm and the Magenta, Yellow and Black separations 

are choked by 0.15 mm. 

Note: 

The trap area should not be wider than the thinnest line on the layout. 

Mode 

Choose one of the following options to determine the way the activated 

layers are trapped (see also Fig. 18-2 below): 

CHOKE 

The color separations you have checked are reduced by the size of 

the trap area. If you choke Cyan, for example, the Cyan separation of 

layers located below the activated layers shows through within the 

trap area (provided that these layers extend into the trap area). 

SPREAD 

The color separations you have checked are enlarged by the size of 

the trap area. Thus these separations overlap layers which are located 

below the layers you are trapping. 

Note: 

CENTER 

The color separations you have checked are enlarged by half of the 

trap area size, the other separations are reduced by half of the trap 

area size. This means that the activated layers are both spread and 

choked. 

Layer corners are rounded off if this setting is selected. 

Guidelines 

Use the following guideline to decide whether to choke or spread a layer: 

• Light layer on dark layer: spread the light layer 

• Dark layer on light layer: choke the dark layer 

To preserve the shape of a trapped layer, you should always spread or 

choke the lighter color separations. 




Trapping 



Fig. 18-2 

Illustration of Trapping Modes 

Trapped layer 

C 

M 

Y 

K 

Original 

layer edge 

C 

M 

Y 

K 

C 

M 

Y 

K 

C 

M 

Y 

K 

Layer on 

lower level 

Trap area 

Trap area 

C 

M 

Y 

K 

Trap area 

C 

M 

Y 

K 

Spreading the cyan separation 

The Cyan separation is enlarged by 

the size of the trap area. 

Choking the cyan separation 

The Cyan separation is reduced by 

the size of the trap area. 

Centered trapping for cyan 

The Cyan separation is enlarged 

and the other separations are 

reduced (spread and choke) 

Dialog Buttons 

The buttons on the right of the TRANSPARENCY, TRAPPING, SOFT EDGES 

dialog have the following meaning: 

Off 

Unchecks all color separation check boxes. This switches off trapping. 

Reset 

Restores the initial settings that existed when the dialog was opened. 

This applies to both transparency, soft edges and trapping. 

Load 

Displays a list of all stored settings. There is a separate list for transparency, 

soft edge and trapping settings. You can load a setting by doubleclicking 

it. Click the list header to sort the list in ascending or descending 

order. 

Store 

Saves the current parameters to the list corresponding to the current 

function (transparency, soft edges or trapping). Enter a name for the parameter 

set, then click OK. 

Delete 

Deletes the currently loaded setting without any warning. 





Trapping 


Fig. 18-3 

‘Linework Trapping’ Tab (‘Transparency, Trapping...’ Dialog) 

‘Linework Trapping’ Tab (‘Transparency, Trapping, 

Soft Edges’ Dialog) 

See above for a description of the dialog buttons on the right. 

Separations 

When trapping linework layers the program automatically determines 

the color separations which are spread or choked. However, you can 

prevent a color separation from being modified by unchecking the corresponding 

check box. The check boxes indicate the color separations 

which are allowed to be spread or choked. Click ALL to allow the program 

to modify all four separations. 

Trapping area 

Specify the size of the trap area using the slider or input box. The color 

separations automatically determined by the program are increased 

(spread) or decreased (choked) by the specified size, according to the 

trapping mode. 

Note: 

The trap area should not be wider than the thinnest line on the layout. 

Mode 

A linework layer can be trapped in two ways: 

• Inside the linework 

• Against other layers 

Trapping Inside the Linework 

The individual linework color areas are trapped against each other. This 

is done fully automatically. The program determines the color separations 

and decides whether to enlarge (spread) or reduce (choke) them. 




Trapping 



The parameters controlling this mechanism are defined in the trapping 

profile named STANDARD. See below for details on how to view these parameters. 

Trapping Against Other Layers 

Linework is also trapped against other layers located below it. These layers 

are referred to as ‘CT’ here. Choose one of the following options to 

determine the way this is done: 

• LW ONLY 

No trapping against other layers, only trapping inside the linework. 

• LW CT 

Linework spreads into other layers. Certain LW color separations are 

enlarged by the size of the trap area. 

• LW CT, color dependent 

The program automatically determines the best method (spread or 

choke) on the assumption that all layers located below the linework 

consist of the same color. The assumed color is also used for the 

other options to decide whether trapping is required at all. 

This color is defined in the STANDARD trapping profile under the name 

CT BACKGROUND COLOR. See below for details on how to view the settings 

of this profile. 

Viewing Basic Trap Settings 

To view the basic settings controlling trapping: 

1. Select FILE | EXPORT 

2. Choose FLAT POSTSCRIPT format. 

3. Click on the TRAPPING/SOFT EDGES tab. 

4. Enable the TRAPPING option. 

5. Select STANDARD from the list, then click on the or button. 

6. Select the BASIC SETTINGS tab. 





Notes on Manual Trapping 

• Trapping cannot be displayed on the screen. 

Trapping 


• You cannot define both soft edges and trapping for a layer. The 

property defined last always overrides that defined previously. 

• Trapping is not possible if you have activated both linework layers 

and non-linework (CT images, text, tints etc.) layers. Activate these 

layers separately. 

• The form of the trap area may be different if you have the layout 

trapped automatically. 

• A layer can only be trapped against layers located below it (i.e. with 

lower layer numbers). Trapping has no effect at layer edges shared 

with layers located on a higher level. 

• Choking a layer has no effect if the layers located below the choked 

layer do not extend into the trap area. 

• Manual trapping of linework layers is ignored if you trap the complete 

layout automatically during layout export. The same trap setting 

is applied to all linework layers in this case. 

• If you simultaneously trap multiple layers which are not contiguous 

(e.g. layer 2, 5, 7 as opposed to 2, 3, 4), the layers may temporarily 

appear out of stacking order. A message appears informing of this 

situation. The layers are displayed correctly again as soon as the 

trapping function has finished. 

Status Display for Trapping 

Having closed the Transparency, Trapping, Soft Edges dialog, a STATUS 

window appears which displays the specified trap settings for the current 

layer. The following is displayed below TRAPPING: 

Trapping mode 

For non-linework layers: 


SPREAD or 

CHOKE or 

CENTER (= spread selected separations, choke others) 

For linework layers: 

LW ONLY (= no trapping against other layers) or 

LW CT (= spread LW) or 

LW CT (= choke or spread depending on background color) 




Trapping 


Color separations... 

• to be spread or choked (for non-linework layers) 

• allowed to be spread or choked automatically (for linework layers) 

Trap area size 






19 Transformations 

ORIS PDF Tuner allows you to transform (resize, rotate, mirror, distort, 

etc.) layers and paths in any possible way. It also provides tools for moving 

and precisely positioning these objects. All of these functions are accessible 

on the TRANSFORMATIONS toolbar. This toolbar appears automatically 

when you insert an image or another layout into the current 

layout. 

Fig. 19-1 

‘Transformations’ Toolbar 

How to Transform Existing Objects 

1. Select the object(s) to be transformed. 

Click or press F8 if the layer selection mode is not active (it is by 

default). Refer to Activating Layers (page 16-1) for more details. 

Click to enable the path selection mode. Refer to Activating Paths 

(page 8-1) for more details. 

2. Double-click one of the active objects or select TRANSFORM in the 

MENU window (for layers) or PATHS | TRANSFORM (for paths). 

To transform background images behind the mask or path by which 

they are clipped, select CORRECT in the MENU window. 

The TRANSFORMATIONS toolbar appears and resize handles are displayed 

for the selected objects. 

3. Click on the toolbar button or inside the input box corresponding with 

the function you want to use. The details are explained below. 

Having entered a value into an input box, press RETURN/ENTER or TAB 

or click into another input box to apply this value. 





Description of ‘Transformations’ Toolbar 


If no toolbar button is pressed and the cursor is not inside an input 

box, you can: 

• Move the selected objects freely with the mouse 

• Resize using the resize handles 

• Rotate using the rotation handles 

Click on the object to display these handles. 

To reverse the last modification use EDIT | UNDO ( +Z/CTRL+Z). 

4. To end a function, reselect the toolbar button, click on another button 

or in another input box, or click on the layout. 

5. To end the transformation mode, press RETURN/ENTER, click , or 

select another function, e.g. from the pull-down menu. 

To reverse all modifications, click 


or press ESC instead. 

Move 

Moves vertically (X) or horizontally (Y). 

Scale by specifying a factor 

Scales vertically (X*) or horizontally (Y*) only. 

The proportions are maintained if the button on 

the right is pressed down. 

Scale by specifying width or height 

Both and scale proportionally. 

Reverse scaling 

Objects are scaled to the size they had before the 

TRANSFORMATIONS toolbar was opened. 

Scale to original size 

Images are scaled according to the Expected 

Production Resolution (see page 5-10) when 

being placed or if the CORRECT function is used. 

Rotate ( ) 

Skew ( ) 

Inclines objects at an oblique angle. 

Page 19-4 

Page 19-8 

Page 19-8 

Page 19-9 

Page 19-10 

and 19-13 







Distorts perspectively by rotating along the 

horizontal ( ) or vertical ( ) axis 

Moves, rotates or scales 

according to modifier keys or mouse buttons 

used 

Fixed point 

Defines the point that remains fixed when objects 

are scaled, rotated, mirrored or distorted 

Mirrors along the horizontal axis (left) or vertical 

axis (right) 

Fix 4 points 

Positions, rotates or distorts using 4 points 

Specify 4 points 

Allows you to set the four points anywhere on the 

object or on characteristic points. 

‘P1/P4’ toolbar 

Opens a toolbar which allows you to enter the 

coordinates of these points and to fix the points at 

their current position. 

Modify background image... 

• like a cutout (i.e. not clipped by its path) 

• by modifying its path (the path that clips the 

image is displayed on top of the image) 

Transparency, trapping, soft edges 

Opens a dialog for defining these properties 

Smooth text 

Adjusts text characters to the outline of any path 

Ornaments 

Changes paths into ornamental lines and boxes 

Ornament baseline 

Toggle function for setting such ornaments 

above/below the baseline or inside/outside the 

outline 

Page 19-11 

Page 19-12 

Page 19-14 

Page 19-14 

Page 19-16 

Page 19-19 

Page 19-18 

Page 11-7 

and 11-6 

Page 17-1 

and 18-1 

Page 13-1 

Page 29-5 

Page 29-5 





Moving 


Annotations 

Whenever you open the TRANSFORMATIONS toolbar, the scaling factor is 

reset to 1 and the angles are reset to 0. In addition, clicking the button 

restores the size the layer had before the toolbar was opened. 

This is different when you correct image layers using 

the MENU window. In this case the following is true: 

or CORRECT in 

• The values displayed in the toolbar take into account all of the transformations 

made after the image was inserted into the layout. 

• Clicking the button resizes the image according to the EXPECTED 

PRODUCTION RESOLUTION defined using FILE | LAYOUT PARAMETERS. 

See also Scaling Images to Original Size (page 19-9). 

Moving 

Moving Freely 

You can drag active objects to any position you want using the mouse. 

Use the left mouse button on Windows systems. 

This is only possible if the resize or rotation handles are displayed for 

the active object (see figure). 

If they aren’t visible, end the current function by clicking on the layout or 

reselecting the button on the TRANSFORMATIONS toolbar. 

Fig. 19-2 

Resize handles (left) and rotation handles (right) 

Moving Horizontally or Vertically Only 

Method 1 

Hold the SHIFT key pressed down when dragging an object to restrict the 

movement to the horizontal or vertical direction. This is only possible if 

the resize or rotation handles are displayed for the active object (see 

above). 

To change the direction from horizontal to vertical or vice versa, release 

the mouse button and press it again, then resume dragging the object. 






Moving 

Method 2 

1. Click into the input box titled X at the left end of 

the toolbar to move horizontally. Click into the Y 

box to move vertically. 

2. Hold CTRL and the mouse button (Mac OS) or the right mouse button 

(Windows) pressed down and move the mouse horizontally or vertically, 

depending on the input box you have clicked. 

Positioning By Entering Coordinate 

1. Click , then click on the object’s point you want to position. This is 

the object’s center by default. See also Defining Fixed Point. 

2. Enter the new coordinate of this point into 

the X and Y input boxes of the toolbar. 

Alternatively, use the and tools to position objects accurately on 

a specific point. For more details refer to 

Positioning Objects Accurately (page 19-15) 

Specifying Points for Positioning/Distorting (page 19-19) 

Moving Precisely by Adding Distance 

To move objects exactly by a specific value, you can add and subtract 

values from its current coordinate. Enter the operator (+ or -) and the value 

to be added or subtracted between the current X/Y value and the unit. 

To move an object positioned at X = 2.602 mm to the 

right by two millimeters, for example, enter +2 into 

the X input box (which then reads 2.602 +2 mm), 

then press RETURN/ENTER. To move an object down 

by 2 mm, for example, enter –2 into the Y input box. 

See also Entering Relative Values (page 29-9). 

Note: 

All of the input boxes of the TRANSFORMATIONS toolbar are like simple 

calculators allowing you to use the four basic arithmetic operations: 

Addition (+), subtraction (-), multiplication (*) and division (/). 





Moving 


Note: 

Moving Precisely Using Arrow Keys 

Step 1 and 2 are not required directly after starting the transformation 

function, i.e. if nothing has been selected yet on the TRANSFORMATIONS 

toolbar. 

1. Click into either of the X or Y input boxes. 

2. Press RETURN/ENTER. Alternatively, CTRL-click 

(Mac OS) or right-click (Windows) on the layout. 

This removes the focus from the toolbar. 

3. Press the arrow keys according to the direction into 

which you want to move the active objects. 

Each keystroke moves the object by one increment of the unit currently 

selected in the toolbar. Additionally press the OPTION (Mac OS) or ALT 

(Windows) key to move by 0.1 increment of the current unit. 

Example 

If the X unit is mm, press twice to move an object to the right by two 

millimeters. Press OPTION+ (Mac OS) or ALT+ (Windows) twice to 

move it downward by 0.2 millimeters. 

The units for the X and Y direction may be different. 

Moving and Positioning Paths 

There is a special function which allows you to move and position paths 

(in addition to the tools of the TRANSFORMATIONS toolbar). 

1. Activate the paths (see page 8-1). 

2. Select PATHS | EDIT | MOVE. 

3. Drag the paths to the desired position. 

Alternatively, enter the coordinate of the marked point directly on the 

keyboard (direct input, see page 29-7). 

4. Click on the layout to end the function. If the position is not correct, 

SHIFT-click to reposition the paths. 






Scaling 

Scaling 

Scaling With Handles 

You can scale objects by dragging any of the 8 resize handles displayed 

at the object’s outline or bounding box. Hold the SHIFT key pressed down 

to maintain proportions. 

The handle opposite to that which is being moved remains fixed. By 

moving a handle beyond this fixed point you can mirror an object. 

Note: The cursor form changes to (Mac OS) or (Windows) when the 

cursor is positioned on a handle. If the cursor is not displayed like this, 

the object will be moved. 

If the resize handles aren’t visible, end the current function by clicking on 

the layout or reselecting the button on the TRANSFORMATIONS toolbar. If 

the rotation handles are displayed, click on the object to change them 

to resize handles . 

Fig. 19-3 

Resize Handles 

Scaling and maintaining proportions (with SHIFT key) 

Scaling without maintaining proportions 





Scaling 


Scaling by Specifying a Factor 

1. Click if you want to define the point that will remain fixed during 

scaling. By default, this is the object’s center. See Defining Fixed 

Point (page 19-14). 

2. If you want to maintain proportions, make sure the button illustrated 

here is pressed down. 

3. Click into either of the input boxes labeled X* or Y* respectively if you 

are scaling proportionally. 

Otherwise click into the X* box to scale the width only or into the Y* 

box to scale the height only. 

4. To change the scaling factor, hold CTRL and the mouse button (Mac 

OS) or the right mouse button (Windows) pressed down and move 

the mouse upward or downward. 

Alternatively, enter the scaling factor into the input box (direct input, 


You can also use the arrow keys: 

1. Press RETURN/ENTER. Alternatively, CTRL-click (Mac OS) or rightclick 

(Windows) on the layout. This removes the focus from the 

toolbar. 

2. Press or to change the vertical size and or to change 

the horizontal size. It does not matter whether the cursor is inside 

the X* or X* input box. 

Each keystroke increments or decrements the scaling factor by 

0.1. Additionally press the OPTION (Mac) or ALT (Windows) key to 

use increments of 0.01. 

Scaling by Specifying Width or Height 


scaling. By default, this is the object’s center. See Defining Fixed 


2. Click into the input box labeled to specify the width or to specify 

the height. 






Scaling 

3. To change the width or height, hold CTRL and the mouse button (Mac 

OS) or the right mouse button (Windows) pressed down and move 

the mouse upward or downward. 

Alternatively, enter the value into the input box (direct input). 




toolbar. 

2. Press or to increase and or to decrease the size. 

Each keystroke changes the size by one increment of the unit 

currently selected in the toolbar. Additionally press the OPTION 

(Mac OS) or ALT (Windows) key to use increments of 0.1. 

If the width is 214.02 mm, for example, and use press 

will change to 216.02 mm. 

You can use different units for width and height. 

twice, it 

Note: 

This tool always maintains proportions, i.e. if you change the width, the 

height changes accordingly. 

The tool cannot be used for changing the width of horizontal lines or the 

height of vertical lines. Use a framing function instead (see page 8-10). 

Scaling Images to Original Size 

Click the button to automatically scale images according to the EX- 

PECTED PRODUCTION RESOLUTION specified using the FILE | LAYOUT PA- 

RAMETERS command. This can only be done when placing a new image 

on the layout or after selecting the CORRECT ( ) function in the MENU 

window for an active image layer. 

Having clicked this button, the image resolution will identical to the output 

resolution (provided that this resolution is actually used). This may 

prevent the need to resample the image, which would result in a deterioration 

of image quality. 

For more details refer to Expected Production Resolution (page 5-9). 





Rotating 


If the AUTOMATIC SCALE 1 option in the LAYOUT PARAMETERS dialog is enabled, 

images are automatically scaled according to the EXPECTED 

PRODUCTION RESOLUTION when being placed on the layout. 

Notes: 

If not applied to images or if the TRANSFORM function was used instead 

of CORRECT, the button will only restore the size an object had before 

the TRANSFORMATIONS toolbar was opened, i.e. reverse the scaling. 

Rotating 

Rotating Freely 

You can rotate active objects freely by dragging the rotation handles. 

Fig. 19-4 

Using Rotation Handles 

click 

drag 

Resize handles (left), rotation handles (center), pivot point indicated 

by cross. 


rotation. By default, this is the object’s center. See Defining Fixed 


2. Click on the layout to change the resize handles into rotation handles. 

If no handles are visible, end the current function by clicking on the 

layout or reselecting the button on the TRANSFORMATIONS toolbar. 

3. Place the cursor on a handle – the cursor form changes to (Mac 

OS) or (Windows) – and drag the handle to rotate the object. 






Perspective Distortions 

Rotating Accurately by Specifying Angle 


rotation. By default, this is the object’s center. See Defining Fixed 


2. Click into the input box labeled . 


(Windows) pressed down and move the mouse upward or downward. 

Alternatively, enter the angle you want into the input box (direct input, 





toolbar. 

2. Press or to increase and or to decrease the angle. 

Each keystroke changes the angle by 10°. Additionally press the 

OPTION (Mac OS) or ALT (Windows) key to change it by 1°. 

Rotating Paths About 1. Coordinate 

There is a special function for paths which allows you to rotate paths 

about the first coordinate specified when they were created. 

Note: 

1. Activate the path(s) (see page 8-1). 

2. Select PATHS | EDIT | ANGLE CHANGE. 

3. Enter the rotation angle you want directly on the keyboard (direct input, 

see page 29-7). Alternatively, do the following: 


2. Move the mouse vertically to change the rotation angle. 

3. Click on the layout when the angle is as you want. 

If several paths are active, each rotates about its own rotation point and 

not about the center of the bounding box around all paths. 

Perspective Distortions 

Perspective distortions can be created by rotating about the horizontal 

axis (DISTORT X) or vertical axis (DISTORT Y) or by combining both functions. 

See also Distorting Objects Using 4 Points (page 19-16). 






Scaling, Rotating and Moving in One Function 

Fig. 19-5 

Distorting Perspectively (Examples) 

Distort X 

Distort Y 

1. Click if you want to define the location of the rotation axis. By default, 

the axis passes through the object’s center. See Defining Fixed 


2. Click into the input box labeled (DISTORT X) or (DISTORT Y). 



Alternatively, enter the angle into the input box (direct input). 




toolbar. 

2. Use and (DISTORT X) or and (DISTORT Y). It does not 

matter whether the cursor is inside the or input box. 

Each keystroke changes the angle by 10°. Additionally press the 


Note: 

Avoid angles greater than 89° and lower than –89° as they cause the object 

to turn over completely. 

Perspective distortions are not supported for Page EPS files positioned 

as images on a layout (see page 33-4). 

Scaling, Rotating and Moving in One Function 

There is a function that allows you to easily move, rotate and scale proportionally 

without having to select a new function each time. 


scaling or rotation. See Defining Fixed Point (page 19-14). 

2. Click on the button. 






Skewing 

Skewing 


• Moving 

SHIFT-drag the object to the new position. Alternatively, enter the new 

coordinate directly on the keyboard (see page 29-7). 

You can also use the arrow keys 

. Each keystroke 

moves the object by one increment of the unit currently selected in 

the toolbar. Additionally press the OPTION (Mac OS) or ALT (Windows) 

key to move by 0.1 increment of the current unit. 

• Rotating 

Hold CTRL and the mouse button (Mac OS) or the right mouse button 


Alternatively, enter the rotation angle directly on the keyboard. 

You can also use CTRL+ . Each keystroke changes the 

angle by 10°. Additionally press the OPTION (Mac OS) or ALT (Windows) 

key to change it by 1°. 

• Scaling Proportionally 

Hold SHIFT+CTRL and the mouse button (Mac OS) or SHIFT and the 

right mouse button (Windows) pressed down and move the mouse 

upward or downward. 

Alternatively, enter the scaling factor directly on the keyboard. 

You can also use SHIFT+ . Each keystroke increments or 

decrements the scaling factor by 0.1. Additionally press the OPTION 

(Mac) or ALT (Windows) key to use increments of 0.01. 

4. To end the function, reselect the button, click on the layout or select 

another function from the TRANSFORMATIONS toolbar. 

How to distort active objects in a way that they are set into an oblique 

position: 


skewing. See Defining Fixed Point (page 19-14). 

2. Click into the box labeled . 





Mirroring 


Mirroring 



Alternatively, enter the angle into the input box (direct input). 




toolbar. 

2. Press or to increase and or to decrease the angle. 

4. Each keystroke changes the angle by 10°. Additionally press the 


Click if you want to define the point through which the mirror axis 

should pass. This is the center by default. See Defining Fixed Point 

(page 19-14). Then click on one of the following buttons: 

• to mirror along the horizontal axis 

• to mirror along the vertical axis 

Defining Fixed Point 

The fixed point is the point which remains fixed during a transformation, 

e.g. the pivot point of a rotation. By default, the fixed point is always in 

the center of an object. If several objects are active or if the shape is irregular, 

the fixed point is the center of the bounding box around all objects. 

You can set the fixed point to any position, e.g. in order to rotate an object 

about one of its corner points. Proceed as follows: 

1. Click the button. The current fixed point is indicated by a cross. 

2. Click on the position where you want to define the fixed point. Guide 

points help you to set the point accurately at characteristic positions 


You can also enter the point’s coordinate directly on the keyboard. 






Positioning Objects Accurately 

3. To end the function, reselect the button, click on the layout or select 

another function from the TRANSFORMATIONS toolbar. 

This fixed point is now used for all transformations applied to this object 

until you leave the transformation function. 

Note: If the object has been distorted using , the fixed point is automatically 

set on the lower left corner of the object or its bounding box. If this occurs 

you can change the fixed point at any time as described above. 

Fig. 19-6 

Indication of Fixed Point 

Fixed point 

(e.g pivot) 

Guide points 

Allow fixed point to be 

positioned precisely 

Positioning Objects Accurately 


Four points connected by lines are displayed. By 

default, the point in the lower left corner (marked 

by a frame) is active and can be positioned. 

2. If you want to use another of the four points, click this point twice. 

Note: Make sure the active point is represented as an empty square . If it 

is a filled square , the point is locked and the object will be distorted. 

You can also use the tool to set the four points on another positions. 

Refer to Specifying Points for Positioning/Distorting (page 

19-19). 

3. Take one of the following actions: 

• To position the point on a specific coordinate (e.g. 0/0), enter the 

values on the keyboard (press RETURN/ENTER after each input). 

The MANUAL ENTRY dialog appears automatically and the values 

you enter are displayed there (direct input, see page 29-7). 





Distorting Objects Using 4 Points 


• SHIFT-click on the desired position. The active point will ‘jump’ to 

this place. 

• Drag the point you want to the new position. 

Hold the SHIFT key pressed down if you want to restrict the movement 

to the horizontal or vertical direction. 

• Use the arrow keys . 

Each keystroke moves the object by one increment of the unit 

currently selected in the toolbar (X/Y input box). Additionally 

press the OPTION (Mac OS) or ALT (Windows) key to move by 0.1 

increment of the current unit. 


Using the tool objects can be distorted perspectively using 4 points, 

referred to as P1, P2, P3 and P4. The location of these points can be 

modified by the user (see Specifying Points for Positioning/Distorting below). 

Each point can have two states: locked ( ) or unlocked ( ). 

Different transformations are achieved depending on the number of 

points that are locked: 

Number of 

locked points 

Transformation achieved 

0 The object can be moved and positioned. 

1 The object rotates about the locked point and may also 

be scaled, if one of the unlocked points is moved. 

2 or 3 If one of the unlocked points is moved, all other points 

remain fixed and the object is distorted. 

Note: 

Distortions are not supported for Page EPS files positioned as images 

on a layout. 


Perspective Distortions (page 19-11) 

Replacing Low-Resolution Images (page 29-1) 







Example 

Fig. 19-7 

Distorting with Four Points (Example) 

To distort an image as illustrated in the figure above, proceed as follows: 


2. If you want to position the image, SHIFT-click to position the active 

point (P1). 

3. CTRL-click (Mac OS) or right-click (Windows) to select P2. This will 

automatically lock P1. 

4. Drag P2 to rotate the image about P1 and to scale it at the same time. 



6. Drag P3 to distort the image. The other three points remain fixed. 



8. Drag P4 to distort the image. The other three points remain fixed. 

9. Leave the function by reclicking or selecting another function 

from the TRANSFORMATIONS toolbar. 

Locking Points 

Locked points remain fixed if another point is moved, thus producing a 

transformation. They are represented by filled squares , whereas 

unlocked points are represented as empty squares . 

To lock a point, do one of the following: 

• Click on a point displayed as or . Reclick it to unlock the point. 

• CTRL-click (Mac OS) or right-click (Windows) on the layout to lock 

the active point . This additionally selects the next point. 







• Click to open the P1/P4 toolbar, then click on the P1, P2, P3 or 

P4 button. Reclick the button to unlock the point. A point is locked if 

the corresponding button is displayed as pressed down. 

Example: locked, unlocked 

Tip: 

The P1/P4 toolbar provides an overview of the points which are locked 

and displays the coordinates of the four points. 

Fig. 19-8 

‘P1/P4’ Toolbar 

Selecting a Point 

There is always an active point which is marked by a frame . Direct 

keyboard inputs (see page 29-7) refer to this point, for example. The 

point you have clicked or moved last is active by default. 

You can select one point after the other by CTRL-clicking (Mac OS) or 

right-clicking (Windows) on the layout. This additionally locks the point 

that was previously active. Additionally press the SHIFT key to reverse 

the order in which points are selected. 

Transforming by Moving P1–P4 

Take one of the following actions to move one of the four points to another 

position, thus rotating, scaling or distorting the object: 

• Drag the desired point to the new position. 



• Select the point you want, then SHIFT-click on the desired position. 

The point will ‘jump’ to this place. 

• Select the point you want and enter the new coordinate directly on 

the keyboard (press RETURN/ENTER after each input). 

The MANUAL ENTRY dialog appears automatically and the values you 

enter are displayed there (direct input, see page 29-7). 

• Click to open the P1/P4 toolbar, then enter the new coordinates 

for the points you want to move. 






Specifying Points for Positioning/Distorting 

• Select the point you want and press the arrow keys . 

Each keystroke moves the object by one increment of the unit currently 

selected in the toolbar. Additionally press the OPTION (Mac OS) 

or ALT (Windows) key to move by 0.1 increment of the current unit. 


How to redefine the default position of the four points P1, P2, P3 and P4 

used for positioning and distorting objects: 

1. Click the button. Four points connected by lines are displayed. 

If you are correcting an image layer, 

the image is loaded into a separate 

window and the points and lines are 

displayed on top of it. 

2. It may be useful to also click in order to open the P1/P4 toolbar. 

This toolbar appears automatically if you are correcting an image 

(see Fig. 19-8). 

3. Using the list at the right end of this toolbar, you 

can display different guide points (see also 

page 6-5). They help you to define P1–P4 on 

characteristic points of the object. 

The options on this list have the following meaning: 

• FREE – No guide points are displayed. 

• BOUNDING BOX – Guide points are displayed on the bounding 

box, an imaginary straight rectangle enclosing all active objects. 

• BASELINE – This option is only available if text 

paths are active (the paths defining text layers). 

Guide points are displayed on the text’s 

baseline. 

• PATH – This option is only available for certain standard paths 

(see page 33-5) and layers created with such paths. 

Guide points appear at characteristic positions, e.g. on the base 

points defined when the path was created. 







4. Move the four points to the new position by taking one of the following 

actions: 

• Drag the desired point to the new position. 



• SHIFT-click on the new position. The active point will ‘jump’ to this 

place. 

The point moved or clicked last is active (selected), which is indicated 

by a frame around the point ( inactive, active). 

You can select one point after the other by repeatedly CTRL-clicking 

(Mac OS) or right-clicking (Windows) on the layout. 

• Select the point you want and enter the new coordinate directly 

on the keyboard (press RETURN/ENTER after each input). 

The MANUAL ENTRY dialog appears automatically and the values 

you enter are displayed there (direct input). 

• Enter the new coordinates of the four points into the P1/P4 toolbar. 

• Select a point and press the arrow keys . 

Each keystroke moves the object by one increment of the unit 

currently selected in the P1/P4 toolbar. Additionally press the 

OPTION (Mac OS) or ALT (Windows) key to move by 0.1 increment 

of the current unit. 

5. To end the function, reclick the button or select another function 

from the TRANSFORMATIONS toolbar. 

If you are correcting an image press RETURN/ENTER, or click or 

to close the image window. 

You can now use the specified points to position and distort the object 

(see Positioning Objects Accurately and Distorting Objects Using 4 

Points above). 

Note: 

Make sure you do not specify the same position for two or more points. 

This would make positioning and distortion practically impossible. 





Transferring Image Transformations 



The current transformation of an image can be stored and then applied 

to another image in order to place it at exactly the same position and to 

scale, rotate, mirror or distort it in exactly the same way. 

This allows you, for example, to automatically combine a background 

image with a cut-out of the same image as shown in the figure below. 

For more details refer to How to Overlap Background Images (page 

11-14). 

Fig. 19-9 

Transferring Transformations to a Cut-out (Example) 

How to Transfer Transformations 

Activate the image layer whose transformations you want to transfer 

(see page 16-1). Then click , press F2 or select EDIT | SAVE VALUE. 

The next step depends on whether the image exists already on the layout. 

If the image to be transformed does not yet exist: 

1. Insert the image into the layout (see page 11-1). The transformations 

are automatically applied to the new image. 

2. You can then move, scale, rotate, distort etc. both layers together using 

the e.g. the handles or the TRANSFORMATIONS toolbar. 

If the image to be transforms exists already: 

1. Select the image layer, then select CORRECT in the MENU window. 

2. Click , click SHIFT+F2 or select EDIT | APPLY VALUE to apply the 

transformations. 

Annotations 

If the image is not visible, it may be hidden by other layers. In this case 

press RETURN/ENTER to display the MENU window, then select INSERT 

SELECTION and TOP LAYER to place it on top of all other layers. 

Background and mixground images may also be invisible because they 

are outside their restricting mask or path (see also page 11-1). 







The best way to make them visible is to select on the TRANS- 

FORMATIONS toolbar, then or SHIFT-click on the place where you want the 

image to appear. 





Image Editing 







20 Using Images 

Supported Image Formats 

Input Formats 

CT Images 

• TIFF and TIFF/IT CT 

• Separated TIFF (.CCT) 

• Scitex Handshake CT 

• Scitex New CT (only CMYK, 

grayscales or one spot color) 

• EPS 

• DCS 1.0, DCS 2.0 

• Hexachrome and other HiFi 

image formats (see page 33-2) 

• JPEG 

• Bitmap *) 

• Dainippon Screen 

Linework 

• TIFF/IT LW, HC 

• TIFF (monochrome) 

• Scitex Handshake LW 

• Scitex New Linework 

• CopyDot (EPS) 

• Bitmap (monochrome) *) 

• ORIS PDF Tuner 

(*.dot_control) 

*) Bitmap format not supported 

for Mac OS 




Using Images 



Output Formats 

CT Images 

• TIFF 

• Separated TIFF (.CCT) 

• EPS 

• DCS 1.0, DCS 2.0 

• Scitex Handshake CT 

(only CMYK, grayscales) 

• JPEG 

• Bitmap (only RGB) 

• Dainippon Screen (only CMYK) 

Linework 

• TIFF/IT LW 

• TIFF (only monochrome) 

• Scitex New Linework 

• Scitex Handshake LW 

• Bitmap 

(only monochrome) 

• ORIS PDF Tuner 

(*.dot_control) 



Opening Images (page 20-6) 

Opening Images as ORIS PDF Tuner Layouts (page 5-2) 

Opening TIFF/IT and Handshake Files (page 5-3) 

Editing Linework (page 26-1) 

Notes on Some Image Formats (page 20-21) 

Note: 

The image overview is a window that displays thumbnails of all images 

contained in a specific directory, like a ‘picture gallery’. It allows you to 

select images by their appearance. Thus you need not struggle with file 

names, which are often little meaningful. 

Page EPS without a preview are represented as gray areas on which the 

image type and file name are displayed. 





Using Images 


Fig. 20-1 

ORIS PDF Tuner Image Overview 

Selecting Image Overviews 

1. Click to open the current image overview. It contains thumbnails 

of all images contained in the directory that was selected last. 

Alternatively, you can select the following functions: 

• FILE | IMAGE OVERVIEW if no image or layout window is open 

• IMAGES | OVERVIEW if a layout window is active 

• IMAGES on the MENU window if an image window is active 

2. To change the directory, select OPEN OVERVIEW in the MENU window. 

This opens a dialog which allows you to select a folder. 

This dialog appears automatically if an image overview has not yet 

been selected in the current ORIS PDF Tuner session. 

3. Select a directory, then click OK. Note that this dialog displays only 

directories, not the files stored in them. 

On Windows systems you can also type the complete directory path 

into the input box, e.g. C:\Winter\Hotels\Canada. There are no error 

messages if invalid path names are entered. This functionality is 

part of the operating system and only available from Windows 2000 

onward. 

When starting to type into this input box, a list of the last entries pops 

up from which you can also choose a path. This feature is only available 

under Windows 2000. 




Using Images 



Leafing Through Large Overviews 

An image overview may be divided into several pages if there are many 

thumbnails in it. You may have to leaf through several pages until you 

find the thumbnail you want. 

Click NEXT PAGE in the MENU window to display the next overview page. 

Clicking this function on the last overview page displays the first page 

again. You can also use the following keys: 

Next page 

Previous page 

Last page 

First page 

Mac OS 

Windows 

PAGE DOWN 

PAGE UP 

HOME 

END 

The current overview page and the total number of pages are displayed 

on the title bar. For example, 1/2 means that there are two overview pages 

and the first of them is currently displayed. 

Note: 

An image overview may store up to 8192 thumbnail images. The images 

are displayed on up to 8 overview pages, each containing 49 images at 

first. When more images are added, the maximum number of images per 

overview page increases to 64, 81, 100, etc. and finally 1024. With 1024 

images the thumbnail size is only 8 x 8 pixels. 

Selecting Images from Image Overview 

To select an image in image overview simply click on its thumbnail. The 

selected image is marked by a magenta frame. You can then open it by 

pressing RETURN/ENTER or delete it using e.g. the BACKSPACE (Mac OS) 

or DELETE (Windows) key. Double-click a thumbnail to open the image. 

You can also select multiple images to open all of them at the same time. 

Multiple selections across different overview pages are not possible. 





Using Images 


The following table lists different ways of selecting thumbnails: 

To... 

Select a single 

thumbnail 

Do the following 

Click it or use the arrow keys 

select the next or previous image. 

to 

Select multiple 

thumbnails 

Deselect a thumbnail 

Select all thumbnails on 

an overview page 

Press CTRL+ . Alternatively, -click (Mac 

OS) or CTRL-click (Windows). 

-click (Mac OS) or CTRL-click (Windows) 

a selected thumbnail. 

Press +A (Mac OS) or CTRL+A (Windows), 

or use EDIT | SELECT ALL. 

Select first thumbnail on 

first overview page 

Select last thumbnail on 

last overview page 

Press 

Press 

(Mac OS) or HOME (Windows). 

(Mac OS) or END (Windows). 

Updating Image Overview 

To Add or Remove Thumbnails 

Image overviews are usually updated automatically by ORIS PDF Tuner. 

A manual update is only required if you have added, deleted or modified 

images using external programs such as the Macintosh Finder or Windows 

Explorer. In this case press F5 or select VIEW | UPDATE. The 

thumbnails are then added, deleted or modified accordingly. 

To Remove Gaps and Empty Follow-up Pages 

Press CTRL+F5 to rebuild an image overview completely on the screen. 

This will remove gaps caused by deleted images as well as empty follow-up 

overview pages. 

To Cancel Update Process 

You can press ESC to stop an image overview from being updated. The 

update continues when you press F5 or ESC afterwards. 




Using Images 

Opening Images 



There are two ways of opening an image: 

• Select it by appearance 

Selecting images from the image overview is usually the most 

convenient method. 

• Select it by file name 

Browsing for an image file or entering the file name is sometimes 

faster, but it requires that you know the file name. 

Note: 

Any image with a supported format can also be opened as a layout (see 

page 5-2). You can open a maximum of 28 image windows. 

Selecting Images by Appearance 

1. Click to open the current image overview. If your image does not 

appear there, use OPEN OVERVIEW in the MENU window to select another 

directory. For more details refer to Selecting Image Overviews 

(page 20-3) and Leafing Through Large Overviews (page 20-4). 

2. If the image is extremely large and your main memory rather small, 

you may want to load the image with a reduced resolution. In this 

case enable the LOAD COARSE option in the MENU window. 

See also Loading as Low-res Image or Preview (page 20-8). 

Note: 

3. To open an image, double-click on its thumbnail. 

Alternatively, select a thumbnail using 

, then press RE- 

TURN/ENTER or click OPEN in the MENU window. You can also select 

multiple images at the same time. 

See also Selecting Images from Image Overview (page 20-4). 

4. If ICC Color Management is enabled (see page 30-1), the MODIFY 

ICC PROFILE dialog may appear and you have to select an ICC profile. 

If you have mistakingly selected an image which takes extremely long to 

load, you can cancel the loading process by pressing ESC, , or . 





Using Images 


Selecting Images by File Name 

Method 1 

1. Select FILE | OPEN IMAGE, or press +SHIFT+O (Mac OS) or 

CTRL+SHIFT+O (Windows). A file selection dialog appears. 

2. Make sure the image format you want or ALL FILES is selected on the 

list labeled SHOW (Mac OS) or FILES OF TYPE (Windows). Only the 

files corresponding to the selected format appear in the list. 

If the format is EPS, select EPS, DCS to open the high-res data or 

EPS PREVIEW to open the preview (if available). 

3. Browse for the image or enter its name, then click OPEN. You can also 

select several images and open all of them at the same time. 

Method 2 



directory. 

2. If the image is extremely large and your main memory rather small, 

you may want to load the image with a reduced resolution. In this 

case enable the LOAD COARSE option in the MENU window. 

3. Select LIST in the MENU window. This opens a window listing all images 

with their file names and additional details. To open an image, 

double-click on the list item. See also page 11-17. 

Fig. 20-2 

List of Images in Image Overview 

This list displays all images stored in the selected directory. A plus sign 

in the USED column indicates that this mask is used on the current layout. 

To open an image, double-click a list item or click it once and select OK. 

You can sort the columns by clicking a column header. 




Using Images 



Loading as Low-res Image or Preview 

Images with more than 512 x 512 pixels can be loaded in a lower resolution, 

i.e. with a reduced number of pixels (a so-called ‘coarse’ images). 

This may be required in the case of insufficient RAM or to speed up image 

manipulation functions. 

Note: 

Images loaded in low resolution cannot be modified in the following way: 

• Retouching and linework editing 

• Conversion to grayscales 

• Filter functions (e.g. pixelation) 

EPS previews as well as JPEG files and other compressed images loaded 

in low resolution cannot be modified at all. 

How to Load as Low-res Image or EPS Preview 

Click on LOAD COARSE in the MENU window. This button toggles between: 

Image will be loaded in low resolution (‘coarse’). If the 

image is an EPS file containing a preview, the preview 

will be loaded. 

Image will be loaded in high resolution (‘fine’), i.e. all 

pixels will be loaded 

Note: 

Then open the image (see above). In the title bar of the image window 

(COARSE N) appears, where N is a number indicating the display resolution. 

COARSE 4 means, for example, that every 4th image pixel is loaded. 

EPS previews can also be opened using FILE | OPEN IMAGE. Select the 

file type EPS PREVIEW in the OPEN IMAGE dialog (see also page 20-22). 

Loading High-Res Image (Sections) 

Having loaded an image in low resolution, the functions LOAD FINE and 

FINE WINDOW appear in the MENU window. Use them to load the image 

in high resolution. You can then use any image manipulation function. 

LOAD FINE loads the entire image, whereas FINE WINDOW loads only a 

section of 1024 x 1024 pixels if the image is larger than this size. 

If FINE WINDOW is selected for an image exceeding 1024 x 1024 pixels, 

a rectangle appears indicating the section that will be loaded. To load a 

larger section, CTRL-click (Mac OS) or right-click (Windows) repeatedly. 

Additionally press the SHIFT key to reduce the rectangle. Then click on 

the image to load the selected image section. 





Using Images 


To open or activate the (entire) low-res image, select COARSE IMAGE in 

the MENU window. 

Note: 

Having modified and saved an image section (e.g. using the COLOR 

GRADATION function), image parts that were not loaded will remain unchanged. 

When you save the section under a new name, the new file will 

consist only of the image section you have loaded. 

Loading Neighboring Sections (‘Panning’) 

Having loaded an image section using the FINE WINDOW function, you 

can use the function NEIGHBOR to load neighboring areas. When selecting 

this function, you are prompted to enter a number on the keyboard. 

This number defines the direction you want to pan to. 

Which number to enter is easy to find out when you take a look at the 

numeric keypad (on the right-hand side of your keyboard). The way the 

number keys are arranged there corresponds to the effect they have on 

panning: 

1 Pans to bottom left 

7 8 9 2 Pans to bottom 

3 Pans to bottom right 

4 5 6 4 Pans to left 

5 No panning 

1 2 3 

6 Pans to right 

7 Pans to top left 

8 Pans to top 

9 Pans to top right 

By default the current and the new image section overlap by 10%. If you 

pan to the right (6), for example, the right 10% of the current section become 

the left 10% of the new section. 

To specify a different overlap area, enter a percentage value together 

with the area number. If you enter 625, for example, the right 25% of the 

current section become the left 25% of the new section. This means the 

first number defines the position of the new section and the last two numbers 

the percentage of the current area section should remain visible. 

If you do not want the two sections to overlap, enter 00 as a percentage 

value (e.g. 600). 

Saving Images Loaded in Various Resolutions 

If you have opened multiple windows of the same image (e.g. one loaded 

in high resolution, the other in low resolution) and save modifications 




Using Images 

Image Display and Measure Functions 


to one of them, the other windows no longer reflect the image stored on 

disk. This situation is indicated in the title bar of such image windows. 

You can save the contents of these windows as new images. 

The following appears in the title bar: 

• ORIGINAL OF ( is file name of original image) 

This indicates that the image is loaded completely (all pixels) and has 

not been changed. When you select FILE | SAVE, the image is saved 

in the same directory and under the name shown in the title bar. 

• (UNNAMED) 

This appears if the image was loaded in low resolution or as a highres 

section. When selecting FILE | SAVE you have to choose the name 

and location of the new image file. 


When editing a layout you can directly load any image positioned there 

without having to select it from the corresponding directory or image 

overview: 

1. Activate the image layer on the layout (see page 16-1). 

2. Select LOAD IMAGE in the MENU window. 

The image is loaded into a window. If it is a cut-out, the mask used 

for positioning it is also loaded. 

3. If ICC Color Management is enabled (see page 30-1), the MODIFY 

ICC PROFILE dialog may appear and you have to select an ICC profile. 

Image Display and Measure Functions 

Rotating 

Images (except linework) can be rotated clockwise by 90°, 180° or 270°. 

To do so, repeatedly select FLIP on the MENU window or VIEW pull-down 

menu. This affects only the on-screen display, not the image data itself. 

The image automatically rotates back into its previous position when you 

save it. To prevent this, select FIX ROTATION in the Menu window before 

saving the image. 

The FLIP function enables you to get a right-reading representation of 

images which were not scanned in lying orientation. This allows more 

convenient cut-out mask creation and image manipulation. 

Zooming See page 30-12 

Panning See page 30-16 





Using Images 

Copying Images 


Measuring Colors See page 30-21 

Measuring Distances and Angles See page 30-23 

Listing Images Used on Layout See page 11-16 

Note: 

ORIS PDF Tuner allows you to copy images and linework as a whole or 

partially. As an option, the image size can be increased or decreased at 

the same time by adding or removing scanlines. 

There are two different methods: 

• Copying Without Selection Rectangle 

• Copying With Selection Rectangle 

There is no relation between a copied image and the layout on which the 

original image is used. If you delete the original image, it will be missing 

on the layout. In this case you must update the layout using the IMAGES 

| LIST function. For more details refer to Replacing Images (page 11-15). 

Copying Without Selection Rectangle 





2. Select the image to be copied, e.g. by clicking on it. 


3. Select COPY in the MENU window. The COPY IMAGE dialog appears 

(see page 20-12). Note that the COPY function is not available if you 

have selected more than one image. 

4. Specify the target directory and the new file name. 

You can also change the image size by adding or removing scanlines 

(see page 20-13). 

Copying With Selection Rectangle 

1. Open the image to be copied (see page 20-6). 

2. Select COPY in the MENU window. 

3. Define the image section to be copied by drawing a rectangle. 

To do so, set two corner points by clicking on the image or enter the 

coordinates on the keyboard (direct input, see page 29-7). 




Using Images 



You can correct these coordinates. To do so, SHIFT-CTRL-click (Mac 

OS) or SHIFT-right-click (Windows) to select the previous point. Then 

SHIFT-click to set the point on the new position. 

4. Click the mouse button again, press RETURN/ENTER, or click . The 

COPY IMAGE dialog appears (see page 20-12). 

5. Specify the target directory and the new file name. 

6. The dialog displays the number of scanlines that will be removed. 

You can modify this number (see page 20-13). 

‘Copy Image’ Dialog 

Fig. 20-3 

‘Copy Image’ Dialog 

Image Information 

This dialog area displays the name of the image to be copied as well as 

its pixel size and image type (e.g. HS = Scitex Handshake, BW = grayscales). 

Destination File 

Use this box to specify the new image name and the directory to which 

the image should be copied. 

Enter the path name, or click or to browse for a directory. 




Additional Scanlines 


Using Images 

Saving Images and Converting Image Format 

Enter positive values into the LEFT, RIGHT, TOP and BOTTOM boxes if you 

want to enlarge the image by adding white pixel lines. This is required, 

for example, if you want to retouch an image beyond its original borders. 

If you enter negative values, pixel lines will be subtracted and the image 

becomes smaller. If you have drawn a selection rectangle beforehand in 

order to copy only an image section, the (negative) number of pixel lines 

to be removed is displayed in these boxes. 

If all boxes contain the value 0, the entire image will be copied and its 


Note: 

Adding or removing scanlines has the following side effects: 

• Compressed images are converted into uncompressed TIFF format. 

• EPS previews are copied without the EPS data, resulting in low-resolution 

TIFF images. 

• TIFF linework files are converted into grayscale TIFF images. 

• If an image is reduced in size, masks which would extend beyond 

the edge of the new image are not copied. 


To overwrite the original image file: 

Click or select FILE | SAVE or press +S/CTRL+S. 

To save the image as a new file: 

Select FILE | SAVE AS. 

Or press +SHIFT+S (Mac OS) or CTRL+SHIFT+S (Windows). 

Before ORIS PDF Tuner saves the file, you may be prompted to 

specify additional options such as the image format or compression 

level. See below for more details. 

‘TIFF Options’ Dialog 

TIFF Compression 

If you want to compress the TIFF file and thus reduce the file size, 

choose a compression method, otherwise select NONE: 






Using Images 


• Packbits Macintosh RLE (lossless) 

• ZIP 


Click JPEG OPTIONS to define the compression level (see page 20-17). 

Note: 

There are only few programs (including ORIS PDF Tuner) which are 

capable of opening JPEG-compressed TIFF documents. 

The following compression methods can only be chosen for monochrome 

images, i.e. 1-bit images consisting of only two tonal values 

(‘Bitmap’ format in Photoshop): 

• Huffman RLE 

• CCITT Group 3 

• CCITT Group 4 

‘Include ICC profile’ Option 

Enable this option to save the ICC profile currently assigned to an image 

to the image file (i.e. to embed it). 

This option is only available if ICC Color Management is enabled and no 

profile is embedded in the image (see page 30-1). 

Fig. 20-4 

‘TIFF Options’ Dialog 

‘EPS Options’ Dialog 

Preview 

An EPS file may contain a low-resolution TIFF preview image which is 

used to display the file on the screen. Select the type of preview (RGB 

or GRAYSCALE) or select NONE if you do not want to create a preview. 





Using Images 


Note: 

DCS format 

Use this parameter if you want to create DCS (Desktop Color Separation) 

documents. These are EPS files with separated data. You can 

choose between four settings: 

DCS 2.0 (SINGLE FILE) 

This setting produces a single DCS file with separated PostScript 

data (file extension EPS). 



These settings produce one file for each color separation (file extension 

C, M, Y or K, respectively) and a master file (file extension EPS). 


version of the file contents used for output on color printers. 

The TIFF preview can be used for page assembly. 

NONE (EPS) 

This setting produces a normal EPS file with composite data (*.EPS). 

The DCS FORMAT parameter is not available for RGB images. 

Include ICC profile 


to the image file (i.e. to embed it). 



Data format 

Determine whether you want to create the image with ASCII or Binary 

format. 

Compression 

If you want to compress the EPS file and thus reduce the file size, 

choose a compression method, otherwise select NONE: 



If you choose JPEG compression, use the QUALITY and FILE SIZE parameters 

to determine the compression level (see below for more details). 




Using Images 


Photoshop compatible compression 

If you compress the EPS file, enable this option to ensure the file can be 

opened in Photoshop. Photoshop accepts only ASCII-coded JPEG compression 

in EPS files. If this option is enabled, you cannot select LZW 

compression or binary format. 

Note on Masks 


Using the MASK ADMINISTRATION dialog (see page 22-2) you can copy 

vector masks into the image file so that they are available in Photoshop, 

for example, and also define which of them should be used as a clipping 

path. See also Exporting Masks as Photoshop Paths (page 22-12). 

Fig. 20-5 

‘EPS Options’ Dialog 




‘JPEG Options’ Dialog 

Quality 


Using Images 




LOW 0–4 

MIDDLE 5–7 

HIGH 8–9 




Note: 

Since JPEG compression is lossy, image quality decreases whenever 

you save a JPEG image. There is even a slight loss in quality if you use 

the highest quality level (12). 

We therefore recommend to use TIFF format for images which will be 

several times retouched or modified otherwise. Finally, when the last 

modification is made, save the image in JPEG format to decrease file 

size. 

File size 




size. 

Baseline optimized format 

Enable this option to further reduce the file size without reducing image 

quality. Output will be slower if this optimization is used. Please note that 

there may be programs which are unable to interpret baseline optimisation. 

Include ICC profile 


to the image file (i.e. to embed it) . 






Using Images 

Deleting Images 


Fig. 20-6 

‘JPEG Options’ Dialog 

Deleting Images 

Notes on Saving Images 

• Saving an image terminates the current image editing function. 

• Compressed images cannot be modified (e.g. retouched) if you 

have not loaded every image pixel. See also Loading as Low-res 

Image or Preview (page 20-8). 

• 8-bit RGB TIFF images are converted into uncompressed TIFF format 

when they are saved. Overwriting the original image file is not 

possible. 

• Images loaded in low resolution (see page 20-8) cannot be converted 

to another format. You must load them with high resolution. 

How to delete an image by selecting its thumbnail in the image overview: 





2. Select the image you want by clicking on its thumbnail. 

You can also select multiple images and delete them in one go. The 

selected images are marked by a magenta frame. If you have selected 

an image by mistake, -click (Mac OS) or CTRL-click (Windows) 

it to deselect it. 


3. Click , select EDIT | DELETE or select DELETE in the MENU window. 

Alternatively, press BACKSPACE (Mac OS) or DELETE (Windows). 





Getting Information on Images 

Using Images 

Getting Information on Images 

There are different ways of getting information about images used in 

ORIS PDF Tuner: 

• Information about image opened in a window 

The information is displayed in the STATUS window to the left of the 

image. 

• Information about image in overview 

Click once on a thumbnail image to have the information displayed in 

the STATUS window. 

• Information about all images in overview 

Select LIST in the MENU window to display a list of all images contained 

in the current image overview. 

• Information about image layer on layout 

Activate the image layer. The information is displayed in the LAYER 

INFO window (see page 16-18). You can also select the INFO function 

in the MENU window to have additional image information displayed 

in the STATUS window. 

• Information about all images on a layout 

Select IMAGES | LIST to display a list of all images and masks used on 

the current layout. 

Note that the type of information differs according to the way it is retrieved 

(see below). 


Activating Layers (page 16-1) 

Getting Information on Layers (page 16-18) 

Listing and Updating Images and Masks (page 11-16) 

Status Information For Images 

Images in Image Overview and on Layout 

IMAGE 

IMAGE TYPE 

Name of image file 

Image format and color space 

• BW: grayscales 

• HS: Scitex Handshake 

• PAGE EPS: EPS file with more than one element 

• SPOTCOLOR/EPS: CT image with spot colors 




Using Images 

Windows/Mac Compatibility 


PIXELS Image size in pixels 

...KB/MB Size of uncompressed file, not displayed for linework 

Resolution In lines per centimeters 

NUM. OF MASKS Number of masks stored in ORIS mask files. A plus 

sign indicates that at least one of these masks is used 

on the current page (see also page 22-1). 

IMAGE SIZE Image dimensions. The unit of measurement used 

here can be selected using the FILE | SYSTEM SETUP | 

SPECIAL UNITS function (see page 31-4). 

# P-PATHS 

* 

Number of Photoshop paths stored in image file. An 

asterisk indicates that one of them is a clipping path 

(see page 22-12 and 22-3). 

Images Opened in a Window 

CMYK/RGB/ 

GRAYSCALES... 

Coarseness 

factor: 

Magnification 

level 

...KB/MB 

RESOLUTION 

IMAGE SIZE 

ICC PROFILE 

Image color space, 

BW = grayscales, HS = Scitex Handshake, PAGE EPS 

= EPS file with several elements (not just one image) 

FULL: – The entire image is loaded 

COARSE N – Only every nth pixel is loaded 

FINE – The entire image or a section of it is loaded 

(depending on image size, see page 20-8) 

‘100%’ means that one image pixel is represented by 

one pixel on the screen (see page 30-12). 

Size of uncompressed file, not displayed for linework 

In lines per centimeters 

Image dimensions. The unit of measurement used 

here can be selected using the FILE | SYSTEM SETUP | 

SPECIAL UNITS function (see page 31-4). 

ICC input profile assigned to the current image. Or: 

File name of embedded profile. Only displayed if ICC 

color management is enabled (see page 30-1). 

Windows/Mac Compatibility 

If layouts created on a Macintosh are processed with the Windows version 

of ORIS PDF Tuner, the image path names are translated into the 

Windows syntax so that the images are found without operator intervention. 





Using Images 

Notes on Some Image Formats 

If layouts created on a Windows platform (using ORIS PDF Tuner or 

ORIS Works) are processed with the Macintosh version of ORIS PDF 

Tuner, the image path names are only translated into Macintosh syntax 

if UNC names were used instead of network drive letters when the images 

were placed on the layout. 

Example: \\server\images\winter instead of Y:\winter. 

In both cases it is important that the server names or network drive letters, 

respectively, are identical on the Macintosh and Windows platform. 


About EPS and DCS Files 

EPS stands for Encapsulated PostScript. EPS files may contain a preview 

image in addition to the PostScript data. A preview is a low-resolution 

TIFF image required for representing the file on the screen. 

Most DTP programs are able to import EPS files and use them on the 

layout, which is not possible with PostScript final pages. However, the 

contents of an EPS file cannot be modified. 

DCS stands for Desktop Color Separation, i.e. EPS files with separated 

data. ORIS PDF Tuner supports DCS 1.0 (multiple files) and DCS 2.0 

(single file and multiple files). ‘Multiple files’ means four files containing 

the separated data and a master file referencing the separation files. 


version of the file contents used for output on color printers. The TIFF 

preview can be used for page assembly. 

‘Image EPS’ and ‘Page EPS’ Files 

When working with ORIS PDF Tuner you must distinguish two types of 

EPS files which are hereafter referred to as Image EPS and Page EPS 

files. 

Image EPS files contain only one single image. Such files are created 

e.g. in ORIS PDF Tuner by saving an image in EPS format or by image 

editing programs such as Photoshop. Image EPS files can be used in 

ORIS PDF Tuner like any other image. 

Page EPS files are EPS files containing not just one image but several 

elements. Such files are created e.g. by converting ORIS PDF Tuner layouts 

to EPS format (EXPORT function). ORIS PDF Tuner allows you to 

display only the preview of a Page EPS file. 




Using Images 


How ORIS PDF Tuner Handles EPS Previews 

EPS previews can be positioned on a layout like any image, including 

the option to additionally create and use cut-out masks. 

Displaying Previews on a Layout 

If an Image EPS file has a preview, you can display either the preview or 

the high-resolution data. To toggle between these options, use the LOAD 

COARSE function in the image overview (MENU window) before opening 

the EPS image. On a layout containing EPS images, use the FINE/ 

COARSE option in the LAYOUT PARAMETERS dialog, which can be opened 

using the FILE menu function with the same name (see page 5-7). A preview 

is not displayed if the image size is 512 x 512 pixels or smaller. 

For more details refer to Opening Images (page 20-6) and Loading as 

Low-res Image or Preview (page 20-8). 

In the case of a Page EPS file the preview is displayed always. It is not 

possible to display the high-res data. If there is no preview, a gray area 

appears on which the image type and file name are displayed. 

Restrictions for Previews 

ORIS PDF Tuner does not allow the following for EPS previews: 

• Image modifications (e.g. retouching) 

• Adding or removing scanlines when copying (see page 20-11) 

If this is done, the TIFF preview will be copied without the EPS data. 

• Perspective distortions on a layout 

This applies to Page EPS files only, not to Image EPS files. 

Creating Previews 

To create a preview, select FILE | SAVE AS, store the image under the 

same name and select a PREVIEW in the EPS OPTIONS dialog (see 

page 20-14). 

EPS and DCS Input 


There are two ways of positioning EPS documents on ORIS PDF Tuner 

layouts: 

Opening and Placing EPS Images 

EPS images can be selected from a directory or image overview, loaded 

into a window and then positioned on a layout. If a clipping path is stored 





Using Images 


in the EPS file, it is automatically used as a cut-out mask. In the case of 

a Page EPS file the preview will be positioned. 

Note: 

Page EPS files positioned as images on a layout can only be modified 

as a whole, i.e., it is not possible to change individual elements. 

See also Opening Images (page 20-6) and Inserting Images Into Layout 

(page 11-1) 

Importing EPS Files Using PostScript Interpreter 

Using FILE | IMPORT PDF OR POSTSCRIPT ( +OPTION+I/CTRL+ALT+I) 

(see page 2-1) you can convert the individual elements of a Page EPS 

file into ORIS PDF Tuner format. Each element is turned into a layer 

which can then be modified individually on the ORIS PDF Tuner layout. 

Note: 

If the Page EPS file is a DCS, however, only the preview will be extracted. 

If such ORIS PDF Tuner layouts are converted to another format EX- 

PORT function), the resulting documents will contain the preview. To output 

the high-res data, the DCS must be positioned on the layout as an 

image. 

EPS and DCS Output 

Creating EPS and DCS Images 

To convert images into EPS or DCS format, select FILE | SAVE AS and 

choose EPS, DCS from the FILE TYPE list. DCS format is not available for 

RGB images. See also ‘EPS Options’ Dialog (page 20-14). 

Image EPS files created by ORIS PDF Tuner can be opened in Photoshop 

as high-resolution images and further modified with this program. 

If a cut-out mask is stored in an EPS file, it can be used as a clipping 

path. There may only be one mask per EPS file. 

Converting Layouts to EPS or DCS Format 

To convert ORIS PDF Tuner layouts into EPS or DCS format, select FILE 

| EXPORT (see page 3-1). To create DCS files, use the DCS FORMAT parameter 

on the PAGE tab of the EXPORT LAYOUT dialog (see page 3-1). 

Note: 

Page EPS files positioned as images on a layout can only be output on 

PostScript or EPS final pages (not Flat PostScript). 




Using Images 



Page DCS files and DCS images with spot colors can only be output in 

separated PS/EPS format. With all other output formats only the preview 

is used, which is, however, of little use due to its low resolution. 

About CopyDot Files 

CopyDot files are created by scanning screened color-separated films in 

order to integrate the data (e.g. advertisements) into a digital workflow. 

The result is usually a set of 5 files with EPS/DCS format: 

• The four color separations, usually with the file extensions .C, .M, .Y 

and .K 

• A master file that references the color separations and contains a 

preview for on-screen display 

There are also single-file CopyDot data that include the four color separations. 

In the ORIS PDF Tuner image overview, only the master file is displayed. 

When you open the master file, the linework is loaded with all four color 

separations and you can edit it by e.g. changing the linework colors, filling 

color areas or brushing. See also Editing Linework (page 26-1). 

Having modified a CopyDot file, you can only save it as a new image using 

one of the linework formats that ORIS PDF Tuner supports. 

Note: 

If CopyDot files are imported into a layout using FILE | IMPORT PDF OR 

POSTSCRIPT, only the low-resolution preview image will be extracted, as 

in this case access to the high-res color separations is not possible. 

Linework File Formats 

Unlike continuous tone images, which store the color values of each pixel, 

linework stores only references to colors which are defined in a color 

table. This makes linework a compacted image format which allows high 

resolution data to be stored in relatively small files. 

ORIS PDF Tuner allows you to open linework files, to modify them using 

the Linework Editor and to position them on a layout. Linework editing 

includes filling color areas, modifying colors, retouching and pixel copy. 

Moreover, the linework color table can be displayed and modified. 




Please note that there are a few restrictions: 

Using Images 


• The maximum number of colors stored in a linework is restricted to 

255 in Scitex Handshake and TIFF/IT linework files, except for Scitex 

New Linework (*.NLW). 

• Bitmap and TIFF lineworks are monochrome (1-bit) formats with 

only 2 color table entries. Only black and white may be used when 

editing such files. 

A warning that you will lose information appears when you save a linework 

with more colors in monochrome format and when you start 

the Linework Editor. 

When converting a colored linework to monochrome format, you 

must reload the file to see the color change. 

• TIFF/IT HC files can neither be modified using the Linework Editor 

nor saved to another linework format. 

TIFF/IT HC (High resolution Contone) files have no color table and 

are therefore not as compacted as other linework formats. Unlike 

TIFF/IT LW, they can store any number of colors including spot colors 

and are used e.g. for high-resolution edge definition. 

• Layouts with more than 255 colors in linework, text or tint elements 

can only be exported to the following formats: 

• PDF, PostScript, EPS (including the Flat formats) 

• Scitex Handshake with *.NLW file 

• TIFF/IT or Scitex Handshake without *.LW file (‘all-in-CT’) 

• TIFF and JPEG 

• TIFF/IT HC files can only be exported in ‘all-in-CT’ formats. 


Editing Linework (page 26-1) 

Opening Images (page 20-6) 

Exporting Layouts (page 3-1) 

Scitex New CT Files 


Scitex New CT (NCT) files are CT images that support spot colors. 

The current ORIS PDF Tuner version supports only Scitex NCT files with 

CMYK colors, grayscales or exactly one spot color. 

Scitex NCT images with spot colors are currently displayed in grayscales, 

because ORIS PDF Tuner it not yet capable of displaying spot 

colors on the screen. The spot colors are calculated correctly, however, 

when exporting layouts with Scitex NCT images to another format. 




Using Images 


16-Bit TIFF Images 


ORIS PDF Tuner does not support 16-bit TIFF images. When opened, 

such images are automatically converted to 8-bit format. A question dialog 

appears allowing you to cancel the operation. The reduction in colors 

may cause a loss in quality. 

Bitmap Linework on Mac 

Saving linework files in Bitmap format on Macintosh systems does not 

produce correct results in the current software version. 





21 Creating Masks and Cut-outs 

Mask Types 

Masks are mainly used for creating cut-outs. They define the image area 

which will be placed on a layout. Masks can also be used for restricting 

image manipulations (e.g. color transformations) to specific image areas. 

Such masks are referred to as restricting masks. 

Cut-outs can be placed on a layout 

• as foreground images (see page 11-1) 

• as mixground images (see page 11-2) 

• in a way that background images are overlapped (see page 11-3) 

When you create a mask and use it (e.g. for placing a cut-out), the mask 

is stored automatically and can later be loaded, modified and used 

again. For more details refer to Working With Masks (page 22-1). 

Vector Masks 

Vector masks define the outline of the image area to be cut out. This outline 

is defined by paths. To create these paths use the toolbar buttons 

or the functions on the MASKS | PATHS menu. 

The tool (MASKS | PATHS | OTHER PATHS) starts the Path Editor (see 

page 9-1), a useful tool for creating irregular and complex outlines. 

Fig. 21-1 

Vector Mask Created with Path Editor and Placed on Layout 




Creating Masks and Cut-outs 

Creating Pixel Masks Using Brush 


Note: 

Pixel Masks 

Pixel masks cover all pixels you want to include in the cut-out. There are 

two types: 

• 8-bit masks 

These are transparent masks with a density varying between 0 and 

100%. If 8-bit masks are used for placing a cut-out, underlying layers 

show through and image edges softly melt with the background. 

• 1-bit masks 

The density of these masks is always 100%. Cut-outs created with 

1-bit masks are completely opaque. 

1-bit mask are also displayed with a certain degree of transparency if the 

VIEW | MASKS TRANSPARENT option is enabled. However, this affects only 

the screen display, not the layout (see also page 30-19). 

Fig. 21-2 

Pixel Masks, 1-bit (left) and 8-bit (right) 


When using the brush tool you paint mask color on the image areas to 

be inserted into the layout. This can also be automated. This means that 

your brush strokes will only mask pixels of a selected color. 

See also Creating Vector Masks (page 21-12). 

How to Create Pixel Masks Using Brush 


Note that all pixels must be loaded if you want to create 8-bit masks, 

i.e. you cannot use coarse images in this case (see also page 20-8). 

2. It is advisable to select MASKS | CLEAR. 

This function removes masks from the screen. A mask may be active, 

but not visible in the currently displayed image area. If you do not remove 

it, it will become a part of the mask you are creating. 

3. Select MASKS | PIXEL to open the ‘Paint Masks’ Dialog (page 21-4). 





4. Select the type of mask to be created: 



To create (transparent) 8-bit masks, click on −> 8 BIT in the MENU window. 

The function name changes to −> 1 BIT. Click this function to 

create (opaque) 1-bit masks. The function name changes to −> 8 BIT. 

8-bit masks cannot be created on linework images. 

5. Select the following functions in the MENU window to determine the 

masking mode: 

Function Purpose More details 

POINT 

LINE 

FILL 

AUTO 

BRUSH 

Manual masking modes. In LINE 

mode straight connecting lines are 

drawn automatically between the 

points on which you click. 

Closed mask outlines are filled entirely 

when you click inside them. 

Automatic masking: Only pixels of a 

specific color are masked when you 

brush over the image. Available for 

1-bit masks only. 

See below 

Page 21-7 

Page 21-8 

6. Follow the instructions in the following sections: 

Painting and Erasing (see below) 

Brush and Mask Settings (page 21-5) 

Inverting Masks (page 21-6) 

7. When the mask is finished, place the cut-out on the layout using 

COMPOSE | FOREGROUND (see page 11-9) – or 

COMPOSE | MIXGROUND (see page 11-11) 

The mask is saved automatically. If you do not want to place the cutout, 

save the mask using STORE MASK in the MENU window. 







Fig. 21-3 

‘Paint Masks’ Dialog 

Paint mode 

Brush strokes 

create new 

mask areas 

Erase mode 

Brush strokes 

delete mask areas 

Brush size 

in pixels 

Brush border *) 

Blurred or sharp 

Brush shape *) 

Circle or box 

Brush display 

Enabled: 

Brush always displayed as a cross 

Disabled: Brush displayed as a 

circle or box, depending on the 


*) Only available for 8-bit masks 

Painting and Erasing 

How to Paint 

You can paint when the button in the PAINT MASKS dialog (see 

Fig. 21-3) is pressed down. If it isn’t, hold the OPTION (Mac OS) or CTRL 

(Windows) key pressed down. 

Painting is only possible in the POINT or LINE mode. In POINT mode, each 

mouse click produces a single dot, whereas in LINE MODE a straight line 

is drawn automatically between the points on which you click. In both 

modes you can hold the mouse button pressed down to draw lines. 

Use the POINT and LINE functions in the MENU window to enable these 

modes. The current mode is displayed in the STATUS window. To toggle 

between POINT and LINE mode, you can also hold the SHIFT key pressed 

down when you are brushing. 

How to Erase 

Initial 

mask 

density *) 

Mask density limit *) 



the mask density increases 


Note: 

You can erase when the button is pressed down. If it isn’t, hold the 

OPTION (Mac OS) or CTRL (Windows) key pressed down. 

Click to erase a single dot, hold the mouse button pressed down to erase 

mask areas. 

When erasing 8-bit masks, the brush border is sharp by default. However, 

the ERASER EFFECTS function in the MENU window allows you to use 

the current brush border for erasing. Thus you can create blurred borders, 

depending on the current brush border setting. 






Reselect ERASER EFFECTS to switch back to erasing with sharp borders. 

Brush and Mask Settings 

Changing Brush Size 


You can vary the brush size between 1 pixel and 999 x 999 pixels. Use 

this slider or enter the size into the input box. 

Alternatively, you can repeatedly CTRL-click (Mac OS) or right-click (Windows) 

on the image window to increase the brush size step by step. Additionally 

press the SHIFT key to reduce the brush size. 

If the AUTO BRUSH mode is active, however, you can only change the 

brush size using the slider or input box. 

Selecting Brush Border 

Use this list to select the brush border. The following border types are 

available: 

FULL Sharp brush borders 

LINEAR Blurred brush borders 

GAUSS Extremely blurred brush borders 

Selecting among brush borders is only possible for 8-bit masks. With 

1-bit masks the border is always sharp. 

Selecting Brush Shape 

Click one of these buttons to define the brush shape (square or round). 

Selecting Brush Display 

Use this button to define how the brush is displayed: 

The brush is displayed as a square or circle, 

according to the current brush shape. 

The brush is always displayed as a cross, 

regardless of the current brush shape. 






Setting Mask Density 


Use this slider or input box to define the mask density (transparency). 

This is only possible for 8-bit masks. The lower the density, the more will 

the background show through when the cut-out is placed on a layout. 

Density can be set between 0% (transparent) and 100% (opaque). 

Note that this only defines the initial mask density. When you brush repeatedly 

over the same image area, the mask density will increase beyond 

the specified value up to 100% or up to the specified density limit. 

To specify a mask density limit, enable the MAX. DENSITY option and enter 

a percentage value into the input box. The value defaults to the current 

mask density. Now the mask density will never exceed the specified 

limit, even if you brush repeatedly over the same image area and regardless 

of the specified (initial) mask density. 

Selecting Mask Color 

The default mask color is the color defined using FILE | SYSTEM SETUP | 

DISPLAY COLORS. However, you can override this setting by selecting 

MASK COLOR in the MENU window of function MASKS | PIXEL. The color 

selected here is used until you leave the MASKS | PIXEL function. 



Defining Display Colors (page 31-2) 

Inverting Masks 

To invert a mask, select INVERT MASK in the MENU window of the MASKS 

| PIXEL function. 

This will mask all unmasked image areas and remove the mask from all 

masked areas. If the density is lower than 100%, it is increased or decreased 

accordingly (e.g. from 80% to 20% and vice versa). 




Filling Masks 

To fill closed mask outlines: 

Although a mask outline appears to be closed, it may actually have one 

or several gaps. When filled, such outlines ‘leak’ and allow the mask color 

to cover also other image areas or even the entire image. 

This situation may e.g. occur if ... 

• 8-bit masks are painted with a blurred brush border, above all if 

GAUSS is used. To prevent mask leaking in this case you should 

paint the mask outline twice. 

• a mask created on an image displayed with high resolution is filled 

on an image displayed with lower resolution (‘coarse image’) since 

the mask becomes coarse in this case. See also page 20-8. 

If a mask leaks, select UNDO 1 FILL in the MENU window to reverse the fill 

operation. Then close the gap in the outline. If you have filled several arhttp://www.image2output.com 



1. Select FILL in the MENU window of the MASKS | PIXEL function. This 

enables the FILL mode. 

2. Click anywhere inside a mask outline to be filled. 

In case of 8-bit masks, closed outlines are formed by mask areas with 

a higher density than the current mask density (selected in the dialog). 

When you click inside such an outline, it is filled with mask color 

of the current density. 

Note: 

There is a tolerance of 2%, i.e., mask areas form a closed outline 

even if their density is 2% lower than the current mask density. 

3. Repeat step 2 until you have filled all areas you want to cut out. 

4. You can use UNDO 1 FILL and UNDO ALL FILLS in the MENU window to 

reverse the first or all fill operations respectively. 

5. To resume manual masking, select POINT or LINE in the MENU window. 

This disables the FILL mode. 

Tip: 

Typically, you move the cursor along the outline of the area to be cut out 

and fill it afterwards. It is often a good idea to draw the line outside this 

area, fill the image area you do not need and finally invert the mask. 

If a Mask Outline ‘Leaks’... 







eas, select UNDO 1 FILL repeatedly to undo the filling of each area. Select 

UNDO ALL FILLS to undo the filling of all areas simultaneously. 

Conversely, if you zoom out extremely on an image, closed mask lines 

may appear to be open. However, these areas can be filled without any 

problems. If in doubt, check the lines with the image displayed at its actual 

size (VIEW | 100%, see page 30-15). 

Note: 

Automatic Masking Using Brush 

Cut-out creation with the brush tool (MASKS | PIXEL function) can be automated. 

In this mode only pixels of a selected reference color are 

masked when you brush over them. This is extremely helpful e.g. for 

masking edges. 

To enable the automatic masking mode, select AUTO BRUSH in the MENU 

window. Now additional functions appear in the MENU window (see below). 

To switch back to manual masking, select POINT or LINE. 

The AUTO BRUSH mode is only available for 1-bit masks. 


Before painting you must specify the color to be masked (i.e. the reference 

color). As you move the cursor, only the pixels that match the reference 

color will be masked. Similar colors are also masked, depending 

on the tolerance value you have specified. 

1. Select REFERence COLOR in the MENU window. 

Alternatively, SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) 

on the image window. 

2. Click on the image position containing the reference color. 

3. Make sure the button is pressed down. Drag the cursor across 

the image areas you want to cut out. 

To erase mask color, click or hold the OPTION (Mac OS) or CTRL 

(Windows) key pressed down. 

4. Repeat these steps as often as required. 

‘Dynamic Reference’ Function 

Using function DYNamic REFERENCE in the MENU window you can enable 

and disable dynamic referencing of the color to be masked. 

In this mode the reference color is defined automatically using the color 

of the pixels within the brush. As you move the cursor across the image, 

the program defines new reference colors on the basis of the pixels already 

masked. As the mask areas always overlap each other when you 







Note: 

move the cursor, some pixels of the previous cursor position are always 

masked. If all or none of the pixels within the brush are masked, the reference 

color does not change. 

This facilitates e.g. masking along edges where the color selected as the 

reference color changes only slightly. In this case you can paint rather 

continuously, i.e. without having to change the reference color or tolerance 

frequently. You can at any time define a new reference color by reselecting 

REFERence COLOR. 

For more details refer to Painting and Erasing above. 

The DYNamic REFERENCE function is not available if the INVERT REFerence 

mode is active (see below). 

‘Tolerance’ Function 

Automatic masking will not only affect the specified reference color but 

also similar colors. The extent by which this is done depends on the tolerance. 

You can specify values ranging from 0 (only the reference color is 

masked) to 100 (all colors are masked). 

1. Select TOLERANCE in the MENU window. Alternatively, CTRL-click (Mac 

OS) or right-click (Windows) on the image window. 

2. To change the tolerance, hold SHIFT and the mouse button pressed 

down and move the mouse vertically. Or enter the value on the keyboard 


At the position where you brushed last, the number of masked pixels 

varies according to the tolerance value. 

3. Click on the image window or reselect TOLERANCE. 

Tip: 

When you draw a line along an edge, for example, you can change the 

tolerance in order to find out the threshold value which masks exactly 

those pixels which belong to the area to be cut out. In this case set the 

tolerance to 0 and increase this value gradually until the mask color appears 

at the position you want. 





Automatic Pixel Mask Creation 

‘Invert ref.’ Function 

Using the INVERT REFerence function you can toggle between the following 

modes: 

Normal mode: 

Only the specified reference color is masked. 

Reverse mode: 

All colors except for the reference color are masked. 

The reference color you have selected may be e.g. a point near the edge 

of an object, but inside the area you want to cut out. When you brush 

along the edge in the INVERT REFerence mode, the mask will be painted 

outside this area. 

Masking Individual Color Separations 

Using the SEPARATION function in the MENU window you can specify 

whether you want to automatically mask a single color separation or a 

combination of separations. Select this function repeatedly to step 

through all possible combinations. 

The STATUS window displays the initial letters of the separations you 

have selected below SEPARATION. 



Mode 

The first line displays one of the following modes: POINT, LINE, FILL or 

AUTO BRUSH. 

In the AUTO BRUSH mode the next lines display one of the following 

modes: NORMAL, REVERSE or DYNamic REFERENCE. 

Separation 

Color separation (e.g. C M Y) or combination of separations used in 

the AUTO BRUSH mode. 


Note: 

Using the MASKS | AUTOMASK function you can create 1-bit pixel masks 

automatically. This function masks all image pixels having a specific color. 

You can vary the tolerance and thus determine the range of similar 

colors that is also masked. By specifying several colors, masks can be 

added or subtracted step by step. The function can also be applied to selected 

image areas. 

The AUTOMASK function cannot be used for linework. 






Creating Vector Masks (page 21-12) 

Transparent Mask Display (page 30-19) 



How to Create Pixel Masks Automatically 

1. Open the image you want to mask (see page 20-6). 

2. If you want to mask only a specific image area, you must first create 

a restricting mask that defines this area or load an existing mask (see 

page 22-5). 

You cannot use 8-bit pixel masks (transparent masks). 


This function removes masks from the screen. A mask may be active, 

but not visible in the currently displayed image area. If you do not remove 

it, it will become a part of the mask you are creating. 

4. Select MASKS | AUTOMASK. 

5. If a mask is displayed on the screen, select WORK FRAME to toggle 

between the following settings: 

• IMAGE: The mask itself will be modified. 

• MASK: The mask will be used as a restricting mask, i.e., automatic 

masking will only affect the masked areas. 

The current setting appears in the STATUS window below WORK ON. 

6. Click on the image to select the color that will be masked. 

All pixels having the selected color are masked. The tolerance previously 

used is applied. 

7. The TOLERANCE function becomes active and you can change the tolerance. 

This value determines the range of similar colors that will be masked 

in addition to the selected color. With a tolerance of 0%, only the selected 

color will be masked, with 100% all colors. 

To change the tolerance, hold SHIFT and the mouse button pressed 

down and move the mouse vertically. Or enter the value on the keyboard 


8. Click on the image window or select TOLERANCE on the MENU window. 

9. Repeat steps 6 to 8 to create additional masks on the basis of other 

color values. This is also possible within a restricting mask. 

By default, new masks are added to the current mask. Using the toggle 

function ADD/SUBTRACT you can choose whether new masks 





Creating Vector Masks 


should be added to or subtracted from the current mask. The current 

mode (ADD MASK/SUBTRACT MASK) is displayed in the STATUS window. 

10.If you want to correct the mask manually, select MASKS | PIXEL. 

11.When the mask is finished, place the cut-out on the layout using 



The mask is saved automatically. If you do not want to place the cutout, 

save the mask using STORE MASK in the MENU window. 

Corrections in ‘Automask’ Function 

How to correct the mask created last when working with function MASKS 

| AUTOMASK: 

• Using TOLERANCE in the MENU window you can change the current 

tolerance value (see above). 

• Using REFERence COLOR in the MENU window you can discard the 

selected color value. Then click on the image to select a new color. 

Image areas having this color will be masked using the current tolerance. 

These correction methods are only available as long as you have not 

clicked FIX CHANGES in the MENU window or selected a new color by 

clicking on the image. With both actions you accept the displayed mask 

so that it is no longer possible to modify it. 

Masking Individual Separations 

When using the MASKS | AUTOMASK function you can restrict masking to 

specific color separations or combinations of separations. Select 

SEPARATION in the MENU window for this purpose. Select this function repeatedly 

to step through all possible combinations. 

In the STATUS window, below SEPARATION, the initial letters of the separations 

you have selected are displayed. 


You can also use paths to define the outline of objects you want to cut 

out. You can use any path function and the Path Editor. 





How to Create Vector Masks 

1. Open the image to be cut out (see page 20-6). 




This function removes masks from the screen. A vector mask may be 

active but not visible in the currently displayed image area. If you do 

not remove it, it will become a part of the mask you are creating. 

3. Create a path defining the outline of the image area you want to cut 

out. The mask may consist of more than one path. 

Use the toolbar buttons or the functions on the MASKS | PATHS 

menu. See Creating Standard Paths (page 7-1). 

The tool (MASKS | PATHS | OTHER PATHS) starts the Path Editor (see 

page 9-1), a useful tool for creating complex outlines. 

You can also use the paths of text characters ( function). 

4. You can modify (activate, correct, transform, delete, duplicate, frame) 

the paths in the same way as you would do on a layout. 

Use the toolbar ( ) or the functions on the MASKS | PATH 

menu (e.g. ACTIVATE or TRANSFORM). 

See also Modifying Vector Masks (Overview) (page 22-6). 

5. Place the finished cut-out on the layout using 



The mask is saved automatically. 

Tip: 

The paths of a vector cut-out can be copied into the layout after placing 

the cut-out there. You can use these paths for framing the cut-out, for example. 

To do so, activate the layer (see page 16-1) and select COPY 

PATH in the MENU window. 











22 Working With Masks 

This chapter describes how to select and modify existing masks and how 

to exchange masks between ORIS PDF Tuner and Photoshop. For details 

on how to create new masks refer to Creating Masks and Cut-outs 

(page 21-1). 

About Masks and Mask Files 

Image masks can be used for creating... 

• Cut-outs defining the image area to be placed on a layout (see also 

page 21-1) – or 

• Restricting masks defining the image area to which manipulations 

such as gradation changes or color transformations will be applied 

(see also page 22-13) 

These masks are not stored in the image file itself, but in two separate 

mask files. They reside in the same directory as the image and have the 

same name and the file extension .MASKDAT and .MASKIDX. 

Masks can also be created on a layout and are also stored in two separate 

files (see page 22-14). They reside in the same directory as the layout, 

have the same file name and the file extension .MASKDAT and 

.MASKIDX (see page 32-7). Masks on a layout are created when 

• painted and then filled with a tint, gradient, image or filter layer 

• a cut-out is filled with a tint, gradient or image 

Adobe Photoshop masks stored in EPS, TIFF and JPEG files can be 

used like any other ORIS mask or explicitly copied to the ORIS mask 

files. Having edited a Photoshop mask, you must first save it as a new 

ORIS vector mask. To be able to used it in Photoshop you must copy it 

back to the image file. 

You can also define which vector mask should be used as a clipping path 

in Photoshop. 




Working With Masks 

‘Mask Administration’ Dialog 



The MASK ADMINISTRATION dialog lists all ORIS and Photoshop masks of 

the current image. It allows you to select or delete masks, to copy ORIS 

vector masks to the image file so that they can be used in Photoshop, to 

rename Photoshop masks and to define a clipping path. 

Selecting Masks – Refer to page 22-5 for detailed instructions. 

Renaming Photoshop masks – Select mask, then click on mask name. 

Fig. 22-1 


Hiding and Displaying Dialog 

The MASK ADMINISTRATION dialog appears automatically when selecting 

MASK | ACTIVATE for an image or IMAGES | ACTIVATE MASK for a layout. 

The keyboard shortcut is F9. The dialog appears automatically when 

you open an image, if the dialog has been displayed before. 

To close the MASK ADMINISTRATION dialog, click or on the title bar 

or select MASK ADMINISTRATION on the pull-down menu WINDOW (Mac 

OS) or VIEW (Windows). Reselect this function to display the dialog 

again. Clicking the CLEAR button or selecting MASKS | CLEAR closes the 

dialog and additionally terminates the mask selection mode, i.e. the 

mask disappears from the screen. 

Meaning of List Columns 

The following information is displayed for the masks listed in this dialog: 

MASK NAME 

Masks stored in ORIS mask files have always the name ORIS-MASK 

, where n is a number. These masks can also be selected by 

directly entering this number on the keyboard when the focus is on 

the image window. 

The name of Photoshop masks can be modified by selecting the list 

entry and clicking on the mask name. 







MASK TYPE 

PHOTOSHOP Photoshop path (vector mask) stored in image file 

PIXEL 1-bit pixel mask, opaque in ORIS mask files 

PIXEL 8 8-bit pixel mask, transparent in ORIS mask files 

PATH Vector mask (paths) in ORIS mask files 

For more details on pixel and vector masks refer to page 21-1. 

CLIPPING PATH 

An X in this column and boldface type indicate that the current mask 

is a Photoshop clipping path. 

You can turn any mask of EPS, TIFF or JPEG images (except pixel 

masks) into a clipping path by clicking the CLIPPING PATH button. 

If this button is used for an ORIS vector mask, an X appears temporarily 

in the CLIPping PATH and IN IMAGE FILE columns of the selected 

mask to indicate that it will be copied from the ORIS mask files to the 

image file as soon as you save the image. Having saved the image, 

a new mask of the type PHOTOSHOP appears in the mask list. 

Note: 

IN IMAGE FILE 

The letter X in this column indicates that the mask is stored in the image 

file itself (Photoshop mask). If this column is empty, the mask is 

stored in separate mask files (ORIS vector and pixel masks). 

The list does not display any masks stored in mask files of other images 

with the same size, even if you have selected the ALL MASKS function in 

the MENU window (see also page 22-5). 

‘Mask types’ List 

Use this list to display only masks of a specific type in the dialog: 

ALL MASKS All masks regardless of their type 

PHOTOSHOP Photoshop paths stored in EPS, TIFF and JPEG files 

PIXEL 1-bit pixel mask, opaque stored in 

PIXEL 8 8-bit pixel mask, transparent ORIS 

mask files 

PATH Vector mask (paths) 

‘Clipping path’ Button 

Click this button to turn a mask into a Photoshop clipping path. This is 

supported for Photoshop and ORIS vector masks of EPS, TIFF and 

JPEG images. In the MASK ADMINISTRATION dialog, the clipping path is 







indicated by boldface type and an X in the CLIPping PATH column. Reclick 

this button to change a clipping path back into a normal mask. 

If this button is used for an ORIS vector mask, an X appears temporarily 

in the CLIPping PATH and IN IMAGE FILE columns to indicate that the mask 

will be copied from the ORIS mask files to the image file as soon as you 

save the image. Having saved the image, a new mask of the type PHO- 

TOSHOP appears in the mask list. You can then rename a mask by selecting 

it in the MASK ADMINISTRATION dialog and clicking on the mask name. 

A warning appears if a Photoshop mask with the name of the mask you 

are about to create exists already. In this case rename the existing mask, 

then reselect the vector mask and reclick the CLIPPING PATH button. 

Note: 

Clipping paths created by a program other than Photoshop are not displayed 

in this dialog. If the image contains such a path, it will be overwritten 

by the clipping path defined here. 

Shortcut: 

Right-click on the mask list and select CLIPPING PATH from the context 

menu. 

Note: 

‘Save in image file’ Button 

Click this button to copy ORIS vector masks of EPS, TIFF or JPEG images 

from the ORIS mask files to the image file itself. This allows the 

mask to be used in Photoshop. You can also select multiple masks and 

copy them in one go (see Selecting Masks below). 

Having clicked this button, an X appears temporarily in the IN IMAGE FILE 

column to indicate that the mask will be copied as soon as you save the 

image. Having saved the image, a new mask of the type PHOTOSHOP appears 

in the mask list. You can then rename the mask by selecting it in 

the MASK ADMINISTRATION dialog and clicking on the mask name. 

A warning appears if a Photoshop mask with the name of the mask you 

are about to create exists already. In this case rename the existing mask, 

then reselect the vector mask and reclick the SAVE IN IMAGE FILE button. 

Use the IMPORT MASK function in the MENU window to copy a mask from 

the image file to the ORIS mask files (see page 22-12). 

Shortcut: 

Right-click on the mask list and select SAVE IN IMAGE FILE from the 

context menu. 






Selecting Masks 

‘Clear’ Button 


Click this button to close the MASK ADMINISTRATION dialog and to additionally 

terminate the mask selection mode. The mask disappears from 

the screen. The MASKS | CLEAR function in the pull-down menu has the 

same effect. 

Note: 

Note: 

1. Press F9, or select MASKS | ACTIVATE on images or IMAGES | ACTIVATE 

MASK on a layout. This enables the mask selection mode and, if not 

open already, opens the MASK ADMINISTRATION dialog (see 

page 22-2). 

2. Use the list labeled MASK TYPES if only masks of a certain type (e.g. 

pixel masks) should be displayed in the dialog (see page 22-3). 

3. If there are images with the same size in the same directory, click ALL 

MASKS in the MENU window to also select the masks of these images. 

Having selected ALL MASKS, the button label changes to OWN MASKS. 

If you click this button, only masks created for the current image can 

be selected. 

This functionality is supported for masks in ORIS mask files only. 

Photoshop masks cannot be selected with this method. Mask belonging 

to other images are not listed in the MASK ADMINISTRATION dialog. 

To Select a Single Mask 

• Click on a list entry in the MASK ADMINISTRATION dialog. You can also 

use the keyboard to navigate through the list, e.g. and . 

• Alternatively, right-click on the image window to select one mask 

after the other. Additionally press the SHIFT key to select them in 

reverse order. 

This method is only available under Windows and cannot be used to 

select Photoshop masks. You can only select ORIS masks. 

To Select Multiple Masks 

• -click (Mac OS) or CTRL-click (Windows) on individual masks. Use 

the same method to deselect a selected mask. 

• SHIFT-click on two masks to select these and all masks listed 

between them. 

• Use -A (Mac OS) or CTRL+A (Windows) to select all masks. 





Modifying Masks 


If multiple masks are selected, no mask will be displayed, but all of the 

selected masks can be deleted or saved to the image file in one go. 

To Remove Selected Mask from Screen 

• -click (Mac OS) or CTRL-click (Windows) on the mask selected in 

the MASK ADMINISTRATION dialog. The dialog remains open. – or 

• Select MASKS | CLEAR or click the CLEAR button in the MASK ADMINIS- 

TRATION dialog. This closes the dialog and terminates the mask 

selection mode. 

See also Status Display for Masks (page 22-16). 


1. Select the mask (see page 22-5). 

2. If you modify a mask which has not yet been used on any layout and 

want to preserve the original mask, duplicate the mask by selecting 

DUPLICATE in the MENU window. 

3. Pixel masks – Use the MASKS | PIXEL ( ) function to manually add 

or remove pixel areas (see page 21-2). Use MASKS | AUTOMASK to automatically 

mask all pixels having a specific color (see page 21-10). 

Vector masks – Paths can be added, deleted or transformed in the 

same way as on a layout. Refer to Modifying Vector Masks (Overview) 

below for a summary of the essential editing methods. 

Photoshop masks – Ditto, but click the 

button beforehand. 

Note: 

Modifications made to a mask that has already been used on a layout do 

not automatically apply to this layout. To modify the layout, you must delete 

the cut-out and position it again using the modified mask. 

Modifying Vector Masks (Overview) 

Vector masks consist of paths which can be modified in the same way 

as paths on a layout. A summary of the essential editing methods is provided 

here. For detailed instructions refer to 










Adding Paths of Vector Masks 

Note: 

Use the toolbar 

or the functions on the MASKS | PATH menu. 

While creating a new path, all other paths are displayed as inactive (different 

color) until you terminate the creation function. This is done to prevent 

confusion if a large number of paths is used. Please note that these 

paths remain active, however, and will be treated as a part of the mask 

you are creating. To exclude specific paths from the mask you must deactivate 

them explicitly. 

(De-)Activating Paths of Vector Masks 

If a vector mask consists of several paths, first click and deactivate 

all paths you do not want to modify (see page 8-2). 

SHIFT-click an active path to deactivate it. Draw a selection rectangle 

with the OPTION (Mac OS) or CTRL (Windows) key pressed down to deactivate 

several paths at the same time. To reactivate a path, click an inactive 

path or draw a selection rectangle around several inactive paths. 

If a path consists of several parts which cannot be activated individually, 

use MASKS | PATHS | EDIT | SEPARATE to cut the path into pieces (see 

page 8-6). 

Correcting Paths of Vector Masks 

Click or select EDIT | CORRECT to correct the parameters specified 

when the path was created, e.g. the base points, angles or radii. For 

more details refer to Correcting by Using Creation Function (page 8-4). 

The Path Editor appears if the path creation function cannot be started, 

e.g. in the case of combined paths (see page 33-1). For more details refer 

to page 9-1. 

Moving, Resizing, Rotating and Distorting Paths 

Click , then double-click on a path. Alternatively, select MASKS | PATH 

| TRANSFORM (see page 19-1). 

The TRANSFORMATIONS toolbar appears and handles are displayed for 

the paths. You can move the object with the mouse, resize and rotate it 

using the handles and transform it in many more ways using the toolbar. 

Fig. 22-2 

Resize Handles and ‘Transformations’ Toolbar 







Deleting Paths of Vector Masks 

Click 

and make sure all paths you do not want to delete are inactive. 

Then click , select EDIT | DELETE, or press the BACKSPACE (Mac OS) 

or DELETE (Windows) key. 

To delete all inactive paths in one go, select DELETE UNUSED in the MENU 

window. 

Note: 

Saving Masks 

Modifications made to masks are saved automatically in the following 

cases: 

• when you place a new or modified cut-out on a layout using the 

COMPOSE | FOREGROUND or MIXGROUND function, even if you cancel 

this operation (see also page 11-9). 

• When you use a new or modified mask for restricting an image 

manipulation to the masked area, e.g. in the IMAGE | RETOUCH 

function (see also page 22-13). 

• When you leave the MASKS | PIXEL function by clicking or pressing 

RETURN/ENTER. 

Masks that have not yet been used on any layout are overwritten without 

any warning. 

Modified Photoshop masks are automatically stored as new vector 

masks in the ORIS mask files. Select SAVE IN IMAGE FILE in the MASK 

ADMINISTRATION dialog to be able to use this mask in Photoshop. The 

mask is copied to the image file as soon as you save the image. 

Pixel masks can also be saved explicitly, e.g. if you do not want to use 

them immediately. Use the following functions in the MENU window: 

• STORE(NEW) saves the modified mask as a new mask 

• STORE MASK overwrites the original mask or, if the mask has already 

been used on a layout, saves it as a new mask. 

You are always prompted to save an unsaved mask, no matter of which 

type, when you are about to lose it. 






Duplicating Masks 

Duplicating Masks 

1. Select the mask you want to duplicate (see page 22-5). 


If you have selected a Photoshop mask, the mask will be copied to the 

ORIS mask files, thus creating a new vector mask (mask type PATH). 

Click the SAVE IN IMAGE FILE button to copy the mask back to the image 

file, thus creating a new Photoshop mask. You can then rename the 

mask by selecting it in the MASK ADMINISTRATION dialog and clicking on 

the mask name. 

About Duplicating 

Duplicating a mask is required if you want to preserve the original mask 

when modifying a mask which has not yet been used on a layout. If you 

modified the original mask, it would be overwritten without any warning. 

If you have loaded a mask of another image with the same size (after selecting 

ALL MASKS in the MENU window), the DUPLICATE function copies it 

to the mask file of the current image. It is then always available even if 

the other image is no longer present. 

Combining Pixel Masks 

How to combine two existing pixel masks of the same image into one 

mask by adding or subtracting pixels: 

1. Select the mask you want to modify (see page 22-5). 

2. Select MASK+ (adding) or MASK– (subtracting) in the MENU window. 

3. Select the mask you want to add to or subtract from the currently displayed 

mask (see page 22-5). The result is displayed immediately for 

each mask you select. 

In the STATUS window, +/- RESULT is displayed for the new mask instead 

of a MASK ID. 

4. The mask is saved automatically if you directly use it to restrict an image 

manipulation or if you place the cut-out on a layout. You can also 

save the mask explicitly, e.g. if you want to use it later: 

• To save it as a new mask, click or select STORE in the MENU 

window. 

• To overwrite the original mask, select REPLACE in the MENU window. 

This function is unavailable if the mask has already been 

used on a layout. 





Converting Pixel and Vector Masks 

To cancel the function without saving, reselect MASK+ or MASK–. 


Converting Pixel Masks to Vector Masks 

1. Select the pixel mask to be converted (see page 22-5). 

2. Select one of the following functions in the MENU window: 

--> LINE PATH 

Creates a path consisting of straight lines (vectors) only. 

--> CURVE PATH 1 


Creates a path consisting of straight lines and curves. Produces 

fewer base points than --> LINE PATH and more accurate outlines, 

above all if a cut-out is magnified extremely. However, conversion 

may take slightly longer. 

--> CURVE PATH 2 

Similar to --> CURVE PATH 1. Use this function in case --> CURVE 

PATH 1 results in incorrect mask outlines. 

--> CURVE 1 (FLAT) and --> CURVE 2 (FLAT) 

Like --> CURVE PATH 1 and 2, but fewer base points are created. 


• Click or press RETURN/ENTER. 

• Select STORE in the MENU window. 

• Insert the cut-out into the layout. 

• Use the cut-out for restricting an image manipulation. 

The mask is saved automatically in all of these cases. 

If the mask was created on a layout, it is converted into a path which 

can be modified like any other path, e.g. using the PATHS | TRANS- 

FORM function. For more details refer to Using Pixel Masks on a Layout 

(page 22-14) and Working With Paths (page 8-1). 

Note: 

Extremely complex pixel masks with many incoherent pixel areas cannot 

be converted into vector format. An error message appears in this case. 

In the case of an 8-bit mask, only mask areas with a density of 50% or 

more will be included in the vector mask. 







Converting Vector Masks to Pixel Masks 

1. Select the vector mask to be converted (see page 22-5). 

2. Select MASKS | PATH --> PIXEL. The path is filled with mask color. 

3. Save the mask, e.g. by selecting MASKS | PIXEL and then STORE MASK 


Note: 

Converting a vector mask, which was created from a pixel mask, back 

into a pixel mask will not produce exactly the original mask. 

Converting 8-Bit Pixel Masks into 1-Bit Masks 

Note: 

1. Select the pixel mask to be converted (see page 22-5). 

2. Select MASKS | PIXEL. 

3. Select --> 1 BIT in the MENU window. 

4. Save the mask as a new mask by selecting STORE(NEW) in the MENU 

window. 

Only mask areas with a density of 50% or more will be included in the 

1-bit mask. 

Converting Image Channels into Masks 

You can convert each color channel of an image into a mask, i.e. the 

three channels of an RGB image and the four separations of a CMYK 

image. 

1. Load the image (see page 20-6). 

2. Select MASKS | ACTIVATE | IMPORT SEPARATion. 

All channels are converted into ORIS PDF Tuner format and stored 

as 8-bit pixel masks in the ORIS mask files. 

3. A dialog appears that indicates the number of imported masks. Select 

OK. 

4. The first of the imported masks is loaded automatically. You can then 

select the masks you want to use (see page 22-5). 







Importing Photoshop Paths and Alpha Channels 

Into ORIS Mask Files 

Photoshop masks are listed in the MASK ADMINISTRATION dialog and can 

be used just like any ORIS vector mask. Photoshop mask are automatically 

copied to the ORIS mask files when used for placing a cut-out. 

It is also possible to directly import Photoshop masks and alpha channels 

into the ORIS mask files. Mask import is supported for TIFF, EPS 

and JPEG images. Alpha channels are supported for TIFF images only. 

Note: 

1. Select MASKS | ACTIVATE. 

2. Select IMPORT MASK in the MENU window. 

All Photoshop masks and alpha channels are copied from the image 

file to the ORIS mask files. 

The Photoshop masks are stored as vector masks (mask type PATH), 

the alpha channels as 8-bit pixel masks (mask type PIXEL 8). 

3. A dialog appears that indicates the number of imported masks. Select 

OK. The first of the imported masks is loaded automatically. You 

can then select the masks you want to use (see page 22-5). 

When you reselect IMPORT MASK, the same Photoshop paths and alpha 

channels are imported again and stored as new masks. 

Note: 

ORIS PDF Tuner cannot write Photoshop alpha channels. The alpha 

channels are lost when you save the image. A warning appears in this 

case. 

Exporting Masks as Photoshop Paths 

ORIS vector masks can be copied into the image file so that they can be 

used in Photoshop. This is supported for TIFF, EPS and JPEG images. 

1. Select MASKS | ACTIVATE. 

2. Select the vector mask(s) to be exported (see page 22-5). 

3. Click the SAVE IN IMAGE FILE button in the MASK ADMINISTRATION dialog. 

An X appears in the IN IMAGE FILE column indicating that the 

mask(s) will be exported as soon as you save the image. 

4. Save the image file. 

The masks are copied from the ORIS mask files to the image file and 

are now available in Photoshop. A new mask of the type PHOTOSHOP 

appears in the MASK ADMINISTRATION dialog. 






Removing Masks 

5. You can rename a Photoshop mask by selecting it in the MASK AD- 

MINISTRATION dialog and then clicking on the mask name. Click the 

CLIPPING PATH button if the mask should be used as a clipping path. 

Removing Masks 

Removing Masks from Screen 

To remove a mask from the screen without deleting it, do one of the following: 

• Click the CLEAR button in the MASK ADMINISTRATION dialog. 

• Select MASKS | CLEAR in the pull-down menu. 

• -click (Mac OS) or CTRL-click on the selected mask name in the 

MASK ADMINISTRATION dialog. 

The first two actions will also close the MASK ADMINISTRATION dialog and 

terminate the mask selection mode. Using the third action the dialog remains 

open and you can continue selecting masks. 

Deleting Masks from Disk 

1. Select the mask(s) to be deleted (see page 22-5). 

2. Click , select EDIT | DELETE, or press +BACKSPACE (Mac OS) or 

DELETE (Windows) key. 

3. A warning appears. Click OK to delete the mask. 

4. Having deleted a Photoshop mask, save the image. 

This is necessary because Photoshop masks are stored in the image 

file itself, not in the ORIS mask files (see also page 22-1). 

Note: 

Make sure the mask is not used on any layout. Cut-outs using the deleted 

mask can no longer be displayed on this layout. A mask isn’t used on 

any layout if the REFERENCE count in the STATUS window is 0. 

Using Restricting Masks for Image Manipulations 

You can use masks to restrict image manipulations to specific image areas. 

When a mask is active, the manipulation function (e.g. COLOR 

GRADATION) will only affect the image area covered by the mask. 





Using Pixel Masks on a Layout 

To restrict image manipulations: 

1. Create or select a mask (see page 21-1 and 22-5). 

2. Start the image manipulation function. 

To disable a restricting mask: 

Now image manipulations will affect the entire image and all image modifications 

made so far are automatically applied to the entire image (except 

in the RETOUCH function). 

The WORK ON (or APPLY TO) line in the STATUS window also indicates 

whether a restricting mask is active. MASK is displayed there if a mask is 

active, otherwise IMAGE. 

To invert a restricting mask: 

All image modifications made so far are automatically applied to the new 

mask areas (except in the RETOUCH function). 

If an 8-bit pixel masked is inverted, the mask density is increased or decreased 

accordingly, e.g. from 80% to 20% and vice versa. 

Using Pixel Masks on a Layout 

Masks can also be created on a layout and then filled with tints, gradients, 

images or filter layers. On a layout you can only create 1-bit pixel 

masks. 

Creating Masks 


If a restricting mask is active, the MASK ON button 

appears in the MENU window and is displayed as if it was 

pressed down. Click it to disable the restricting mask. 

Click INVERT MASK in the MENU window to mask all 

unmasked image areas and vice versa. The button 

is now displayed as if it was pressed down. 

Click or select IMAGES | PAINT MASK. For more details refer to Creating 

Pixel Masks Using Brush (page 21-2). 

Saving Masks 

Masks are saved automatically when the masks are filled (e.g. with a 

tint) or if you have modified an existing mask. If the mask has not 

been used already, it will be overwritten without any warning. 





Masks on Images Displayed in Low Resolution 

You can also use the STORE MASK function in the MENU window to 

save a mask when using the IMAGES | PAINT MASK function. 

If the MASK ADMINISTRATION dialog is open and you press click 

press RETURN/ENTER, you are requested to save the mask. 

See also About Masks and Mask Files (page 22-1). 


Select IMAGES | ACTIVATE MASK to open the MASK ADMINISTRATION dialog. 

Click on a mask name in the dialog or CTRL-click (Mac OS) or 

right-click (Windows) on the layout to select one mask after the other. 

For more details refer to Selecting Masks (page 22-5). 

Deleting Masks 


Select the mask (see page 22-5), then click , select EDIT | DELETE, 

or press +BACKSPACE (Mac OS) or DELETE (Windows). 

Removing Masks From Screen 

Select VIEW | CLEAR MASK or click the CLEAR button in the MASK AD- 

MINISTRATION dialog. Both functions close this dialog. If you want the 

dialog to remain open, select VIEW | PATH AND MASK DISPLAY OFF. 

Masks on Images Displayed in Low Resolution 

Please note the following when masks are used on image loaded in low 

resolution (‘coarse images’, see page 20-8): 

Modifying High-res Masks on Low-res Images 

If a mask was created on an image displayed with maximum resolution 

(all pixels loaded) and is then loaded and saved on an image displayed 

in low resolution, the mask resolution will also become low. A warning 

appears before this occurs. This does not affect the high-res mask 

stored on disk, as the low-res mask can only be stored as a new mask. 

Resolution of Restricting Vector Masks 

Vector masks have always maximum resolution, regardless of the image 

display resolution. 

This is different, however, for vector masks used for restricting the manipulation 

of images displayed in low resolution. When the modifications 

are transferred to the high-resolution image, the mask displayed on the 

screen is used, i.e. the low-res mask if the image is displayed in low resolution. 

or 





Finding out the Number of Masks 

Finding out the Number of Masks 

How to find out the number of masks created for a specific image: 

• For image opened in a window: 

Select MASKS | ACTIVATE. The number of masks is displayed at the 

top of the STATUS window. 

• In the image overview 

Click on the image’s thumbnail representation. The number of masks 

is displayed in the STATUS window below NUM OF MASKS. A plus sign 

(+) indicates that at least one of these masks is used on the current 

ORIS PDF Tuner layout. 

The number of Photoshop masks is displayed at the bottom of the 

STATUS window below # P-PATHS. An asterisk indicates that one of 

them is a clipping path (see page 22-12 and page 22-12). 

• On a layout 

Activate the image layer (see page 16-1) and select INFO in the MENU 

window. The number of ORIS and Photoshop masks is displayed in 


Status Display for Masks 


The following information is displayed in the STATUS window of the 

MASKS | ACTIVATE function: 

No. of masks 

This value specifies the number of masks belonging to the current image. 

After selecting ALL MASKS the value specifies the total number of 

masks of all images in the same directory that have the same size as 

the displayed image. 

Mask ID 

A number only indicates an ORIS mask, i.e. a mask stored in ORIS 

mask files. You can select a mask by entering this number, provided 

that the image window has the focus. 

The full name of such masks, which is displayed in the MASK ADMIN- 

ISTRATION dialog, is always ORIS-MASK (n is this number). 

Any other name indicates a Photoshop mask, which is stored in the 

image file itself. Long names are shortened to 24 characters. 

If +/- RESULT appears instead of the mask name, the current mask 

was generated by adding or subtracting two masks and has not yet 

been stored. See also Combining Pixel Masks (page 22-9). 







Note: 

Mask origin 

OWN MASK – Mask of the displayed image 

OTHER MASK – Mask of another image (with the same size) 

Mask type 

PATH – Vector mask 

PIXEL – 1-bit pixel mask (opaque) 

PIXEL 8 – 8-bit pixel mask (transparent) 

PHOTOSHOP – Photoshop mask 

See also ‘Mask types’ List (page 22-3). 

References 

This value indicates how often a mask has been used on ORIS PDF 

Tuner layouts. 

When you delete layers or layouts this counter is not reset. The value 

may therefore be greater than 0, although the mask in question is no 

longer used on any layout. A value of 0, however, definitely indicates 

that this mask is not yet used on any layout. 











23 Retouching 

Using the ORIS PDF Tuner retouching tool you can correct and creatively 

modify images. The tool not only allows you to paint, erase and copy 

colors, but also to increase color contrast or apply color transformations 

with the brush. All operations can be performed in a way that image outlines 

are preserved. It is also possible to retouch specific color separations. 

The retouching tool is also capable of creating many special effects, 

such as inserting and transforming masked image areas as well as filling 

masked areas with transparent tints or gradients. 

Note: You cannot retouch images loaded in low resolution (see page 20-8). 

How to Retouch 

How to retouch an image by painting color on it or using other retouching 

modes such as pixel copy or color addition: 


2. If you only want to retouch a particular image area, 

create or select a restricting mask (see 

page 22-13). 

3. Press F10 or select IMAGE | RETOUCH. This opens 

the RETOUCH dialog (see page 23-2). 

4. Select a retouching mode (see page 23-4). 

Choose e.g. BRUSH if you simply want to paint on 

the image. 

5. Select 1. COLOR in the MENU window and choose 

the color you want to use (see also page 10-8). 

Note that in some modes you may also have to 

select a second color or no color at all. 




Retouching 



6. For information on additional settings refer to 

Brush Settings (page 23-7) 

Retouching Parameters (page 23-8) 

Special Retouching Options (page 23-10) 

7. Now you can start retouching. 

Use the and buttons to switch between painting and erasing. 

See also Painting and Erasing (page 23-3). 

8. You can save your changes temporarily by selecting FIX CHANGES in 

the MENU window. Using UNDO you can reverse the last changes. 

See also page 23-12. 

9. You can compare the modified image with the original image or with 

the last state saved temporarily. To do so, use the toggle function 

SHOW BEFORE or press F4. 

10.When finished, press RETURN/ENTER or click . 

Fig. 23-1 

‘Retouch’ Dialog 

Erasing 

Brush strokes 

will erase color 

Painting 

Brush strokes 

will apply color 

Brush size 

in pixels 

Distance between dots 

Indicates how far the mouse 

has to be moved before a new 

dot is brushed or erased 

Brush 

border 

Blurred 

or sharp 

Retouching mode 

e.g. brushing, 

pixel copy or 

color addition 

Brush shape 

Circle or box 

Brush display 

Enabled: Brush always 

displayed as a cross 

Disabled: Brush displayed 

as a circle or box, 

depending on the 


Color density limit 



the color density increases 


Initial color density 

Dot rate 

Number of dots 

per second to 

be brushed 

when the cursor 

is not moved 

Special options 

e.g. transparent 

retouching (default 

is opaque) 

Color 

separations 

to be modified 





Retouching 



How to Paint 

You can paint when the button is pressed down in the RETOUCH dialog 

(see Fig. 23-1). If it isn’t, hold the OPTION (Mac OS) or CTRL (Windows) 

key pressed down. 

Click to create a single dot. Hold the mouse button pressed down to 

draw lines. For more details refer to Brush Settings (page 23-7) and 

Retouching Parameters (page 23-8). 

How to Erase 

Note: 

You can erase when the button is pressed down. If it isn’t, hold the 

OPTION (Mac OS) or CTRL (Windows) key pressed down. 

Click to erase a single dot. Hold the mouse button pressed down to 

erase color areas. 

The brush border is usually sharp when erasing. However, the ERASER 

EFFECTS function in the MENU window allows you to use the current brush 

border for erasing. Thus you can create blurred borders, depending on 

the current brush border setting. See also page 23-9. 

Drawing Horizontal or Vertical Lines 

To draw horizontal or vertical lines, hold the SHIFT key and the mouse 

button pressed down. To change the direction, release the mouse button 

and press it again while still holding the SHIFT key pressed down. 

When the button is pressed down you can use the same method to 

erase horizontally or vertically. If it isn’t, use SHIFT+OPTION (Mac OS) or 

SHIFT+CTRL. 

Connecting Points with Straight Lines 

You can draw lines that connect the points on which you click. This is 

only possible in LINE mode. Use the DOT/LINE function in the MENU window 

to switch between these modes (see also page 23-9). 

To draw such lines, click on the image with SHIFT pressed down. Each 

click creates a line between the cursor position and the previous point. 

When the button is pressed down you can use the same method to 

erase lines. If it isn’t, SHIFT+OPTION-click (Mac OS) or SHIFT+CTRL-click. 




Retouching 



Retouching Modes 

Use the list titled MODE in the RETOUCH dialog to 

select a retouching mode. 

‘Brush’ Mode 

The BRUSH retouching mode allows you to paint colors and to erase 

painted areas. Make sure the following dialog buttons are pressed down: 

• to paint 

• to erase 

Holding the OPTION (Mac OS) or CTRL (Windows) key pressed down you 

can switch between painting and erasing without having to press the buttons 

displayed here. See also Painting and Erasing above. 

To choose a different color, select 1. COLOR in the MENU window (see 

page 10-8). 

‘Dyn./Static Copy’ Modes 

The COPY modes allow you to copy the image pixels to another position, 

i.e. from the source cursor to the target cursor. 

Fig. 23-2 Copying Pixels from Source to Target Cursor 

Source cursor Target cursor 

Dashed line Full line 

Dynamic Copy 

This is similar to the Clone Stamp tool in Photoshop. The two cursors 

move together while you are copying. 





Retouching 


To modify the distance between the cursors, position the source cursor, 

then move the target cursor with SHIFT+CTRL pressed down (Mac OS) or 

SHIFT and the right mouse button (Windows). 

Static Copy 

In this mode the source cursor remains fixed while copying, i.e., you always 

copy the same color. 

To reposition the source cursor, hold SHIFT+CTRL pressed down (Mac 

OS) or SHIFT and the right mouse button (Windows). 

‘Gradient’ Mode 

In the GRADIENT mode clicking on the image creates a gradient between 

the source and target cursor. To define the first and last color of this gradient 

you can either use the image colors located under the cursors or 

pick colors from the COLOR SELECTION dialog (see page 10-8). 

Fig. 23-3 Creating Gradients Between two Colors 


Full line 

Dashed line 

Both colors picked 

from image 

These options can also be combined. 

To define the gradient’s starting and ending color, use the following functions 

in the MENU window: 

1. COLOR First color: Pick from COLOR SELECTION dialog 

1. IMAGE COLOR First color: Use color under source cursor 

2. COLOR Last color: Pick from COLOR SELECTION dialog 

2. IMAGE COLOR Last color: Use color under target cursor 

To modify the distance between the two cursors, position the source cursor, 

then move the target cursor with SHIFT+CTRL pressed down (Mac 


‘Sharpen’/‘Soften’ Modes 

Both colors selected 

from COLOR SELECTION 

dialog 

In the SHARPEN mode the image outlines of the brushed areas are sharpened, 

resulting in a stronger contrast. The higher the current color density, 

the stronger the contrast. 




Retouching 



In the SOFTEN mode the image outlines of the brushed areas are 

smoothened, resulting in a weaker contrast. The higher the current color 

density, the weaker the contrast. 

Note: If you want to apply these functions to the entire image, use the IMAGE | 

FILTER | SHARPNESS function. For more details refer to page 28-1. 

‘Color +’/‘Color -’ Modes 

In the COLOR + mode the color selected using function 1. COLOR is added 

to the image pixels. In the COLOR – mode the color selected with function 

1. COLOR is subtracted from the image pixels. 

Note: 

These modes always affect the original image or the state that was 

saved temporarily. Therefore, if you have already made modifications, 

first save them temporarily by selecting FIX CHANGES in the MENU window 

before adding or subtracting colors. See also page 23-12. 

‘(Load) Color Trafo’/‘(Load) Gradation’ Modes 

It is possible to make color transformations and gradation changes to the 

image areas on which you are brushing. There are two methods: 

Selecting Stored Settings 

In the RETOUCH dialog, select the LOAD COLOR TRAFO or LOAD GRADA- 

TION mode (see page 23-4), respectively. A dialog appears allowing you 

to select a stored transformation or gradation setting. The stored settings 

are now applied to the image areas you are retouching. 

Use the IMAGE | COLOR GRADATION or COLOR TRANSFORMATION function 

to create and store such settings. 

Applying Last Gradation or Color Transformation 

If you have modified an image using the IMAGE | COLOR GRADATION or 

COLOR TRANSFORMATION function in the current ORIS PDF Tuner session, 

the COLOR TRAFO or GRADATION modes, respectively, are available. 

Select these modes to apply the same modifications as before, but now 

only to the image areas you are retouching, not to the entire image. 

These modes are only available if the image mode (RGB, CMYK) corresponds 

with the mode of the image that was modified beforehand using 

IMAGE | COLOR GRADATION or COLOR TRANSFORMATION. If you have 

changed the gradation of an RGB image, for example, and then open a 

CMYK image, the retouching mode GRADATION is not available. 





Retouching 


Note: 

These modes are unavailable in the case of insufficient main memory. 


Transforming Image Colors (page 24-1) 

Gradation Changes and Tone Value Corrections (page 25-1) 

Brush Settings 

Changing Brush Size 

You can vary the brush size between 1 pixel and 999 x 999 pixels. Use 

this slider or enter the size into the input box. 

Alternatively, you can repeatedly CTRL-click (Mac OS) or right-click (Windows) 

on the image window to increase the brush size step by step. Additionally 

press the SHIFT key to reduce the brush size. 

However, this is not possible if the DYN. COPY, STATIC COPY or GRADIENT 

mode is active. 

Selecting Brush Border 

Use this list to select the brush border.The following border types are 

available: 

FULL Sharp brush borders 

LINEAR Blurred brush borders 

GAUSS Extremely blurred brush borders 

Selecting Brush Shape 

Click one of these buttons to define the brush shape (box or circle). 




Retouching 



Selecting Brush Display 

Use this button to define how the brush is displayed: 

The brush is displayed as a square or circle, 

according to the current brush shape. 

The brush is always displayed as a cross, 

regardless of the current brush shape. 

Retouching Parameters 

Setting Color Density 

Use this slider or input box to define the color density. Brushing with a 

density under 100% allows image areas to show through the brushed areas. 

Density can be set between 0% (transparent) and 100% (opaque). 

Note that this only defines the initial color density. When you brush repeatedly 

over the same image area, color density will increase beyond 

the specified value up to 100% or up to the specified density limit. 

To specify a mask density limit, enable the MAX. DENSITY option and enter 

a percentage value into the input box. The value defaults to the current 

color density. Now the color density will never exceed the specified 

limit, even if you brush repeatedly over the same image area and regardless 

of the specified (initial) color density. 

Tip: 

To prevent new brush strokes from overwriting color areas painted previously, 

select FIX CHANGES in the MENU window. This saves the image 

temporarily. When you now brush over previously painted areas using a 

color density lower than 100%, these color areas will show through. 

See also Saving and Reversing Changes (page 23-12). 





Retouching 


Switching Between ‘Dot’ and ‘Line’ Mode 

Using the DOT/LINE function in the MENU window you can toggle between 

two brushing modes. 

The current mode is indicated in the STATUS window. 

• DOT MODE 

Quick cursor movements produce single scattered dots. Dots are 

never connected with each other. 

• LINE MODE 

As many dots as required are created in order to produce closed, 

almost even lines. 

Defining Distance Between Dots 

Use this slider or input box to specify how far the mouse has to be moved 

before a new dot is brushed or erased. The unit is the percentage of the 

current brush size. 

Defining Dot Rate 

Use this slider or input box to specify the number of dots per second to 

be brushed when the cursor is not moved. With a dot rate of 1, only one 

dot per second is brushed. 

Using Current Brush Border When Erasing 

When erasing ( ), the brush border is sharp by default. 

However, the ERASER EFFECTS function in the MENU window allows you 

to use the current brush border for erasing. Thus you can create blurred 

borders, depending on the current brush border setting. 

The STATUS window displays ERASER EFFECTS if this mode is enabled. 

Reselect ERASER EFFECTS to switch back to erasing with sharp borders. 




Retouching 



Special Retouching Options 

Retouching Single Color Separations 

Use the buttons shown on the right to select the color 

separations you want to modify. A separation is modified 

if the corresponding button is pressed down. 

By default, all four separations are selected. However, 

in the case of grayscale images, you can only modify 

the black separation. 

Transparent Retouching, Darkening, Brightening 

Retouching in an OPAQUE way is the default setting. This list allows you 

to select the following special retouching methods: 

Transparency 

With this option colors are modified, but the brightness remains the 

same. Thus image outlines are preserved. Colors on which white or 

black color is brushed are converted into grayscales. 

Note: 

Transparent retouching on black or white color has no effect, as these 

colors cannot be modified without changing their brightness. 

Darken/Lighten 

With these options you can make the image darker or brighter for the selected 

color, thereby preserving the image outlines. 

Retouching with Fading Effect 

You can brush in a way that the color becomes gradually invisible or 

shades into another color. Repeatedly select FADE in the MENU window 

to toggle between three fade settings. 

The current setting is displayed in the STATUS window: 

FADE OFF 

No fading is applied. 

FADE TRANSPARent 

FADE COLOR 2 

The color becomes gradually invisible. 

The color blends into a second color. The 

second color is specified using 2. COLOR 

or 2. IMAGE COLOR in the MENU window. 





Retouching 


The starting color is always the color selected using function 1. COLOR or 

1. IMAGE COLOR respectively. 

To obtain the fading effect, hold the mouse button pressed down and 

drag the cursor across the image. Depending on the current mode, a line 

is drawn that either becomes gradually invisible or blends into another 

color. With the FADE COLOR 2 setting the line continues until you release 

the mouse button, with FADE TRANSPARent the line ends as soon as the 

second color is 100% transparent. 

You can define the number of dots to be drawn between the first point 

and the point at which full transparency or full second color is attained. 

To do so, select FADE STEPS in the MENU window and enter the value on 

the keyboard. 

Covering Image Completely 

You can completely overlay an image with a color and then erase this 

color so that parts of the image become visible. 

1. Select and create a rectangle which encloses the entire image. 

2. Select IMAGE | RETOUCH and then TINT in the MENU window. 

You can also create a linear GRADIENT or CIRCular GRADient. 

3. Select a color (see page 10-8). The image will be covered completely. 

4. Click and remove the color where you want to see the image. 

To create soft edges at the erased areas, select the border type 

GAUSS and switch on ERASER EFFECTS before erasing. 


Painting and Erasing (page 23-3) 

Using Current Brush Border When Erasing (page 23-9) 




Retouching 

Inserting Image Areas into Images 


Saving and Reversing Changes 

The MENU window of the RETOUCH function provides the functions FIX 

CHANGES and UNDO. 

Using FIX CHANGES you can save all changes temporarily without having 

to leave the RETOUCH function. This transfers all modifications to the 

original image. All further modifications will be applied to this modified 

image. 

Using UNDO you can reverse your changes without having to leave the 

RETOUCH function. This function restores the state of the image saved 

by the last selection of FIX CHANGES or the original image if FIX CHANGES 

has not yet been selected. If you reselect UNDO directly after selecting it, 

the modifications are restored. 

Note: 

Once modifications have been stored using FIX CHANGES, the original image 

can only be restored by reloading it from the disk. 


Note: 

Masked image areas can be copied and positioned anywhere on the 

same image. These areas can be transformed in any possible way, set 

to transparent and also erased. Thus you can e.g. add missing image 

background, distort image motives and produce a wide range of special 

effects. 

This function is not available in the case of insufficient main memory capacity. 

The larger the image and the mask, the more memory is required. 

Under unfavorable conditions, the memory requirement may be up to 3 

times greater than the image’s disk space requirement. 

How to Insert Image Areas into Images 

1. If you want the inserted area to extend beyond the image borders, 

you must first enlarge the image. To do so, copy the image and add 

scanlines. For more details refer to Copying Images (page 20-11). 


3. Create or select a cut-out mask defining the image section you want 

to insert into the image (see page 21-1 and 22-5). 

4. Press F10 or select IMAGE | RETOUCH. 

5. Select COMPOSE in the MENU window. 

The image section is duplicated and placed on top of the original. 





Retouching 


Tip: 

6. You can move the inserted image section, resize and rotate it using 

the handles and transform it in many different ways using the 

TRANSFORMATIONS toolbar. For more details refer to page 19-1. 

Click if you want to set the inserted image to transparent or to create 

soft edges. For more details refer to page 17-1. 

7. Press RETURN/ENTER or click to continue retouching. 

8. You can now retouch the image as usual and also erase parts of the 

inserted area. 

To cause the inserted area to melt smoothly with its background, 

select a blurred brush border (GAUSS or LINEAR), make sure ERASER 

EFFECTS is enabled (use the toggle function in the MENU window) and 

erase at the edges of the inserted area (see also page 23-9). 

9. You can insert the masked area again. To do so, repeat these actions 

from step 5. 

Example: Adding Image Background 

Suppose you want to enlarge a small stripe of blue sky at the upper image 

edge so that the sky extends further to the top. The background 

should appear as natural as possible, i.e., the structure of the clouds and 

the blue shades of the sky should not be interrupted. 

Fig. 23-4 

Adding Image Background (Example) 




Retouching 



How to Add Image Background (Example) 

1. Open the image overview containing 

the image to be modified (see 

page 20-2). 

2. Click once on the image’s thumbnail 

representation in order to select 

it. 

3. Select COPY in the MENU window. 

This opens the COPY IMAGE dialog 

(see page 20-12). 

4. Into the ADDITIONAL SCANLINES: 

TOP box enter the number of pixel 

lines by which you want to enlarge 

the image at its upper edge. 

When you leave the dialog, the image 

will be copied, thereby being 

enlarged at the top edge. 

5. Open the image you have copied 


The scanlines you have added appear 

as a white area at the top of 

the image. 

6. Click and create a rectangle 

which encloses the image area 

you want to enlarge. 

The rectangle must cover the entire 

width. It may exceed the right 

and left edges and need not extend 

exactly to the top edge of the actual 

image. 

7. Press F10 or select IMAGE | 

RETOUCH to start the retouching 

function. 





Retouching 

Images with Transparent Tints and Gradients 

8. Select COMPOSE in the MENU 

window. 

This duplicates the selected image 

area and places the duplicate on 

top of the image. 

9. Use the upper middle handle to 

stretch the inserted image section 

to the top until it entirely fills the 

inserted image area. 

10.Press RETURN/ENTER or click 

end the COMPOSE function. 

to 


The RETOUCH function provides additional features for creative image 

editing and creating special effects: 

• Masked image areas can be filled with tints and gradients. 

• The colored image areas can be set to transparent. Thus the image 

background can be added to the tint or gradient, for example. 

• You can define soft edges for these image areas so that the mask 

melts smoothly with the background. 

Fig. 23-5 

Special Image Effect with Transparent Gradient 

A rectangular area of this image was filled with a gradient. This gradient 

was then soft-edged and the background colors were added to it. 

The next section explains how to create this example. 





Retouching 


How to Create Special Image Effects... 


2. Create or select a cut-out mask defining the image section to be filled 

with color (see page 21-1 and 22-5). 


4. In the MENU window, select TINT, GRADIENT or CIRCular GRADient. 


• When creating tints (see page 10-1), select a color without closing 

the COLOR SELECTION dialog. To do so, drag a color from a 

palette box to the selection field. Do not click on the palette box! 

• When creating gradient (see page 10-2), define all colors or at 

least the first. 

6. Select TRANSPARENCY in the MENU window. The TRANSPARENCY, 

TRAPPING, SOFT EDGES dialog appears (see page 17-2). 

7. Use the first four dialog tabs from the left to set the tint or gradient to 

transparent (see page 17-1). 

To add the background to the inserted color, click LOAD and select the 

setting COMPLETE/TRANSPARENT. This has the same effect as selecting 

the MATRIX tab and setting the matrix values as follows: 

8. To create soft edges, click the SOFT EDGES tab, select e.g. VERY SOFT 

and define the soft edge area and position (see page 17-9). 

9. Select OK to close the TRANSPARENCY, TRAPPING... dialog. 

10.If required, correct the gradient or define additional base points. 

For example, SHIFT-CTRL-click (Mac OS) or SHIFT-right-click (Windows) 

to select the previous point, then click to change the color. 

11.Press RETURN/ENTER or click to end the gradient function. Or select 

OK to close the COLOR SELECTION dialog. 

12.You can now erase parts of the gradient or tint you have inserted. See 

also Using Current Brush Border When Erasing (page 23-9). 

13.You can place additional tints and gradients on the modified mask using 

function GRADIENT or CIRCular GRADient. The transparency and 

soft edge settings used before are applied automatically. 





24 Transforming Image Colors 

The color transformation function allows you to replace a specific image 

color by another color. You can vary the range of similar colors which are 

also affected by the transformation. 

It also allows you to increase an image’s color saturation and to creatively 

manipulate color separations. 

The color transformation function cannot be applied to linework. 

How to Transform Image Colors 


2. If you only want to transform a particular image area, create or select 

a restricting mask (see page 22-13). 

3. Press F12 or select IMAGE | COLOR TRANSFORMATION. 

4. Proceed as described in the following sections: 

Replacing Source Color by Target Color (page 24-2) 

Changing Color Saturation (page 24-4) 

Manipulating Image Color Separations (page 24-4) 

Transforming Colors by Direct Parameter Input (page 24-8) 

5. You can compare the modified image with the original. To do so, use 

the toggle function SHOW BEFORE or press F4. 

Note: 

6. When finished, press RETURN/ENTER or click . 

If only a section of an image is loaded, you can only modify this section. 

See also Loading as Low-res Image or Preview (page 20-8). 




Transforming Image Colors 

Replacing Source Color by Target Color 




2. Select any mode you like except the SEPARATION mode. Use the 

MODE function to toggle between the different modes. The current 

mode appears in the STATUS window. 

3. Select OLD COLOR in the MENU window to choose the color to be modified 

(source color). 

See also Selecting Colors (page 10-8). 

4. Select NEW COLOR to select the target color, i.e., the color by which 

you want to replace the source color. The modification is carried out 

instantly. 

5. Use MODE in the MENU window to toggle between the modes 

TRANSFORMATION, CORRECTION and REPLACEMENT. Choose the 

mode that provides the best result. The current mode is displayed in 


Note: 

The black separation can only be modified in the CORRECTION mode. 

6. You can vary the tolerance in order to determine the range of similar 

colors which are also affected by your modification. This is not possible 

in TRANSFORMATION mode. 

The tolerance can be set to any value between 0 (= only the specified 

color is modified) and 100 (entire color space is modified). To do so: 

1. Select TOLERANCE in the MENU window. 

2. Position the cursor on the image, hold the SHIFT key pressed 

down and move the mouse vertically. Alternatively, enter the tolerance 

value on the keyboard (direct input, see page 29-7). 

3. Click on the image or reselect the TOLERANCE function. 

7. You can at any time select another source color. A new color transformation 

which uses the target color previously specified will be carried 

out instantly. The same is true for selecting another target color. 

Using the Color Probe 

The color probe is a window that allows you to compare color changes 

at a specific point of an image. This window displays two rows of color 

values. The values at the top (BEFORE) show the original image colors, 

the values in the second row (AFTER) show the modified colors. 







Fig. 24-1 

Color Probe 

To set the color probe: 

1. Select COLOR PROBE in the MENU window. 

2. By default, an area of 1 pixel is measured. To change the size of this 

area, select COLOR MEAS. BOX in the MENU window and enter the size. 

Enter 10 to measure an average value over an area of 10 x 10 pixels, 

for example. The maximum size is 32 x 32 pixels. 

3. Click on a point of the image containing the color you want to monitor. 

The color probe window appears. As you modify the image, the lower 

row of CMYK values will reflect the color changes. 

About the Color Transformation Modes 

‘Transformation’ Mode 

The target color replaces the source color, all other colors change according 

to a specific algorithm by which the color space is distorted. 

‘Correction’ Mode 

The target color replaces the source color and is additionally mixed into 

image colors which are similar to the source color. Smooth transitions 

are created between original and modified colors. 

Using the TOLERANCE function you can define the range of similar colors 

which are going to be modified. With a tolerance of 0% only the source 

color is modified, with a tolerance of 100% the target color is mixed into 

all image colors. 

Note: 

The black separation can only be modified in the CORRECTION mode. 

‘Replacement’ Mode 

The target color and similar colors replace the source color and similar 

colors. The size of the source and target color range is the same. Harsh 

transitions are created between original and modified colors. 

Using function TOLERANCE you can define the source/target color range. 

The higher the tolerance, the more different from the source color are the 





Changing Color Saturation 


colors which are replaced. With a tolerance of 100% all colors are replaced, 

with 0% only the source color. 

Changing Color Saturation 

The COLOR TRANSFORMATION function also allows you to increase or reduce 

the saturation of image colors. 

Fig. 24-2 

Color Saturation Reduced (left) and Increased (right) 

How to increase or reduce color saturation: 


2. Repeatedly select MODE in the MENU window until the 

TRANSFORMATION mode is active. 

3. Select SATURATION in the MENU window. 

4. Position the cursor on the image window, hold the SHIFT key pressed 

down and move the mouse vertically. Alternatively, enter the saturation 

value on the keyboard (direct input, see page 29-7). 

51-100 Increases saturation 

50 No change (initial value) 

49 - 0 Decreases saturation 

0 Produces a grayscale image 

Note: 

These are relative values, i.e., the initial value after selecting 

SATURATION is always 50, even if the saturation has already been 

modified before. 

5. Click on the image or reselect the SATURATION function. 

Note: 

Selecting OLD COLOR / NEW COLOR or switching to another mode reverses 

the modification made with the SATURATION function. 

Manipulating Image Color Separations 

It is possible to manipulate the color separations of CMYK images. You 

can e.g. change the ratio of separations or swap color values between 







two separations. This allows you to improve image colors and produce 

a wide range of special effects. 

This functionality is not available for RGB image. 

Manipulating Color Separations: How It Works 

Each color separation of the target image is defined by merging the four 

color separations of the source (original) image. Merging means adding 

or subtracting the source color separations. 

The following table shows the separations merged to produce the unmodified 

source image: 

Target Source Image 

C M Y K 

C = 100 + 0 + 0 + 0 

M = 0 + 100 + 0 + 0 

Y = 0 + 0 + 100 + 0 

K = 0 + 0 + 0 +100 

Target Cyan is made of 100% Cyan + 0% Magenta + 0% Yellow + 0% 

Black of the source image. The target Magenta is made of 0% Cyan 

+ 100% Magenta + 0% Yellow + 0% Black of the source image, etc. 


Changing Image Color Mode (page 27-1) 

Creating Transparency for Layers (page 17-1) 

‘Complex’ Tab (Transparency...) (page 17-3) 

Fig. 24-3 STATUS Window for Color Separation Manipulations 

The following figure shows the way the color separation values of the 

above example are represented in the STATUS window: 

Source separations 

Target separations 

Currently selected separation 

1 means ‘100%’ 

A blank means ‘0%’ 

+ and – appear when modifications 

are made, indicating 

increase or decrease 

Percentage value for currently 

selected separation (marked with *) 







How to Modify Color Separations 


2. Repeatedly select MODE in the MENU window until the SEPARATION 

mode is active. 

3. To modify the percentage by which a source separation is merged 

into a target separation, select the source and target separation you 

want. Do this by selecting a position within the table displayed in the 

STATUS window (see Fig. 24-3): 

• CTRL-click (Mac OS) or right-click (Windows to go to the next 

table cell. Additionally press the SHIFT key to go to the previous 

cell. You can thus step through the entire table. 

• Use functions NEXT LINE/COLUMN in the MENU window to select 

table cells within the same row or column, respectively. 

4. Modify the percentage of the source color value. You can specify any 

positive or negative value. 

To do so, click on the image or select CHANGE VALUE in the MENU window. 

Make sure the cursor is placed on the image, then hold SHIFT 

and the mouse button pressed down and move the cursor vertically. 

When the value you want is reached, click on the image or reselect 

CHANGE VALUE. 

Alternatively, enter the value on the keyboard (direct input). 

In the table displayed in the STATUS window the next value becomes 

active automatically. The modifications are represented as follows 

there: 

- value was decreased 

+ value was increased 

1 values is exactly 100% 

(blank) value is exactly 0% 

5. Repeat steps 3 and 4 to modify additional values. 








Examples 

Swapping Cyan and Magenta Separation 


C M Y K 

C = 100 

M = 100 

Y = 100 

K = 100 

The Cyan separation of the target image is made of 100% of the Magenta 

separation and 0% of all other separations. The Magenta separation 

is made of 100% of the Cyan separation and 0% of all other 

separations. 

Subtracting 50% Magenta from Cyan Separation 


C M Y K 

C = 100 –50 

M = 100 

Y = 100 

K = 100 

The Cyan separation of the target image is made of 100% of the Cyan 

and –50% of the Magenta separation. A pixel with the source color 

C40M10, for example, will have the target color C35M10: 

C = (100% of 40) – (50% of 10) = 40 – 5 = 35 

M = (100% of 10) = 10 






Transforming Colors by Direct Parameter Input 

Creating Grayscale Images 

This setting creates a black and white image with an unequal ratio of 

color separations: 


C M Y K 

C = 

M = 

Y = 

K = 30 40 20 50 

The Cyan, Magenta and Yellow separations are all made of 0% of the 

four source image separations, i.e., only the Black separation is created. 

The Black separation value is made of 30% Cyan, 40% Magenta, 

20% Yellow and 50% Black of the source image separations. 


The ‘direct input’ method allows you to make many additional transformations 

that cannot be achieved with other transformation modes, such 

as increasing the saturation of individual color separations of RGB images. 

You have to specify 9 parameters. Each of the first 6 parameters modifies 

a color which depends on another color, i.e., the first color is added 

to or subtracted from all image pixels having the second color. These parameters 

do not affect the gray balance. 

R (1) Red depending on green 

R (2) Red depending on blue 

G (1) Green depending on red 

G (2) Green depending on blue 

B (1) Blue depending on red 

B (2) Blue depending on green 

The last 3 parameters allow you to modify the gray balance. i.e. the 

amount of yellow, magenta and cyan contained in white. Increasing 

these parameters by the same value makes the image brighter, decreasing 

them by the same value makes it darker. 

Y Yellow 

M Magenta 

C Cyan 







How to Make ‘Direct Input’ Color Trafos 


2. Repeatedly select MODE in the MENU window until the TRANSFOR- 

MATion mode is active. The current mode is indicated in the STATUS 

window. 

3. Select DIRECT in the MENU window. The first parameter (R) appears 

in the STATUS window. 

The default value is 50 for all parameters, unless you have already 

replaced colors using function OLD COLOR and NEW COLOR. In this 

case the default values already reflect the changes you have made. 

4. You can change the value within a range of 0 to 100. Note that values 

lower than 25 and higher than 75 will usually not produce usable results. 

Do one of the following: 

• Enter the new value directly on the keyboard (see page 29-7). 

• SHIFT-click on the image, then move the mouse vertically. Click 

again when the value you want is reached. The value corresponding 

to the cursor position is indicated in the status bar. 

The next parameter is selected automatically. The current parameter 

is highlighted by boldface type in the STATUS window. 

5. Repeat the last step until you have changed all 9 parameters. 


The following table shows some key values for the first 6 parameters. In 

this table A is the color that depends on color B: 

50 No change 

75 100% of color B is added to color A 

58.33 Color A is reduced by 33% and 33% of color B are 

added to it 

25 Color A is increased by 100% and 100% of color B are 

subtracted from it 

41.66 Color A is increased by 33% and 33% of color B are 

subtracted from it 

Note: • It is advisable to first set the gray balance using the Y, M and C 

parameters and then specify the other 6 color parameters. 

• Switching to another MODE cancels all color transformations made 

by ‘direct input’. 







• The ‘direct input’ method allows you to created unprintable colors. In 

this case a considerable discrepancy may occur between the displayed 

color, the proof print and the final print result. 

Examples of ‘Direct Input’ Color Trafos 

The following pattern shows how to interpret the values listed below: 

––– Red replaces green (R1) Red replaces blue (R2) 

Green replaces red (G1) ––– Green replaces blue (G2) 

Blue replaces red (B1) Blue replaces green (B2) ––– 

Original Colors 

--- 50 50 This setting displays the original 

50 --- 50 colors of an unmodified image. 

50 50 --- 

Single Color Separations 

--- 50 50 This setting replaces green and blue with red. 

75 --- 50 The image colors become grayscales and the 

75 50 --- red separation is displayed. 

Grayscales 

--- 58.33 58.33 This setting produces a grayscale image. 

58.33 --- 58.33 A third of the sum of R, G and B is used for 

58.33 58.33 --- this purpose. The parameters Y, M and C 

must be set to the same values (e.g. 50). 

Reversed Colors 

--- 75 50 This setting turns red into green 

75 --- 50 and green into red. 

50 50 --- 





Saving and Loading Color Trafo Settings 



The current color transformation setting can be stored under a name and 

recalled at any time. Two separate lists are used: 

• A list for transformations made in the SEPARATION mode 

• A list for transformations made in the other modes 

The same names can be used for both lists. For storing and recalling the 

program uses automatically the list corresponding to the current mode. 

Use the following functions in the MENU window: 

• NEXT – Loads the transformation setting that comes next in the list. 

• PREVIOUS – Loads the previous transformation setting. 

• LOAD – Use this function to display a list of all saved transformation 

settings (see below). To load a setting, double-click the list item or 

click it once and select OK. 

• SAVE – Saves the currently displayed transformation. Type a name 

for it. 

• REPLACE – Overwrites the setting you have loaded by the currently 

displayed transformation. 

• DELETE – Deletes the currently loaded setting from the disk without 

any warning. 

Fig. 24-4 

List of Stored Color Transformation Settings 

This is one of the two lists of stored color transformation settings. To load 

a setting, double-click a list item or click it once and select OK. Click the 

list header to sort the list in ascending or descending order. 











25 Gradation Changes and Tone Value 

Corrections 

Note: 

ORIS PDF Tuner allows you to make global color changes using gradation 

curves and tone value corrections. This functionality is available for 

all image formats except linework. Changes can be applied to all color 

separations and also to individual separations. 

To Change Color Gradations 

Press F11 or select IMAGE | COLOR GRADATION. The COLOR GRADATION 

window appears (see Fig. 25-1). It displays a linear gradation curve. 

If no gradation curve is displayed, repeatedly select MODE in this window 

until the SPLINE mode is active (indicated in the status area on the left). 

Refer to How to Change Color Gradations (page 25-3) for more details. 

To Make Tone Value Corrections 

Press +L (Mac OS) or CTRL+L (Windows), or select IMAGE | TONE COR- 

RECTION. The TONE CORRECTION window appears (see Fig. 25-6). Refer 

to Correcting Tone Values (page 25-7) for more details. 

If you only want to modify a particular image area, create or select a restricting 

mask (see page 22-13) before starting the COLOR GRADATION or 

TONE CORRECTION function. 




Gradation Changes and Tone Value Corrections 

‘Color Gradation’ Window 

‘Color Gradation’ Window 


Fig. 25-1 

Status Area 

Explanation of ‘Color Gradation’ Window (‘Spline’ Mode) 

Menu 

Active 

point 

Coordinates 

of 

curve 

points 

Points on 

gradation 

curve 

Input boxes for adding 

curve points 

Using the ALL/SEPArate function you can display four gradation curves, 

one for each color separation. Reselect this function to switch back to 

the display of one curve. 

If you modify a specific separation, use the curves in the corresponding 

display area. If several separations are modified at the same time (e.g. 

C, M and Y), it does not matter which display area to use. 

Fig. 25-2 

4 Display Areas and Related Color Separations 

Cyan 

or 

Red 

Black 

Yellow 

or 

Blue 

Magenta 

or 

Green 





How to Change Color Gradations 



1. In the COLOR GRADATION window (see Fig. 25-1), use the MODE function 

to toggle between the following modes: 

• SPLINE – Gradation curves are defined by setting points 

• EFFECT – Gradation curves are defined by drawing lines 

• TONE VALUE – Tone value correction (see page 25-7) 

The current mode is displayed the status area of the COLOR 

GRADATION window. 

Note: 

Switching to another mode cancels all gradation changes previously 

made. 

2. Select the color separation(s) to be modified. Click e.g. CMYK to 

change all four separations of a CMYK image or click C to change 

only the Cyan separation. 

For more details refer to Selecting Color Separations (see below). 

3. Use the toggle function ALL/SEPArate to determine how curves are 

displayed: 

• One display area for all color separations – or 

• Four display areas, one for each color separation (see Fig. 25-2) 

4. Modify the gradation curves. For details refer to 

Changing Gradations in ‘Spline’ Mode (see below) 

Changing Gradations in ‘Effect’ Mode (page 25-5) 

5. If you want to reverse all changes, click RESET in the COLOR GRADA- 

TION window. The gradation curves of all color separations become 

linear. 


Selecting Color Separations 

First change the overall gradation and then that of single separations, as 

changes to the overall gradations will undo changes to single separations. 

To change single separations, click the C, M, Y, K buttons (or R, G, B respectively) 

at the bottom right of the COLOR GRADATION window. 

To change several separations at the same time, select CMYK, CMY or 

RGB respectively. When you click one of these buttons, all separations 

in question will become identical to the curve corresponding to the cur- 







rent color separation. The current separation is indicated in the status 

area of the COLOR GRADATION window (see Fig. 25-12). 

It is possible to treat the channels of RGB images as CMY separations. 

To do so, click RGB/CMY in the menu of the COLOR GRADATION window. 

This interchanges the X and Y values of the curve point coordinates so 

that curves are mirrored (see Fig. 25-2). 

Changing Gradations in ‘Spline’ Mode 

In the Spline mode you specify points which are connected automatically 

by curved lines. When you select this mode, a linear curve appears that 

has two default points: the starting and the ending point (see Fig. 25-1). 

You can modify the curve by adding, moving and deleting points. 

Adding Gradation Points 

Simply click to add a new point to a gradation curve. 

Alternatively, enter the point’s coordinate into the boxes at the bottom of 

the COLOR GRADATION window. The coordinates range from 0/0 (lower 

left corner) to 100/100 (upper right corner). Press TAB after each input. 

The coordinates are displayed in the status area on the left-hand side of 

the COLOR GRADATION window (see Fig. 25-12). 

Moving Gradation Points 

You can drag any point to another position with the mouse button 

pressed down. 

The point moved or clicked last is active and therefore marked with a 

cursor. This point can be moved up and down in very small increments. 

To do so, position the cursor anywhere inside the curve’s display area. 

Then CTRL-click (Mac OS) or right-click (Windows) repeatedly to move 

the point up. Additionally press the SHIFT key to move it down. Each 

mouse click moves the point by 1%. 







Fig. 25-3 Moving Gradation Points in Increments of 1% 

The cursor must be inside this area. 

Deleting Gradation Points 

To delete a point of a gradation curve, drag it beyond the borders of the 

curve’s display area with the mouse button pressed down. 

Fig. 25-4 

Deleting a Gradation Point 

Changing Gradations in ‘Effect’ Mode 

In the EFFECT mode you can draw any kind of curve and also set single 

dots. When you select this mode, a linear curve appears. 

You can draw lines with the mouse button pressed down. To create a single 

dot, click or enter the coordinates into the boxes at the bottom of the 

COLOR GRADATION window. Press TAB after each input. 

New points replace existing points that have the same horizontal position. 

To visualize this, draw a horizontal line and then a broken horizontal 

line above the first one. The dots created by the broken line disappear 

from the continuous line (see the figure below). 

Using the AVERAGE function in the COLOR GRADATION window you can 

average the specified lines and points and thus achieve smoother color 

transitions. To visualize this, select AVERAGE repeatedly. In the above ex- 






‘Tone Correction’ Window 

ample, you can see how new dots are created that connect the line ends 

(see the figure below). 

Fig. 25-5 

Example of Gradation Changes in ‘Effect’ Mode 

AVERAGE 

‘Tone Correction’ Window 

Note: 

This example refers to RGB images. For CMYK images the position of 

the LOW and HIGH controls and the effect of the MAX and MIN controls 

are different. 

Fig. 25-6 

Explanation of ‘Tone Correction’ Window 

Status Area 

Menu 

Reduces 

highlights 

Reduces 

shadows 

Histogram 

Lower 

contrast 

Increases 

shadows 

Adjusts 

midtones 

Higher contrast 

Increases 

highlights 

To change a value, move the triangle , move the line starting from the 

triangle or enter the value into an input box. 






Correcting Tone Values 

The histogram shows the distribution of tonal values in the image. The 

higher the peaks, the more frequent is a tonal value. 

Displaying Four Separation Curves 

Using the function ALL/SEPArate you can toggle between 

• one display area for all color separations – and 

• four display areas, one for each color separation (see figure below). 

We recommend to use the one-area display. The four-area display is 

useful for an overview of all color separations, but not very suitable for 

precise changes. 

If you want to modify a specific separation, use the display area that corresponds 

to this separation (see below). If several separations are modified 

at the same time (e.g. C, M and Y), it does not matter which of the 

display areas to use. 

Fig. 25-7 

4 Display Areas and Related Color Separations 

Cyan 

or 

Red 

Black 

Yellow 

or 

Blue 

Magenta 

or 

Green 


1. In the TONE CORRECTION window (see above), select the color separation(s) 

you want to modify. Click e.g. CMYK to change all four separations 

of a CMYK image or click C to change only the Cyan separation. 

For more details refer to Selecting Color Separations (page 25-3). 

2. Use the toggle function ALL/SEPArate to determine how curves are 

displayed: 

• One display area for all color separations (recommended) – or 

• Four display areas, one for each color separation (see Fig. 25-7) 







3. To increase image contrast, use the horizontal controls on the bottom. 

The triangle above LOW increases the shadows. As you move it to 

the opposite side, it darkens increasingly lighter pixels. 

The triangle above HIGH increases the highlights. The triangle 

in the center adjusts the midtones. Move it to the right or left to lighten 

or darken the midtone areas. 

You can also move the lines starting from these triangles, which is often 

more convenient. Place the cursor anywhere on a line in order to 

move it. 

To make very precise changes, you can enter the values into the 

LOW, MID and HIGH box. The value range is 0–255 for shadows and 

highlights and 0.1–9.82 for midtones. The LOW value at 0, MID at 1 

and HIGH at 255 represent the image’s current settings. 

See also About Shadow and Highlight Settings below. 

4. To reduce image contrast, use the vertical controls on the left. 

Move the triangles or the line starting from the respective triangles. 

You can also enter the values into the MAX or MIN box. Depending on 

the image type (RGB or CMYK), the highlights or shadows are reduced. 

See also About Tone Range Settings below. 

5. If you want to reverse all changes, click RESET. This affects all color 

separations. 


Note: 

Do not select the MODE function as switching to another mode will cancel 

all changes. 

About Shadow and Highlight Settings 

Example 1 

Suppose an RGB image contains pixels that cover the entire 0-to-255 

scale and you want to increase the image contrast. If you set the highlight 

value (HIGH) to 206, pixels with a tone value of 206 and higher are 

mapped to 255, and pixels with tonal values lower than 206 are mapped 

to corresponding higher values. This lightens the image and increases 

the contrast in the highlight areas. 







The figure below illustrates this example using a gradation curve. The 

example additionally assumes that the shadow value (LOW) was set to 

27. The dotted line shows the form the curve could possibly have if the 

midtones were set to a value greater than 1. 

Fig. 25-8 

255 

Curve Illustrating Increase of Highlights and Shadows 

0 

027 206 255 

Example 2 

Suppose the histogram of an RGB image is as in the left figure shown 

below, i.e., there are almost no pixels with values between 0 and approx. 

35. When you drag the control for the shadows to the edge of the first 

group of pixels (as shown below) and reselect the TONE CORRECTION 

function, the new histogram will be as shown in the figure on the right. 

The new histogram shows that the tone values have been stretched out 

so as to cover the entire tone range (0–255), causing gaps in the histogram 

(which usually do not affect image quality). Image contrast in the 

shadows has been increased. 

Fig. 25-9 

Stretching out Tone Values 

About Tone Range Settings 

Suppose an RGB image contains pixels that cover the entire 0-to-255 

scale and you want to reduce the image contrast. If you set the tone 

range maximum value (MAX) to 206, pixels with tone values of 255 are 

mapped to 206 and pixels with tonal values lower than 255 are mapped 

to corresponding lower values. This darkens the image and decreases 

the contrast in the highlight areas. 






Overview of Menu and Status Area 

The figure below illustrates this example using a gradation curve. The 

example additionally assumes that the MIN value was set to 27. 

Fig. 25-10 

255 

206 

Gradation Curve Illustrating Tone Range Reduction 

27 

0 

0 

255 

Overview of Menu and Status Area 

Fig. 25-11 

Menu of ‘Color Gradation’/‘Tone Correction’ Window 

Terminates function and applies changes. 

Cancels function, all changes are lost. 

Displays online help explaining how to use this dialog. 

Cancels all changes, gradation curves are made linear. 

Overlays the display area with a grid, adds or removes grid lines. 

Loads a stored gradation or tone value setting. 

Saves the current gradation or tone value setting. 

Deletes the setting you have loaded. 

Toggles between SPLINE, EFFECT and TONE VALUE mode. 

Toggles between one curve for all separations and four curves. 

Produces smoother transitions (available in EFFECT mode only). 

Changes all four color separations at the same time. 

Changes the C, M and Y separations at the same time. 

Allows the channels of RGB images to be treated as 

CMY separations. 

Changes a single color separation. 






Additional Options 

Fig. 25-12 

Status Area of ‘Color Gradation’/‘Tone Correction’ Window 

Changes will affect: 

• masked image areas or 

• entire image (here) 

Current mode 

(SPLINE, EFFECT or TONE VALUE) 

Color separations to be changed 

Coordinates of curve points 

(only in SPLINE mode) 


Note: 

Saving and Loading Settings 

Gradation and tone value settings can be saved and thus applied to any 

other image. Use the following functions in the menu on the right of the 

COLOR GRADATION or TONE CORRECTION window (see Fig. 25-11). 

To save the current setting 

Select STORE, type a name, then click OK. 

To delete the current setting 

Load the setting to be deleted, then select DELETE. 

To load a setting 

Select LOAD. The list of stored settings appears (see below). Doubleclick 

the setting to be loaded. 

When loading a setting, the mode (SPLINE, EFFECT, TONE VALUE) that 

was used for creating the setting is selected automatically. In addition, 

the color separations that can be edited are selected as follows: 

• CMYK, CMY or RGB if these separations are identical 

• Otherwise Yellow or Blue, respectively 

Fig. 25-13 

List of Stored Gradation and Tone Value Settings 







Original and Modified Image 

You can compare the modified image with the original image using the 

SHOW BEFORE function in the image’s MENU window. Select this function 

to display the original image. Reselect it to display the modified image. 

You can also press F4 instead. 

Color Probe 

The color probe is a window that allows you to compare color changes 

at a specific point of an image. This window displays two rows of color 

values. The values at the top (BEFORE) show the original image colors, 

the values in the second row (AFTER) show the modified colors. 

Fig. 25-14 

Color Probe 

To set the color probe: 

1. Select COLOR PROBE in the MENU window. 

2. By default, an area of 1 pixel is measured. To change the size of this 

area, select COLOR MEAS. BOX in the MENU window and enter the size. 

Enter 10 to measure an average value over an area of 10 x 10 pixels, 

for example. The maximum size is 32 x 32 pixels. 

3. Click on a point of the image containing the color you want to monitor. 

The color probe window appears. As you modify the image, the lower 

row of CMYK values will reflect the color changes. 

Grid 

To facilitate the creation of gradation curves you can overlay the COLOR 

GRADATION window with a grid. Repeatedly select function SET GRID in 

the menu of the COLOR GRADATION window to display the grid, to add 

grid lines or to hide the grid. 







Fig. 25-15 

Displaying a Grid in the Gradation Window 











26 Editing Linework 

The Linework Editor allows you to modify linework and 1-bit images. 

Linework editing includes filling color areas, redefining colors, retouching 

and pixel copy. Moreover, the linework color table can be displayed 

and modified. 

Each linework area limited by a change in color is hereafter referred to 

as a color area. Any color area can be changed in color by fill operations. 

Please note the following restrictions: 

• Scitex Handshake and TIFF/IT linework files can store only up to 

255 colors in their color table. This restriction does not apply to 

Scitex New Linework (*.NLW). 

• Bitmap and TIFF linework files are monochrome and can only be 

modified using the two colors black and white. 

• TIFF/IT HC files can neither be modified using the Linework Editor 

nor saved in any other linework format. 

• Linework can only be edited if all pixels are loaded (see page 20-8). 

See also Linework File Formats (page 20-24). 

Linework Color Table 

The linework color table is a list of all colors defined for a linework. The 

definition includes the CMYK values and transparency information. Each 

color is referenced by a unique number in this table. 

To display this table, press F10 or select IMAGE | RETOUCH, then select 

COLOR TABLE in the MENU window. 

You can sort the columns by clicking a column header. 

To select a color, double-click the list item or click it once and select OK. 

The selected color can then be modified (see page 26-3). 




Editing Linework 



Fig. 26-1 


Meaning of Dialog Columns 

Note: 

Color 

Each linework color is identified by a unique number which is displayed 

in this column. 

Color #1 is the linework’s background color. It is usually white and all four 

separations are transparent. This color is protected. This means that its 

transparency cannot be changed and if you modify it, a new color table 

entry will be created automatically. 

C, M, Y, K 

CMYK values of linework color 

(Spot color) 

A separate column appears for each spot color included in the linework. 

The number indicates the color density (e.g. 100%). 

Transparency 

C, M, Y, K Transparent process color separations 

T, T... Transparent spot color separation (refers to the spot 

colors in the order in which they are listed in the dialog) 

Same Color 

Number of a color with the same CMYK and transparency values 

Used in LW 

• Yes: The color is actually used on the linework 

• No: Although defined, the color is not used on the linework 

Tip: 

You can remove identical and unused colors from the linework color table 

by reorganizing it. This is particularly required if the maximum of 255 

colors is reached. For more details see page 26-9. 






How to Edit Linework 

How to Edit Linework 

1. Open the linework file (see page 20-6). 

2. If you only want to retouch a particular image area, create or select a 

restricting mask (see page 22-13). 


4. Proceed as described in the following sections: 

Modifying Linework Colors (page 26-3) 

Painting and Pixel Copy (page 26-7) 

Additional Options (page 26-9) 


Modifying Linework Colors 

To modify linework colors use the functions MODIFY, FILL IN and FILL TO 


Modifying All Identical Color Areas 

How to modify all linework color areas that have the same color: 

1. Select MODIFY in the MENU window. MODIFY COLOR appears in the 

STATUS window to indicate that this mode is active (see page 26-11). 

2. Select the linework color to be modified, e.g. by clicking on the color 

area. This activates all color areas having the color of the pixels you 

have clicked. See also Selecting Linework Colors (page 26-6). 

3. Select CMYK COLOR in the MENU window and choose a new color for 

the active linework areas. 

The active areas are filled with the new color. However, this is only 

visible when you choose another linework color or when you select 

HIDE to remove the mask from the screen. 

4. You can set individual color separations to transparent using C/M/Y/ 

K TRANSPARENT in the MENU window. To reset a separation to 

opaque, reselect the same function. 

Transparent separations are marked with a T in the STATUS window. 

5. Repeat steps 2 to 4 until you have changed all linework colors. 

Reversing Modifications 

Use the UNDO function to reverse all modifications made after selecting 

MODIFY. This function appears in the MENU window after the first modification. 








Defining Mask and Background Colors (page 26-10) 


Hiding Linework Masks (page 26-10) 

Filling Multiple Color Areas 

How to fill the same color into multiple linework color areas: 

1. Select FILL IN in the MENU window. FILL IN AREA appears in the STATUS 

window. 

2. Select CMYK COLOR in the MENU window and choose the new color 


3. You can set individual color separations to transparent using C/M/Y/ 

K TRANSPARENT in the MENU window. 

4. Click on the linework area to be filled with the selected color. Repeat 

this for all color areas you want to fill. 

5. Repeat steps 2 to 4 until you have filled all color areas you want. 

Undoing Modifications 

Using UNDO 1 FILL you can undo the last fill operation and thus reverse 

filling step by step. Using UNDO ALL FILLS you can undo all operations 

made after selecting FILL TO. These functions appear in the MENU window 

after the first modification. 

Flood Filling 

This editing method is similar to Photoshop’s Paint Bucket tool. When 

you click on the linework, the new color will also be filled into all neighboring 

color areas, except for that of the selected linework color and all 

color areas enclosed by it. 

Fig. 26-2 

Example of a Flood Fill 

In this example, the man’s hair and the outline of his shirt belong to 

the same linework color (K100). All color areas enclosed by this color 

are filled with red color in one go. To do so, you must select the K100 







color (i.e. make it active so that it is covered by a mask), select the 

FILL TO function, select red as your CMYK COLOR and finally click anywhere 

inside the man’s face. The next section explains this in detail. 

How to Flood-Fill a Linework 

1. Select the linework color which should limit 

the area to be modified. To do so, click 

SELECT in the MENU window, then click on 

a point in this color area (see also 

page 26-6). 

The selected color is indicated by a mask 

(unless you have selected the HIDE function 

beforehand). 

2. Select FILL TO in the MENU window. 

FILL TO AREA appears in the STATUS window 

to indicate that this mode is active. 

3. Select CMYK COLOR in the MENU window to 

open the COLOR SELECTION dialog (see 

page 10-8). Then choose the color to be 

used for flood-filling. 

You can set individual color separations to 

transparent using C, M, Y and 

K TRANSPARENT in the MENU window. 

4. Click on a point inside the area 

to be filled (e.g. on the man’s 

forehead in our example). 

The new color ‘spreads’ across 

the linework from this point but is 

stopped by the active color (the 

man’s hair and the outline of his 

shirt), i.e., it does not spread into 

this color nor into any areas beyond 

it. 







5. Using UNDO 1 FILL you can undo the last fill 

operation and thus reverse filling step by 

step. Using UNDO ALL FILLS you can undo all 

operations made after selecting FILL TO. 

Filling Restricting Masks 

All image and linework manipulations can be restricted by masks (see 

page 22-13). In this case modifications do not affect the entire image or 

linework, but only the masked areas. 

The linework editor also allows you to fill the entire restricting mask: 

1. Open the linework (see page 20-6). 

2. Create or select a mask (see page 21-1 and 22-5). 


The STATUS window displays MASK below WORK ON to indicate that a 

mask is active (otherwise IMAGE is displayed there). 

4. Select FILL IN or FILL TO in the MENU window. 

5. Select CMYK COLOR in the MENU window and select the color to be 

filled into the mask (see also page 10-8). 

6. Select FILL MASK in the MENU window. The mask is filled with the selected 

color. 

The fill operation can be reversed using function UNDO 1 FILL or UNDO 

ALL FILLS in the MENU window. 

Selecting Linework Colors 

Selecting a linework color is necessary, for example, if you want to modify 

all linework areas having this color or if you want to view the color’s 

CMYK and transparency values. 

There are different ways to select linework colors: 

• Click on a linework area having the color you want. 

This is only possible in the SELECT and MODIFY modes. 

• Position the cursor on the image window and CTRL-click (Mac OS) 

or right-click (Windows) repeatedly to select the next color. Additionally 

press the SHIFT key to select the colors in reverse order. 






Painting and Pixel Copy 

This is only possible in the SELECT, MODIFY and FILL TO modes. 

• Select COLOR TABLE in the MENU window. 

A list of all colors defined for the linework appears. Each color is identified 

by a unique number. Select the color you want, e.g. with a double-click. 

• Enter the color number directly on the keyboard (see page 29-7). 

All linework areas having the selected color become active and are covered 

by a mask. Using the MASK COLOR function you can change the 

mask color (see page 26-10). The number of the selected color appears 

in the STATUS window below CURRENT COLOR. 


Linework Color Table (page 26-1) 

Hiding Linework Masks (page 26-10) 


Painting on a Linework 

1. Select DRAW in the MENU window. DRAW COLOR appears in the STA- 

TUS window to indicate that this mode is active. 

2. If the DYN. COPY mode is active, select BRUSH in the MENU window. 

3. Select CMYK COLOR in the MENU window and choose a color for 

drawing (see also page 10-8). 

4. You can set individual color separations to transparent using functions 

C, M, Y and K TRANSPARENT in the MENU window. 

5. You can now start painting on the linework. 

To erase, hold the SHIFT key pressed down. 

To increase brush size, CTRL-click (Mac OS) or right-click (Windows). 

To reduce brush size, SHIFT-CTRL-click or SHIFT-right-click. 

Use UNDO in the MENU window if you want to reverse all modifications 

made after selecting DRAW. 

See also Paint/Copy Parameters below. 







Pixel Copy 

The linework editor allows you to copy pixels to another position. This is 

similar to the Clone Stamp tool in Photoshop. 

1. Select DRAW in the MENU window. DRAW COLOR appears in the 

STATUS window to indicate that this mode is active. 

2. Select DYN. COPY in the MENU window (unless this mode is already 

active). Two cursors which are almost on top of each other appear 

(see figure below). 

3. To modify the distance between the cursors, position the source cursor, 

then move the target cursor with SHIFT+CTRL pressed down (Mac 


4. You can now start copying the linework pixels. 

To erase, hold the SHIFT key pressed down. 

To increase brush size, CTRL-click (Mac OS) or right-click (Windows). 

To reduce brush size, CTRL-click or right-click repeatedly until the 

maximum size is reached. The next click will reset the brush size to 0. 

Use UNDO in the MENU window if you want to reverse all modifications 

made after selecting DRAW. 

See also Paint/Copy Parameters below. 

Fig. 26-3 Copying Pixels from Source to Target Cursor 


Dashed line Full line 

Paint/Copy Parameters 

The following functions for drawing and copying on linework are available 

in the MENU window: 

Dot/Line 

Use this function to toggle between two settings: 

• If DOT MODE appears in the STATUS window, quick cursor movements 

produce single points. Points are never connected with each 

other. 







• If LINE MODE appears in the STATUS window, continuous lines are 

always produced, regardless of the cursor speed. 

Brush shape 

Use this function to select the brush shape. The function toggles between 

CIRCLE and SQUARE (displayed in the STATUS window). 

Box cursor 

Use this function to change the way the brush is displayed. You can toggle 

between two settings: 

• The brush is always displayed as a cross, regardless of the current 

brush shape 

• The brush is displayed as a square or a circle, according to the current 

brush shape 


Reorganizing Linework Color Table 

Scitex Handshake (not NLW) and TIFF/IT linework files can store a maximum 

of 255 colors. If this limit has been reached, you can try to make 

room for new definitions by reorganizing the table. This removes unused 

colors and combines multiple definitions of the same color. 

Use the COLOR TABLE function (see page 26-1) in the MENU window to 

check whether there are any unused colors or colors with multiple definitions. 

This is also indicated in the STATUS window (see page 26-11). 

To reorganize a linework color table: 

1. Press F10 or select IMAGE | RETOUCH,Select CLEAN TABLE in the 

MENU window. A dialog appears (see below). 

2. Enable the options REMOVE UNUSED COLORS and/or MERGE SAME 

COLORS. 

3. Click OK, then press RETURN/ENTER or click . 

Note: 

Due to the complexity of a linework, it may happen that the reorganization 

cannot be carried out in one step. A warning appears if this occurs. 

In this case press RETURN/ENTER to end the RETOUCH function, then reselect 

RETOUCH and CLEAN TABLE. 







Fig. 26-4 

Linework Reorganization Dialog 

Avoiding Redundant Color Table Entries 

You can decide whether colors created by brushing on the linework 

should be added to the color table as a new entry, even if they already 

exist in the linework. 

Use the toggle functions NEW COLOR/SHARE COLOR in the MENU window. 

Having selected one of these functions, it will be replaced by the other 

function. 

When NEW COLOR is displayed, new color table entries will be created. 

When SHARE COLOR is displayed, existing color table entries will be 

used. 

Defining Mask and Background Colors 

In this context the term mask color refers to the mask highlighting the selected 

linework color. The term background color refers to the color displayed 

in ORIS PDF Tuner behind transparent linework colors. This color 

is only used for screen display, it is not stored in the linework. 

To modify these colors, select the SELECT function in the MENU window. 

Then select MASK COLOR or BACKGRound COLOR, respectively and 

choose the color you want. See also Selecting Colors (page 10-8). 

Hiding Linework Masks 

By default, a mask is displayed on the currently active linework color in 

order to highlight it. However, you may want to remove the mask to be 

able to view the linework color. To do so, select HIDE in the MENU window. 

To redisplay the mask, select SHOW. 

See also Selecting Linework Colors (page 26-6). 




Status Display for Linework Editing 

No. of colors 

Total number of colors in the linework table 

Current color 


Number of selected linework color 

This color is identical to the selected color 



CMYK values of selected color 

T indicates transparent separations 

Same number 

The selected color is not used on the linework. 

It can be removed using CLEAN TABLE. 

Number of colors for which several entries exist in the color table. For 

example, 1 indicates that there are two or more table entries with the 

same color and transparency values. You can merge identical color entries 

using function CLEAN TABLE (see page 26-9). 

Mode: 

SELECT COLOR: Only color selection, no modifications possible 

MODIFY COLOR: Modification of a single color 

DRAW COLOR: Painting or copying 

FILL IN AREA: Filling the same color into several areas 

FILL TO AREA: Filling several areas up to a specific color 

Work on 

When using restricting masks the status is MASK, otherwise IMAGE. 

Only when drawing or copying: 

LINE MODE/DOT MODE 

Quick cursor movements produce continuous lines/single points 

CIRCLE/SQUARE: Brush shape 

SIZE: Brush size (indicated below) 











27 Changing Image Color Mode 

Converting to CMYK, RGB or Grayscales 

Using the functions on the IMAGE | MODE menu you can convert images 

to the CMYK, RGB or grayscales color space. 

Converting to Grayscales 

You can also use the IMAGE | GRAYSCALE function for converting image 

colors to grayscales. This function can also be applied to an image section 

defined by a restricting mask (see also page 21-1). It also allows you 

to define the amount of color to be used from the individual color channels. 

The conversion procedure is different for RGB and CMYK images. 



Selecting Masks (page 22-5) 

Converting RGB Images 

Specify the amount of color to be used from the R, G and B channels. 

The values must be specified as CMY values and appear in the STATUS 

window. Proceed as follows: 

1. SHIFT-click on the image, move the mouse vertically and press the 

(left) mouse button when the gray level is as you want it. Alternatively, 

enter the value (0 to 100) on the keyboard. 

Take these actions for all of the three color channels. 

2. If you want to correct a value, SHIFT-CTRL-click (Mac OS) or SHIFTright-click 

(Windows) to select the previous value, (left-)click to select 

the next value. Then repeat step 1. 





Changing Image Color Mode 

Notes on Color Mode Conversions 


Converting CMYK Images 

When CMYK images are converted to grayscales, the COLOR TRANS- 

FORMATION function starts and the SEPARATION mode is selected automatically 

(see Manipulating Image Color Separations, page 24-4). 

You can then click LOAD in the MENU window and select one of the predefined 

transformation settings, e.g. CMYK-GRAYSCALE 2 (SKY). 

Alternatively, specify the amount of color to be used from the C, M, Y and 

K channels. Proceed as follows: 

1. Select a color channel. 

To do so, repeatedly CTRL-click (Mac OS) or right-click (Windows) on 

the image or select NEXT COLUMN in the MENU window. The selected 

color channel is indicated by an asterisk (*) in the MENU window. 

The + and – signs indicate that the percentage 

value is respectively greater or lower than 0 (for the 

C, M and Y channels) or than 100 (for the K channel). 

A blank indicates 0% and 1 indicates 100%. 

2. Modify the current value, e.g. by entering it directly on the keyboard 

(see page 29-7). The specified percentage value is indicated in the 

STATUS window. 

Note: 

Alternatively, click on the image or select CHANGE VALUE in the MENU 

window. Make sure the cursor is placed on the image, then hold SHIFT 

and the mouse button pressed down and move the cursor vertically. 

When the value you want is reached, click on the image or reselect 

CHANGE VALUE. 

3. The next color separation is now selected automatically and can be 

modified as explained above. 


If a CMYK image already looks like a grayscale image (i.e. all separations 

except Black are 0%), the GRAYSCALE function changes only the 

image color space. It will not start any image manipulation function. 

Notes on Color Mode Conversions 

• Color space conversions are only possible if all image pixels are 

loaded. See also Loading as Low-res Image or Preview (page 20-8). 

• If you have only loaded an image section, it is only possible to modify 

and save this section (see also page 20-8). 

• In the STATUS window, grayscale images are identified by the image 

type BW (‘black and white’). 





28 Image Filter Functions 

Sharpening and Softening Images 


Filters can only be applied if all pixels are loaded (see also 

page 20-8). 

2. If you only want to filter a particular image area, create or select a restricting 

mask (see page 22-13). 

3. Select IMAGE | FILTERS. 

4. Select SHARPNESS in the MENU window. 

5. Enter a positive value to sharpen or a negative value to soften. 

Entering 0 makes no changes. See also Direct Input (page 29-7). 

You can also change values by holding SHIFT and the mouse button 

pressed down and moving the mouse vertically. 

6. To end the function, click on the image or reselect SHARPNESS. 



Annotations 

Values larger than 1 or lower than –1 produce grainy images. This effect 

will be compensated partly in the print process. This means that an image 

which appears grainy on the screen may look good again in print. 

You can also use the brush tool to sharpen or soften specific image areas. 

Use the IMAGE | RETOUCH function and select the SHARPEN or 

SOFTEN mode. For more details refer to Retouching (page 23-1). 




Image Filter Functions 

Adding and Removing Noise 


Adding and Removing Noise 

ORIS PDF Tuner allows you to add noise and to smoothen noisy images. 

The latter is achieved by replacing individual pixels which differ enormously 

from their neighboring pixels by neighboring pixels. 

Removing Noise 



page 20-8). 

2. If you only want to remove noise from a particular image area, create 

or select a restricting mask (see page 22-13). 


4. Select DE-NOISE in the MENU window. 

The smoothening process starts. It may take some time to finish as it 

involves complex calculations. When finished, the function is grayed 

out in the MENU window. 



Annotation 

It is usually advisable to perform first the DE-NOISE and then the SHARP- 

NESS function. 

To understand the principle of the DE-NOISE function, you should open 

an image, sharpen it several times and then select the DE-NOISE function. 

Now apply the DE-NOISE function to an image which has not been 

sharpened and compare the two results. 

Adding Noise 



page 20-8). 

2. If you only want to add noise to a particular image area, create or select 



4. You can vary the noise level between 0% (no noise) and 100% (maximum 

noise). 






Pixelating Images 

To do so, hold SHIFT and the mouse button pressed down and move 

the mouse vertically. Or enter the value on the keyboard (direct input, 


5. To end the function, click on the image or reselect NOISE. 



Pixelating Images 

The MOSAIC function allows you to pixelate images or image sections. It 

can be used, for example, to make human faces unrecognizable. 

Internally, this function divides the image into a grid of tiles. All pixels of 

a tile are displayed in the same color. This is the color of a single image 

pixel inside the grid cell. Thus the impression of a mosaic is created. 

Fig. 28-1 

Pixelating an Image Section 

How to Pixelate Images 



page 20-8). 

2. If you only want to pixelate a particular image area, create or select 



4. Select MOSAIC in the MENU window. 

5. Hold SHIFT and the mouse button pressed down and move the 

mouse upwards. Or enter the value on the keyboard (direct input). 

As the values increase, the ‘tiles’ become larger and the image appears 

increasingly pixelated. The unit of the specified value is pixels 

on images and millimeters when using the function on a layout. 

6. Using X-Y RATIO in the MENU window you can modify the shape of the 

‘tiles’, i.e. the ration of width and height. You can specify values ranging 

from 0 to 100%. Proceed as explained in step 5. 





Using Photoshop Plug-in Filters 


The value 50 (default) creates square tiles. Higher values increase 

the height, lower values the width. 

50 51–100 49–0 

7. Using CENTER X% and CENTER Y% in the MENU window you can define 

the coordinate of the pixel that defines the color of a ‘tile’. By default, 

this is the pixel in the center. Proceed as explained in step 5. 

The bottom left corner of a ‘tile’ has the coordinate 0/0, the top right 

100/100 and the center 50/50. 




The STATUS window of the MOSAIC function displays the following: 

Mosaic 

Size of ‘tiles’ (in pixels or millimeters) 

Ratio of tile edges (in %) 

Center XY 

X coordinate of image pixel determining tile color 

Y coordinate of image pixel determining tile color 


Filters available as plug-ins for Photoshop Version 5.0 and lower can 

also be used in ORIS PDF Tuner on Windows systems (not on Mac OS). 

These filters can be selected from the IMAGE | PHOTOSHOP PLUG-INS 

menu. Before using plug-in filters, you must first specify where the plugin 

files reside. 

Some filters require the use of a Photoshop program module named 

Plugin.DLL. If you want to use such filters, you must first make this DLL 

file available to ORIS PDF Tuner. 







Note: 

Filters of Photoshop Version 6.0 and higher are not supported. 

Specifying Plug-in Directories 

To be able to use Photoshop plug-in filters, you must first specify the location 

where the plug-in files reside. To do so, select FILE | SYSTEM 

SETUP | PLUG-IN DIRECTORIES. This opens the PHOTOSHOP PLUG-IN DI- 

RECTORIES dialog (see below). 

To specify a path, click NEW ENTRY. Enter the path name or reclick NEW 

ENTRY and browse for the directory. You can create as many path entries 

as you like. Enable the SCAN SUBDIRECTORIES option if you also want to 

use filters stored in subdirectories of the specified paths. 

You can edit a path name after double-clicking it. To remove a path entry, 

click it and select DELETE ENTRY. 

Fig. 28-2 

‘Photoshop Plug-In Directories’ Dialog 

How to Make ‘Plugin.dll’ Available 

Some filters require the use of a Photoshop program module named 

Plugin.DLL. If you want to use such filters, you must first make the 

Plugin.DLL file available to ORIS PDF Tuner. There are two ways to do 

this: 

(1) 

Copy the file to the directory in which the ORIS PDF Tuner program file 

DDS.EXE resides. This is the EXE subdirectory of the ORIS PDF Tuner 

installation path, usually C:\Program Files\CGS\Common Files\EXE. 






(2) 

Modify the environment variable PATH so that it includes the path of the 

Photoshop program directory that contains the Plugin.DLL file. The advantage 

of this method is that you do not have to keep two copies of 

Plugin.DLL. 

To change the PATH variable under Windows 2000 and XP: 

1. Select START | SETTINGS | CONTROL PANEL | SYSTEM to open the 

SYSTEM PROPERTIES dialog. 

2. Select the ADVANCED tab. 


3. Click on the ENVIRONMENT VARIABLES button. 

4. In the list of system variables, select PATH, then click on EDIT. 

5. In the VARIABLE VALUE box, place the cursor behind the last character, 

type a semicolon and enter the path in which Plugin.DLL resides. 

6. Close all dialogs by clicking OK. 

Applying Plug-in Filters 



page 20-8). 

2. Select the filter from the IMAGE | PHOTOSHOP PLUG-INS menu. 

3. A dialog opens which allows you to define the filter settings. It usually 

shows a preview of the modifications you are about to make. 

4. When finished, click OK to leave the filter program. The changes are 

applied to the image. 

Reselecting the last filter 

The name of the filter you have used last is added to the IMAGE menu. 

When selecting it, the filter is immediately applied to the image with the 

settings used previously. 

Annotations 

• Currently Photoshop plug-in filters can only be applied to entire 

images. The use of restricting masks (page 22-13) is not possible. 

• Having started a new ORIS PDF Tuner session, loading the first 

image may take longer than usual, depending on the number and 

location of the filter directories. However, all images selected subsequently 

are loaded with the usual speed. 







• If NOTHING FOUND appears on the PHOTOSHOP PLUG-INS menu, you 

must first specify where the Photoshop plug-in files reside (see 

above). 

• Most filters can only be applied to RGB and Grayscale images. 

There are only a few filters available for CMYK images. 











Miscellaneous 







29 Tips and Tricks 

Replacing Low-Resolution Images 

It is very easy to replace images in ORIS PDF Tuner, because the all values 

of a layer (position, rotation angle, scaling factor etc.) can be easily 

transferred to another layer using the EDIT | SAVE VALUE and APPLY 

VALUE functions (see also page 19-21). 

Image replacement is also easy if the dimensions of the two images are 

different. In this case it is not possible to simply transfer the layer transformations 

or even to replace the image file on the hard disk. But we can 

use ORIS PDF Tuner’s powerful P1/P4 function which allows you to define 

and accurately position up to four points of an image. 

This will be illustrated using the example of a low-res background image 

replaced by a high-res image scanned with slightly different dimensions. 

Fig. 29-1 

Replacing Low-res by High-Res Image 


Distorting Objects Using 4 Points (page 19-16) 

Specifying Points for Positioning/Distorting (page 19-19) 

About ‘Background Images’ (page 11-1) 




Tips and Tricks 



How to Replace Low-res Images 

1. Set two guide points on prominent places of the image that are as far 

from one another as possible (see also page 6-1). 

In this example, we have set one point on 

the girl’s nose and the other on the mountain 

top at the right. 

To set a guide point, select GUIDES | POINT, 

then click on the layout. Having set the last 

point, press RETURN/ENTER or click . 

2. Click on the image layer to activate it. 

3. Insert the high-res image into the layout. 

To do so, click to open the image overview. 

Then select the image you want (see 

also page 20-6). 

The high-res image appears on the layout 

and the low-res image is automatically removed 

from the layout. 

The inserted image will most likely not be 

located at exactly the same position. The 

next steps explain how to reposition it. 

4. Click the button on the TRANSFORMA- 

TIONS toolbar. The image will be opened up 

in a separate window. 

Four points connected by lines are displayed. 

The point on the lower left corner is 

active, which is indicated by a frame. 







5. Move two of the points on the bottom to exactly 

the same position as the two guide 

points you have set previously: 

1. SHIFT-click on the first position (the girl’s 

nose in our example). The first point will 

automatically ‘jump’ to the cursor. 

2. CTRL-click (Mac OS) or right-click 

(Windows) to select the next point. 

3. SHIFT-click on the next position (the 

mountain top at the right in our example). 

The second point ‘jumps’ to the cursor. 

6. Press RETURN/ENTER or click . 

The layout is displayed again automatically 

and the points you have defined appear on 

the image. 

7. Click on the TRANSFORMATIONS toolbar. 

8. Move the two points onto the guide points: 

1. SHIFT-click on the first guide point. 

2. CTRL-click (Mac OS) or right-click 

(Windows) to select the next point. 

3. SHIFT-click on the second guide point. 

Without much effort your image now has the 

desired size and is positioned in the right 

place. 

9. Press RETURN/ENTER or click to end the 

transformation function. 





Adding Shadows to Cut-outs 


Adding Shadows to Cut-outs 

ORIS PDF Tuner allows you to create realistic 

shadows. Basically, this involves the 

following steps: 

First, duplicate the layer, skew and resize 

the duplicate and insert black color into it, 

thus creating a drop shadow. Next, set the 

shadow to transparent and soft-edge it. 

Finally, shift the shadow layer down by one 

level so that it no longer covers the cut-out. 

See below for detailed instructions. 

How to Create a Shadow for a Cut-out 

1. Activate the cut-out (see page 16-1). 


A duplicate of the cut-out is now located on top of the original layer. 

The duplicate will become the transparent and soft-edged shadow. 

3. Define the pivot point. 

Click on the TRANSFORMATIONS toolbar and 

then on the pivot point. In our example, this 

point is marked by a cross-hair cursor. 

4. Rotate and distort the duplicated cut-out. 

To do so, click into the box labeled . Then 

hold CTRL and the mouse button (Mac OS) or 

the right mouse button (Windows) pressed 

down and move the mouse downward. 

5. Reduce the layer’s height. 

First, click (it changes to ) to define that 

proportions won’t be maintained during scaling. 

Then click into the box labeled Y*. 






Creating Ornamental Lines and Frames 

Now hold CTRL and the mouse button (Mac OS) 

or the right mouse button (Windows) pressed 

down and move the mouse downward. 

6. Click and select a gray tone, e.g. K50. 

7. Set the gray layer to transparent. 

To do so, select TRANSPARENCY in the MENU 

window. A dialog appears. 

Use a complex setting which adds all background 

color separations to the shadow layer. 

We recommend to load the predefined setting 

named COMPLETE/TRANSPARENT. 

8. Click the SOFT EDGES tab to create soft edges 

for the shadow. We recommend to use the VERY 

SOFT option. 

In this example, the AREA WIDTH option was set 

to 3 mm and AREA POSITION to 0 (centered). 

9. Click OK to close the dialog. The layer of the 

shadow is now highlighted by a mask. 

10.Place the shadow layer below the cut-out. To do 

so, select INSERT SELECTION in the MENU window 

and SHIFT-CTRL-click (Mac OS) or SHIFTright-click 

(Windows) on the layout. 



Transparency and Soft Edges (page 17-1) 

Changing Stacking Order (page 16-15) 

Adding Shadows to Text (page 12-22) 


Any path can be multiplied and made to run around the outline of another 

path. This allows you to creatively design ornamental lines or frames. 

These elements can be stored separately like any path (see page 8-14). 







Fig. 29-2 

Ornamental Line (Example) 

These are stars following the shape of a ‘smooth line‘. It is sufficient 

to create the line and just one star. The rest is done automatically. 

Creating Ornamental Lines (Example) 

The following instructions are based on the example in Fig. 29-2. 

1. Create a ‘smooth line’ (see page 7-7) and a star (see page 7-10). 

2. First activate (see page 8-1) the path to be used as baseline for the 

ornaments, i.e. the ‘smooth line’ in our example. 

3. Now additionally activate the ornament itself, i.e. the star. It is important 

to activate the paths in this order and not vice versa! 

4. Double-click one of the active paths or select PATHS | TRANSFORM. 

The TRANSFORMATIONS toolbar appears (see page 19-1). 


6. Hold SHIFT and the mouse button pressed down and move the cursor 

vertically across the layout. The star is duplicated and the duplicates 

run along the smooth line. 

Upward movements increase the number of stars, downward movements 

reduce it. You can also enter the distance between the stars 

directly on the keyboard (see page 29-7). 

7. You can click the button to set the ornaments below the baseline. 

Using this button you can toggle between ‘above/below the line’ or – 

with closed paths such as circles – between ‘inside/outside the path’. 






Direct Input 

8. Clicking opens a toolbar providing additional options: 

• Moving the stars along the baseline (MOVE and MOVE CHARacter) 

• Moving the stars and changing the distance between them 

(POINTS button, CHARacter SIZE option) 

• Resizing the stars without changing distance between them 

(POINTS button, WORD SPACE option) 

• Setting the stars above/below the baseline (TOP/BOTTOM option) 

For more details refer to Creating ‘Smooth Text’ (page 13-1). 

9. Using the options on the TRANSFORMATIONS toolbar you can modify 

the ornaments and their baseline at the same time. 

When finished, press RETURN/ENTER or click . The toolbar disappears. 

Now you can no longer modify the ornaments alone, i.e. the 

, and buttons are no longer available for these paths. 

10.Fill the ornaments with color, e.g. by clicking on , or . For 

more details refer to Tints (page 10-1) and Gradients (page 10-2). 

The path defining the baseline is ignored when you insert the color. 

Direct Input 

Annotations 

If an ornament consists of multiple paths, you must first activate all of 

them and then select PATHS | EDIT | COMBINE. Use the same function if 

you want to use paths of text characters (see also page 8-6). 

If ornaments are created for rectangles and similar shapes, an ornament 

will be fixed at each rectangular corner. This is only done, however, if the 

angle is exactly 90°. Otherwise the ornaments on a corner may intersect 

or there may be gaps between them. 

The term direct input means that a numeric value is entered on the keyboard, 

although initially no input box is visible. As soon as you press the 

first key, a dialog titled MANUAL ENTRY appears which contains the number 

you have entered and, in some cases, also a second input box and 

lists for selecting units. 

Examples: 

• You can activate a layer by entering the layer number on the keyboard. 

An input box like that in Fig. 29-3 (top) appears. 





Direct Input 


• When creating a path using you can define the position of the 

points you are connecting by entering the coordinates directly on the 

keyboard. A dialog like that in Fig. 29-3 (bottom) appears. 

Fig. 29-3 

‘Manual Entry’ Dialog for Direct Input 

Using ‘Manual Entry’ Dialog 

Activating Next Box 

Press the TAB or RETURN/ENTER key. Pressing RETURN/ENTER when the 

last box is active closes the dialog and applies the specified values. 

Specifying Units 

Select the unit of measurement from the list. Alternatively, enter the initial 

letter of the unit on the keyboard while the input box or the unit list is 

active. Pressing the D key selects the dmm, dinch, dpt or dspecial 

unit or toggles between these units, respectively. 

The units dmm, dinch, d pt and d special are relative units, i.e. they 

refer to the coordinate specified last. The unit d special is the relative 

special unit. When changing the unit, the numeric value is not converted 

into the new unit. 


See also Defining Units of Measurement (page 31-4). 

Entering Relative Values (see below) 

Supported Units and Their Abbreviations (page 32-12) 

Specifying User-Defined Points (‘PT’) 

If the unit pt (user-defined Points) is selected, you have to enter the values 

in the following format: Cicero or Pica – Points – 1/10 Points, all separated 

by a period. 

For example, 2.10.5 pt means 2 Cicero or Pica and 10.5 points. To specify 

half a point you must enter 0.0.5 pt or .0.5 pt. 






Entering Relative Values 

Whether the first number is interpreted as Cicero, Pica or any other unit 

depends on the definition of the pt unit made with the FILE | SYSTEM 

SETUP | SPECIAL UNITS command (see page 31-4). 

Closing Dialog 

Press RETURN/ENTER when the cursor is in the right-hand input box. If 

you do not want to apply the changes, press ESC, or click or . 

Entering Relative Values 

Note: 

When entering values directly you can specify coordinates using relative 

values. A relative value indicates how much the X or Y value of the new 

coordinate differs from the coordinate specified last. If none has been 

specified yet, the value is relative to 0/0. 

Example: 

Suppose you are creating a line using the PATHS | GRID & LINES | CON- 

NECTED POINTS function. You have set the first point with the mouse by 

clicking on the coordinate 13.523/25.615. The next line section should 

be exactly 40 mm long and run vertically upwards. 

You could now type 13.523/65.615 to specify the second coordinate, but 

it is much easier to type 0/40 and select the unit dmm. 

Pressing the D key selects the dmm, dinch, dpt or dspecial unit or 

toggles between these units, respectively. 

Fig. 29-4 

Specifying Relative Values 


Moving Precisely by Adding Distance 

Supported Units and Their Abbreviations (page 32-12) 

Printing 

High-Quality Proof Printing 

Use the ORIS Color Tuner software to high-quality contract proofs of 

ORIS PDF Tuner layouts, images, PDF documents and other file formats. 





Tips for Increasing Performance 


The Color Tuner software includes predefined hotfolders which automatically 

color-correct documents and output them on a printer. This software 

allows you to create ‘virtual printers’ which can be selected in any 

Windows or Mac application. This allows you to color-correct and print 

documents directly from QuarkXPress or other DTP applications. 

ORIS PDF Tuner layouts can also be sent to a print hotfolder in the following 

way: 

1. Select FILE | EXPORT. 

2. Select EXPORT A COPY from the OUTPUT FORMAT list. 

3. Enter the name of the hotfolder path into the TARGET DIRECTORY box. 

4. Click OK. See also Exporting a Duplicate (page 5-5). 

Note: 

Unlike the SAVE AS function, EXPORT A COPY additionally saves the current 

layout to make sure that both are identical. Moreover, it does not 

open the duplicate layout, but leaves the original layout open. 

Fast Low-Quality Printing 

If you only need a fast printout and do not care too much for quality, you 

may want to use the PRINT function on the ORIS PDF Tuner FILE menu. 

This function allows you to print the current window (ORIS PDF Tuner 

layout, image or image overview) on any printer installed on your system. 

You can use the FILE | PRINT PREVIEW function to check if the window to 

be printed will fit onto the paper. If it doesn’t, select FILE | PRINT SETUP 

and select another paper size or format. In the print preview you can 

click the PRINT button in order to display the PRINT dialog. 

Note: 

You should not be too demanding in regards to quality. The colors of 

such printouts are far from being exact. 

If you have zoomed in on a layout, only the currently displayed layout 

section will be printed. If you have zoomed out, the printout will be 

pixelated. 

The print size of images depends on the resolution and number of pixels. 

Tips for Increasing Performance 

• You should defragment your data disks from time to time. 






‘CTtoLWFrame’ Option on Scitex RIPs 

• Close all applications except ORIS PDF Tuner if you do not necessarily 

need them for your work, above all games, screen savers and 

virus scanners running in the background. 

• Schedule automatic backup procedures to run at night. 

• Expand your computer’s memory. 

• Do not forget to upgrade to the next processor generation. 


The setting CTTOLWFRAME on a Scitex RIP produces clearly visible 

transparent areas around soft-edged objects at the edges between CT 

and LW. 











30 Display and Measure Functions 

Using ICC Color Management 

ORIS PDF Tuner supports the use of ICC profiles for an accurate onscreen 

color representation of images and layouts. 

About ICC Color Management 

An ICC profile describes how a particular device reproduces color, i.e., 

it describes the device’s color space. ORIS PDF Tuner uses the following 

types of ICC profiles to map color spaces between different devices: 

• Input profile (for images) Characterizes a scanner or digital camera 

• Output profile (CMYK) Characterizes a printer or printing process 

• Monitor profile (RGB) Characterizes a color monitor 

• Softproof profile 

On-Screen Representation of Layouts 

When a layout is displayed, the profiles are connected as follows: 

Images: 

Tints, text, gradients: 

Input 

Output 

Output 

Monitor 

Monitor 

A layout is characterized by a CMYK output profile. This profile is used 

as input profile for tints, texts and gradients and as softproof profile for 

images. Images are characterized by their respective input profiles. 

As a result, layouts are always displayed as they would appear in print, 

provided that the correct CMYK output profile is selected. 




Display and Measure Functions 



On-Screen Representation of Images 

When images are opened (not when displayed on a layout), there are 

three methods to connect ICC profiles: 

Softproof profile 

A 

B 

C 

Input Output Monitor 

Input Input Monitor 

Input 

Monitor 

A The CMYK output profile is used as softproof profile. 

Images are displayed as they would appear in print. 

B The image’s input profile is used as softproof profile. This corresponds 

to the Photoshop option PRESERVE COLOR NUMBERS. 

C No softproof profile is used. Images are displayed in the original 

colors produced by the scanner or digital camera. 

How to Set up ICC Color Management 

To use ICC color management, select FILE | SYSTEM SETUP | ICC PRO- 

FILES or press +SHIFT+K (Mac OS) or CTRL+SHIFT+K (Windows). This 

opens the ICC Color Management dialog (see page 30-4). 

1. Enable the USE ICC PROFILES option to switch ICC color management 

on. The parameters of this option become available. 

2. Specify the profile characterizing your MONITOR. The screen is updated 

immediately. 

3. Under OUTPUT COLOR SPACE, specify the profile characterizing your 

output device. Also specify the rendering intent. The screen is updated 

immediately. 

4. Under DEFAULT INPUT COLOR SPACE..., make default settings for the 

color space of the input devices that produced CMYK, RGB or grayscale 

images, respectively: 

• Specify the ICC profiles to be used by default if an image has no 

embedded profile or if you have set not to use it. 

• Specify the respective rendering intents to be used by default. 

• Specify what to do when an image is opened: Use the default 

profile specified here, use the embedded profile or ask the user 

to select a profile. 

Having modified these settings, the screen is not updated immediately. 

You must close and reopen the image or layout. 







Note: 

If an image is open, you can assign any ICC input profile you like 

using the MODIFY ICC PROFILE function in the MENU window (see 

page 30-11). 

5. Under SOFTPROOF, specify how to display the color of images opened 

in a window. The screen will be updated immediately. 

Specify the rendering intent and enable one of the following options: 

• NONE – Images displayed in original colors produced by the 

scanner or digital camera 

• LIKE OUTPUT – Images displayed as they would appear in print 

• LIKE IMAGE PROFILE – Same result as with PRESERVE COLOR 

NUMBERS in Adobe Photoshop 

• SPECIAL – Images displayed in the color space of the profile 

specified in the input box under this parameter 

These options have no effect on images displayed on a layout. See 

also On-Screen Representation of Layouts (page 30-1). 

About Embedded Profiles 

ORIS PDF Tuner supports embedded ICC profiles of TIFF, JPEG and 

Image EPS files. 

How to Embed Profiles 

The ICC input profile currently assigned to an image can be stored (or 

embedded) in the image file. 

• To define that this is done automatically whenever you save an 

image, select FILE | SYSTEM SETUP | ICC PROFILES to open the ICC 

COLOR MANAGEMENT dialog and enable the SAVE CURRENT PROFILE 

WITH IMAGE option. 

• To embed ICC profiles individually, save an image using FILE | SAVE 

AS, then enable the INCLUDE ICC PROFILE option. 

This option is only available if ICC Color Management is enabled and 

no profile is embedded in the image. 

How to Reassign Embedded Profiles 

To reassign an embedded profile to an image after choosing another 

profile, enable the USE AS DEFAULT option in the MODIFY ICC PROFILE 

dialog (see page 30-11) and set the profile selection method to AUTO- 

MATIC/FIXED or AUTOMATIC/CHOOSE. Then close and reopen the image. 







Profile Name Display 

The name of the ICC profile currently assigned to an image is displayed 

in the image’s STATUS window and, on a layout, in the LAYER INFO window 

of active image layers (see also page 16-18). If the profile is stored 

in the image file, EMBEDDED PROFILE appears in front of the profile name. 

‘ICC Color Management’ Dialog 

Use this dialog to use ICC profiles for an accurate on-screen color representation. 

It allows you to switch ICC color management on and off 

and to select ICC profiles and rendering intents for various color spaces. 

The settings are applied to all images and layouts displayed in ORIS 

PDF Tuner on the current computer. 

Fig. 30-1 

‘ICC Color Management’ Dialog 

Use ICC Profiles 

Enable the USE ICC PROFILES option to enable ICC color management, 

i.e. to get an accurate on-screen color representation. The colors of all 

images and layouts displayed in ORIS PDF Tuner will then be adjusted 

using the ICC profiles specified in this dialog. 




Save current profile with image 



If this option is enabled, the ICC input profile currently assigned to an image 

is saved to the image file when you save the image, i.e. the profile 

will be embedded. 

Monitor 

Use this parameter to specify the ICC profile characterizing your monitor. 

Enter the path name, or click or to open the ICC PROFILES dialog 

(see page 30-9). The screen is updated immediately. 

If there is no specific profile for your monitor, we recommend to use the 

profile ECI-RGB.V1.0.ICC which resides in the ICC subdirectory of the 

ORIS PDF Tuner installation directory (..\CGS\Common Files\ICC on 

Windows systems). 

Softproof 


Use the SOFTPROOF option to determine how image colors are represented 

on the screen. The screen is updated immediately. 

This parameter applies only to images loaded in a separate window, not 

to images on a layout. See also On-Screen Representation of Layouts 

(page 30-1). 

None 

Use this setting to display image colors in the color space of the input 

device. Colors are then represented in the same way as the scanner or 

digital camera produced them. 

This is achieved using the images’ input profile and the MONITOR profile. 

Input 

Input 

Rend. Intent 

Monitor 

Like output 

Use this setting to display image colors in the color space of the output 

device. The color representation is then identical to the final print results, 

for example. 

With this setting, the OUTPUT COLOR SPACE profile is automatically used 

as SOFTPROOF profile. The profile input box is therefore grayed out and 

you only have to specify the rendering intent (see page 30-8). 

Image colors are converted using the images’ input profile, the OUTPUT 

COLOR SPACE profile and the MONITOR profile. 







Input 

Input 

Rend. Intent 

Output 

= Softproof profile 

Softproof 

Rend. Intent 

Monitor 

Like image profile 

With this setting, the images’ input profiles are automatically used as 

SOFTPROOF profiles, i.e. the embedded ICC profiles or the default profiles 

selected in this dialog (DEFAULT INPUT COLOR SPACE parameters). 

This setting has the same effect as PRESERVE COLOR NUMBERS in Adobe 

Photoshop. Use it to simulate how an image would appear on the output 

device if no color management was applied. 

Image colors are converted using the images’ input profile, the same 

profile again and the MONITOR profile. 

Input 

Input 

Rend. Intent 

Input 


Softproof 

Rend. Intent 

Monitor 

Special 

Use this setting to display image colors in the color space of a particular 

ICC profile. Specify this profile using the input box below this parameter. 

Enter the path name, or click or to open the ICC PROFILES dialog 

(see page 30-9). Image colors are converted using the images’ input 

profile, the specified SOFTPROOF profile and the MONITOR profile. 

Input 

Input 

Rend. Intent 

Special 


Softproof 

Rend. Intent 

Monitor 

Paper white 

Select this setting to preview, in the monitor color space, the specific 

shade of white of the print medium described by the SOFTPROOF profile 

(usually a CMYK output profile). 

Note: 

Whether the paper white simulation is actually made depends on the soft 

proof profile. Not all profiles support this option. 

There may also be different results on Windows and Mac platforms, because 

the two systems use different CMMs. 




Rendering Intent (‘For...’) 



Use this option to specify how colors are mapped from the SOFTPROOF 

color space to the MONITOR color space. Refer to page 30-8 for details 

on this parameter. 


CMYK 


Use this parameter to specify the ICC profile characterizing the CMYK 

color space of a layout. It is usually a good idea to work in the color 

space of the output device, e.g. the printing process used for production. 

Enter the path name of the profile or click or to open the ICC PRO- 

FILES dialog (see page 30-9). The screen is updated immediately. 

This profile is used, together with the MONITOR profile, for an accurate 

on-screen color representation of tints, gradients and text on a layout. 

Note that the settings under SOFTPROOF have no effect on layouts. 

Rendering Intent (‘For...’) 

Use this option to specify how colors are mapped from the OUTPUT 

COLOR SPACE to the MONITOR color space. Refer to page 30-8 for details 

on this parameter. 

Default Input Color Space for Newly Loaded Images 

Use these parameters to specify default ICC profiles defining the input 

color space of images and the rendering intent. You can also define 

whether to use these default profiles or embedded profiles when an image 

is opened or whether the user should be requested to select one. 

Note: 

Having changed input profiles or rendering intents, image colors are only 

updated when you close and reopen the image or layout. 

The settings made here are only defaults. Having opened an image, you 

can assign any ICC profile you like by selecting MODIFY ICC PROFILE in 

the MENU window. See also ‘Modify ICC Profile’ Dialog (page 30-11). 

Input Profile Selection Method 

Use these parameters to define the way an input profile is selected or 

assigned to images of a particular color system (RGB, CMYK or grayscale). 

Select one of the following settings: 

CHOOSE ON OPEN 

Whenever you open an image you are prompted to specify which ICC 

profile to use for images of the respective color system. This is also 






true for images with embedded profiles. Default is the respective 

DEFAULT INPUT COLOR SPACE profile. 

FIXED 


The profile specified here is used for all images of the respective color 

system, even for images with embedded profiles. 

Note: 

Note: 

AUTOMATIC/CHOOSE 

If a profile is embedded in an image, it will be used automatically. Otherwise 

you are prompted to specify which profile to use when you 

open an image. 



AUTOMATIC/FIXED 

If a profile is embedded in an image, it will be used automatically. Otherwise 

the profile specified in this dialog is used for all images of the 

respective color system. 

Input Profile 

Use these parameters to specify the profiles characterizing the devices 

that created your images, i.e. usually scanners or digital cameras. You 

can specify separate profiles for CMYK, RGB and GRAYscale images. 

Linework files are treated as CMYK images. 

Enter the path name of the profiles or click or to open the ICC PRO- 

FILES dialog (see page 30-9). Specify also the rendering intent. 

If an image or layout is open already, you must close and reopen it to see 

the change in color. The screen is not updated automatically. 

Rendering Intent (‘For:..’) 

Use these parameters to define the way image colors are mapped from 

the input color space to the SOFTPROOF or MONITOR color space. There 

are four settings: 

ABSOLUTE COLORIMETRIC 

This rendering intent transfers the color data to the destination color 

space on the basis of the smallest color distance (Delta E). During 

the process, the white point of the source color system is adopted in 

the destination color system. 

This is the appropriate method for digital proofing if simulating the paper 

white is important. It is used, for example, to proof a page reproduced 

for newspaper printing on a proof printer running a special paper, 

and at the same time simulate the newsprint color. 







RELATIVE COLORIMETRIC 

This rendering intent is identical to the ABSOLUTE COLORIMETRIC conversion, 

except that the white point of the destination color system is 

projected onto that of the source color system. 

The RELATIVE COLORIMETRIC interpretation is appropriate for digital 

proofing without simulating the paper white. It addresses proof printers 

designed to process print run paper. If a newspaper proof is output 

on a color printer, for example, the conversion result is very similar 

to the ABSOLUTE COLORIMETRIC interpretation, but instead of 

simulating the newsprint’s shade of white, it is superimposed on the 

color printer’s shade of white. 

PERCEPTUAL (IMAGE) 

The PERCEPTUAL or PHOTOGRAPHIC rendering intent reproduces an 

image, taking into account the paper, dynamic, and color characteristics 

of the output system in such a way as to ensure that the human 

eye will perceive the image in the destination color system as a faithful 

reproduction of the original. 

It gently squeezes the entire source color gamut so that it just fits inside 

of the destination gamut. The hue is always preserved. This is 

the most commonly used rendering intent for reproducing photographic 

images. 

SATURATION 

The SATURATION or GRAPHIC rendering intent aims at preserving saturation 

and vividness rather than exact colors. It expands and contracts 

the source color gamut so that it exactly fills the destination 

gamut. Therefore, fully saturated source colors always map to fully 

saturated destination colors. 

This rendering intent is mostly used for reproducing business and 

presentation graphics including graphs and pie charts. 

‘ICC Profiles’ Dialog 

Use this dialog to select an ICC profile. 







Fig. 30-2 

‘ICC Profiles’ Dialog 

Profile Directory 

Enter the directory containing ICC profiles into this box. Make sure the 

path name ends with a backslash. The program scans the specified directory 

and lists the ICC profiles it finds there. 

ICC profiles shipped with ORIS PDF Tuner reside in the ICC subfolder of 

the program’s installation directory. 

Browse Button 

Click the or button to browse any directory for ICC files. The selected 

directory is displayed in the box on the left and the profiles appear in 

the list. 

ICM 

Image Color Matching (ICM) is a color matching module integrated in the 

Windows operating system. Applications that use ICM install their ICC 

profiles (usually files with the extension .ICM) in the following system directories: 

Windows 95/98 ..\Windows\System\Color 

Windows NT ..\WinNT\System32\Color 

Windows 2000 ..\WinNT\Color 

Windows XP ..\Windows\System32\Spool\Drivers\Color 

Click this button to directly open this directory and to display the ICC profiles 

stored there in the list below. 

List Box 

This list displays the ICC profiles that reside in the directory whose path 

name is displayed above, along with a description, the color mode (RGB, 

CMYK, grayscales) and a copyright notice. 







Please note that non-relevant profiles are filtered out. When selecting 

e.g. a monitor profile, only RGB profiles appear in the list, CMYK profiles 

are not shown. 

‘Modify ICC Profile’ Dialog 

Use this dialog to select an ICC input profile and rendering intent for the 

current image. The dialog uses the default settings defined under DE- 

FAULT INPUT COLOR SPACE... in the ICC Color Management dialog. 

The MODIFY ICC PROFILE dialog allows you to overwrite these default 

settings so that the new settings are used automatically the next time 

you open an image of the same type. 

Fig. 30-3 

‘Modify ICC Profile’ Dialog 

Note: 

Profile Name 

Enter the path name of the ICC profile to be used for this image into the 

input box at the top or click or to open the ICC PROFILES dialog (see 

page 30-9). If a profile is stored in the image file, EMBEDDED PROFILE is 

displayed in addition to the profile name. 



Rendering Intent (‘For:...’) 

Choose one of the four rendering intents (e.g. ABSOLUTE COLORIMETRIC) 

to define the way colors are mapped from one color space to another. 

Refer to page 30-8 for more details. 

Profile Selection Method 

The settings in this list are only available if the USE AS DEFAULT option is 

enabled. Determine the way an ICC profile is selected the next time you 

open images whose type (CMYK, RGB or Grayscales) corresponds to 

that of the current image. 

For more details on these settings (CHOOSE ON OPEN, FIXED, etc.) refer 

to Input Profile Selection Method (page 30-7). 





Updating Screen Display 

Use as default 

Enable the USE AS DEFAULT option to use the currently selected ICC profile, 

rendering intent and input profile selection method the next time you 

load an image whose color mode (CMYK, RGB or grayscales) corresponds 

to that of the current image. 

This option overwrites the DEFAULT INPUT COLOR SPACE settings in the 

ICC COLOR MANAGEMENT dialog (see page 30-2). 

More Information On Color Management 

We recommend the following publications: 

• Rudolph E. Burger, Color Management Systems, Color Resource 

1993 

• Dr. R.W.G. Hunt, The Reproduction Of Color In Photography, Printing 

& Television, Fountain Press, Tolworth, England, ISBN 0 86343 

088 0 

• Prof. Dr. Stefan Brües, Liane May, Dietmar Fuchs: Postscriptum on 

Color Management, LOGO GmbH 1999 

We also recommend the following Web sites: 

• European Color Initiative: http://www.eci.org/ 

• International Color Consortium: http://www.color.org/ 

Updating Screen Display 

In certain cases it may be necessary to update the screen manually. 

Having copied an image to an open image overview using the Macintosh 

Finder or Windows Explorer, for example, you have to update the image 

overview in order to see the new thumbnail. 

To update the screen, press F5, or select VIEW | REBUILD LAYOUT or VIEW 

| UPDATE. 

Zooming In and Out 


You can magnify or reduce the view of images and layouts using various 

methods. The magnification level can be set to any value between 

0.07% and 1600%. The current magnification level is shown in the window’s 

title bar (unless the window is too small for the display to fit) and 

in the STATUS window of images (see page 20-19). 







Note: 

Having zoomed in on a layout, only the magnified layout section is loaded. 

It is therefore impossible to make other parts visible by means of 

panning (exception: pixel zoom, see page 30-15). 

Zooming in Preset Increments 

There are various methods to magnify or reduce an image or layout to 

the next preset percentage. 

Working in Zoom Mode 

To enter zoom mode, click or select VIEW | ZOOM. A check mark next 

to the ZOOM function indicates that the zoom mode is active. The cursor 

becomes a magnifying glass with a plus sign indicating zoom in mode. 

• To zoom in, click the center of the area you want to magnify. 

When the maximum magnification level (1600%) has been reached, 

the magnifying glass appears empty . 

• To zoom out, hold down the OPTION (Mac OS) or CTRL (Windows) 

key and click on the center of the area you want to reduce. 

The cursor is now displayed with a minus sign in its center to indicate 

that the zoom out mode is active. 

To exit zoom mode, reclick or reselect VIEW | ZOOM. The check mark 

next to the ZOOM function disappears. 

Fig. 30-4 

‘View’ Menu with Zoom Functions 

Zooming with Shortkeys 

The following methods allow you to quickly zoom in and out without having 

to explicitly enter and exit zoom mode. 

Method 1 

• To zoom in, press ++ (Mac OS) or CTRL++ (Windows). Alternatively, 

use the VIEW | ZOOM IN function on the pull-down menu. 







• To zoom out, press +– (Mac OS) or CTRL+– (Windows). Alternatively, 

use the VIEW | ZOOM OUT function on the pull-down menu. 

If these shortkeys or functions are used on a layout, a pixel zoom will be 

made only (see page 30-15). The + and – signs refer to the buttons on 

the numeric keypad located on the right-hand side of the keyboard. 

Method 2 

Hold down +SPACEBAR (Mac OS) or CTRL+SPACEBAR (Windows). 

The cursor becomes a magnifying glass with a plus sign to indicate 

that the zoom in mode is active. While holding these keys pressed down: 

• To zoom in, click the center of the area you want to magnify. 

• To zoom out, additionally hold down the OPTION (Mac OS) or ALT 

(Windows) key and click on the area you want to reduce. The cursor 

is now displayed with a minus sign to indicate zoom out mode. 

Magnifying Selected Areas 

You can enlarged any image or layout area to the window size by drawing 

a selection rectangle. There are two methods to do this. 

Method 1 

1. Enter zoom mode by clicking or selecting VIEW | ZOOM. A check 

mark next to the ZOOM function indicates that this mode is active. 

The cursor becomes a magnifying glass with a plus sign in its center 

to indicate that the zoom in mode is active. 

2. Hold down the mouse button and draw a rectangle defining the area 

to be magnified. 

3. Reclick or reselect VIEW | ZOOM to exit zoom mode. 

Method 2 

1. Hold down +SPACEBAR (Mac OS) or CTRL+SPACEBAR (Windows). 

The cursor becomes a magnifying glass with a plus sign . 

2. Additionally hold down the (left) mouse button and draw a rectangle 

defining the area to be magnified. 

Zooming to a Specific Percentage 

1. Press +OPTION+2 (Mac OS) or CTRL+2 (Windows), or select VIEW 

| ZOOM %. 

2. Enter a percentage value into the input box (between 0.07 and 1600), 

then click OK. 







If used for a layout, the percentage value is always relative to the current 

display size. Entering 100 does therefor not change the magnification 

level. This is different, however, if a pixel zoom has been made before. 

Fig. 30-5 

Input Box for Zoom Factor 

Displaying Images at 100% 

Images can be easily displayed at their actual size, i.e. in a way that one 

image pixel is represented by one pixel on the screen. 

To do so, press +OPTION+1 (Mac OS) or CTRL+1 (Windows), or select 

VIEW | 100%. Alternatively, select the VIEW | ZOOM % function and enter 

100. 

Note: 

Fitting Image or Layout to Window 

The magnification level can be changed in a way that a layout or image 

fills its window completely. To do so: 

• Press +0 (Mac OS) or CTRL+0 (Windows) – or: 

• Select VIEW | COMPLETE IMAGE or COMPLETE PAGE (for layouts). 

The layout or image is magnified if it is smaller than its window and reduced 

if parts are invisible because they exceed the window borders. 

If pixel zoom was applied to a layout, this function does not have the effect 

described here. In this case you must first select the VIEW | 100% 

function ( +OPTION+1 or CTRL+1, respectively). 

See also Fitting Windows to Images (page 30-17). 

Pixel Zoom on Layouts 

You can also change the magnification level of a layout in a way that only 

the currently displayed pixels are enlarged or reduced. The layout will 

then appear pixelated and details are harder to recognize. 

However, you can pan (see page 30-16) around the entire layout, which 

is not possible after normal zooming which loads only the pixels of the 

magnified section. There are various methods to make a pixel zoom: 





Panning 

Panning 

Method 1 

• To zoom in, press ++ (Mac OS) or CTRL++ (Windows). Alternatively, 

use the VIEW | ZOOM IN function on the pull-down menu. 

• To zoom out, press +– (Mac OS) or CTRL+– (Windows). Alternatively, 

use the VIEW | ZOOM OUT function on the pull-down menu. 

The + and – signs refer to the buttons on the numeric keypad. 

You can also use this method for image overviews (see page 20-2). 

Method 2 

1. Enter zoom mode by clicking or selecting VIEW | ZOOM. 

2. To zoom in, SHIFT-click. Alternatively, hold the SHIFT key pressed 

down and draw a selection rectangle. 

To zoom out, hold down the OPTION (Mac OS) or ALT (Windows) key, 

then CTRL-click. 

3. Reselect or VIEW | ZOOM to exit zoom mode. 

Method 3 


1. Hold down +SPACEBAR (Mac OS) or CTRL+SPACEBAR (Windows). 

2. To zoom in, SHIFT-click or draw a selection rectangle with the SHIFT 

key pressed down. To zoom out, additionally hold down the OPTION 

(Mac OS) or ALT (Windows) key. 

You can also use this method for image overviews (see page 20-2). 

Displaying Complete Layout After Pixel Zoom 

To display the complete layout after zooming in on pixels: 

1. Press +OPTION+1 (Mac OS) or CTRL+1 (Windows), or select VIEW 

| 100%. 

2. Press +0 (Mac OS) or CTRL+0 (Windows), or select VIEW | COM- 

PLETE PAGE. 

A layout, image or image overview can be panned around if it is not entirely 

visible within its window. This allows you to see the hidden parts. 

While panning, the cursor is displayed as a hand . Proceed as follows: 

• Move the mouse while holding first the SPACEBAR and then additionally 

the (left) mouse button pressed down. 






Fitting Windows to Images 

Note: 

• On Windows systems you can also use the ALT key or the middle 

mouse button. 

In some functions the middle mouse button is assigned otherwise. In 

this case you can use SHIFT+middle mouse button. 

Having zoomed in on a layout, only the magnified layout section is loaded. 

It is therefore impossible to make other parts visible by means of 

panning (exception: pixel zoom, see page 30-15). 

Fig. 30-6 

Panning Around a Page 

Fitting Windows to Images 

The functionality described here is only available on Windows systems. 

To resize an image window so that it exactly fits its image, select WIN- 

DOW | FIT TO IMAGE. Images to which this function is applied are displayed 

entirely (if possible) and without any background area; the magnification 

level does not change. 

To have the program resize a window automatically, enable the AUTO- 

MATIC FIT TO IMAGE option on the WINDOW menu. This property can be 

assigned individually to any window. If this option is enabled, a check 

mark appears next to the function. Whenever you zoom in or out or 

change the magnification level, for example, the window will automatically 

fit to the image. 

Note: 

You can also use these functions to resize a layout window. Please note 

that there will always be a white margin around the layout borders. This 

is the area in which layers are displayed although they are outside the 

layout. 

See also Setting Window Background Colors (page 31-3). 






Hiding/Displaying Paths, Guides, Masks, Layers 

Hiding/Displaying Paths, Guides, Masks, Layers 

To display all paths on a layout 

Select VIEW | PATH AND MASK DISPLAY ON. 

This function makes all invisible paths visible and inactive. It also deactivates 

all active paths. The function is useful if you want to activate 

certain paths which are currently invisible. 

To hide all paths and masks on a layout 

Select VIEW | PATH AND MASK DISPLAY OFF. 

To hide all masks 

Select VIEW | CLEAR MASK on a layout or MASKS | CLEAR on images. 

Alternatively, click the CLEAR button in the MASK ADMINISTRATION dialog 


A warning appears if a mask has not yet been saved. If you choose 

not to save it, it will be lost. 

To display or hide guides 

Select VIEW | GUIDES, COLUMN GUIDES or BASELINE GUIDES, depending 

on the type of guides you want to hide (see Defining Guide Color, 

page 6-1). These functions affect all open layouts. You can also press 

F7 to hide and display all guides of the type GUIDES. 

A check mark appears next to these functions if the corresponding 

type of guide is displayed. 

To hide or display specific layer types: 

Select the appropriate function on the VIEW | VIEW LAYERS submenu 

(IMAGES, TINTS, GRADIENTS, FILTERS and DUMMY TEXT). These functions 

affect all open layouts. 

A check mark appears next to these functions if layers of the corresponding 

type are displayed. In addition, the layout’s title bar indicates 

the number of hidden layers. 

To display only paths and hide all layers 

First select VIEW | PATH AND MASK DISPLAY ON, then take one of the 

following actions: 

• In the COLOR window (see page 30-21), deselect the C, M, Y and 

K options to hide all color separations. There must be no check 

mark inside these buttons. – or 

• Select all functions on the VIEW | VIEW LAYERS submenu to hide 

all layers on the layout. There must be no check mark next to 

these functions. 






Hiding All Floating Windows 

Note: 

Hiding a layout element makes it invisible, but does not delete it. 




Using Guides (page 6-1) 

Defining Guide Color (page 6-1) 

Hiding All Floating Windows 

You can simultaneously hide the MENU window, STATUS window, COLOR 

window and LAYER INFO window as well all toolbars. To do so, press the 

TAB key. Repress TAB to display the windows again. 

See also A First Look at the ORIS PDF Tuner Window (page 4-1). 

Transparent Mask Display 

Using the VIEW | MASKS TRANSPARENT function you can change the way 

pixel masks are displayed. The function allows you to toggle between 

opaque and transparent representation. If transparent mask display is 

enabled, a check mark appears next to the function. 

This setting applies to all types of pixel masks, i.e. cut-out masks, masks 

that restrict image manipulations and masks on layouts that visualize the 

currently selected layer. However, it does not apply to masks that visualize 

the currently selected linework color during linework editing. 

Note: • Masks will only appear as transparent if your screen is set to more 

than 256 colors. 

• 8-bit pixel masks are displayed with a higher degree of transparency 

if MASKS TRANSPARENT is enabled. 

• Transparent masks need more time to build up on the screen than 

opaque masks, especially if they are complex. 





Selecting Display Color Space for Layouts 


Fig. 30-7 

Opaque and Transparent Layer Masks 

Opaque mask 

Transparent mask 




Selecting Display Color Space for Layouts 

Using the VIEW | VIEWING MODE function you can determine the color 

space to be used for displaying the current layout. You can choose between 

CMYK and RGB. The currently active setting is indicated by a 

check mark next to the function name. 

You should always use the CMYK mode for prepress applications. Use 

RGB only if you plan to export a layout in the RGB color space, e.g. 

when designing Web pages. See also Exporting Layouts (page 3-1). 

In the RGB mode, tints, vignettes and images defined in RGB colors are 

displayed correctly. CMYK images, however, are displayed without any 

color correction. 

The COLOR window (see page 30-21) allows you to hide or display either 

CMYK or RGB separations, depending on the current viewing mode. 

Displaying Current Cursor Position 

The current cursor position is displayed in the COLOR window (see below) 

and updated continuously as you move the cursor. 

To define the unit of measurement used for the cursor position, select 

FILE | SYSTEM SETUP | SPECIAL UNITS. In the dialog which then opens, 

use the following parameters: 

• LAYOUT DISPLAY UNIT – for the cursor position on layouts 

• IMAGE DISPLAY UNIT – for the cursor position on images 

Use FILE | SYSTEM SETUP | LAYOUT REPRESENTATION (see page 31-6) to 

define the origin point (0/0) of a layout (top left or bottom left corner). 





Displaying Color Channels 

On Mac OS, the COLOR window also indicates whether the cursor has 

snapped to a guide. For more details refer to Snap Area (page 6-2). 

Displaying Color Channels 


Using the COLOR window (see below) you can hide and display individual 

color channels or a combination of channels. Use the following buttons: 

Displays a single color channel, switches all other channels off 

Displays or hides a color channel. 

Use it to display a combination of color channels. 

ALL Switches all color channels on. 

The selection of color separations always affects the active window. 

However, the labels of these check boxes (CMYK, RGB or K) depend 

on the window on which the cursor is located. 

Fig. 30-8 

Size of pixel area 

being measured 

Color space 

used for color 

value display 

Colors before 

and after 

image manipulation 

Cursor position 

‘Color’ Window 

Display all 

color 

channels 

Display or hide 

this channel, 

leave others 

Display this 

channel and 

switch off others 

Cursor snapped to 

guide (only shown 

on Mac OS) 

Use the COLOR VALUES command on the pull-down menu WINDOW (Mac 

OS) or VIEW (Windows) to display and hide this window. A check mark 

appears next to the function if this window is displayed. 

Measuring Colors 

Tip: 

The colors of the pixel located under the cursor are measured automatically 

and the average values are displayed in the COLOR window (see 

above). 

Color values of active tint and gradient layers are also displayed when 

you select the INFO function in the MENU window (see also page 16-19). 





Measuring Colors 


Selecting Display Color Space 

Note: 

Use the list 

at the top of the COLOR window to select the color 

space to be used for displaying color values. ORIS PDF Tuner supports 

the CMYK, RGB, HSB and CIE color space. 

If the image type and the display color space selected in the COLOR window 

are different, the values corresponding to the image’s color space 

are averaged and the result is converted into the values of the display 

color space. For example, when you measure an RGB image using the 

CMYK color space, the RGB color values are averaged and the result is 

converted to CMYK. 

Comparing Image Colors 

During image manipulations the COLOR window displays two sets of color 

values separated by a slash. The colors on the left refer to the modified 

image, the colors on the right to the original unmodified image. This 

feature is not available for linework. 

After 

Before 

Defining Size of Measured Area 

By default, a single pixel is measured only, but you can also measure the 

colors over an area of up to 32 x 32 pixels. In this case the COLOR window 

(see Fig. 30-8) displays average values. 

To define the size of the measured pixel area, select COLOR MEAS. BOX 

in the MENU window and enter the size into the input box. Enter e.g. 10 

to measure an area of 10 x 10 pixels, enter 1 to measure only a single 

pixel. The current size is indicated on the title bar of the COLOR window. 

Displaying Box Cursor 

You can display the cursor as a box that encloses the pixel area you are 

measuring. SHIFT-click to toggle between cross-hair cursor and box cursor. 





Measuring Distances and Angles 



You can measure distances and angles between two points anywhere 

on a layout or image: 

1. Click the tool. 

2. Click on the layout or image to define the first point. You can also enter 

the coordinate on the keyboard (direct input, see page 29-7). 

3. The position of the cursor defines the second point. As you move the 

cursor across the screen, the following values are displayed and updated 

continuously in the status bar at the window bottom: 

dX: horizontal distance 

dY: vertical distance 

L: direct distance 

a: angle 

The unit is millimeters on layouts and pixels on images. If the image 

resolution is known, the distance L is also specified in millimeters. 

4. You can now click on the image or layout again to redefine the first 

point. The distances and angles are now measured between the new 

point and the current cursor position. 











31 Preferences 

This chapter explains how to change some of the program’s configuration 

settings so that they meet your requirements. These settings are 

stored and used as default when you restart ORIS PDF Tuner. 

Adjusting Monitor Colors 

You can adjust the monitor colors to the requirements of your print process. 

ORIS PDF Tuner allows you to specify your own RGB values for 

each of the following primary colors: 

Yellow Red (Y100M100) Black (Y100M100C100) 

Magenta Green (Y100C100) White (Y0M0C0) 

Cyan Blue (M100C100) 

To adjust the monitor colors: 

1. Open a CMYK image (see page 20-6). 

2. Select FILE | SYSTEM SETUP | CMYK REPRESENTATION. The MONITOR 

COLOR SETUP dialog appears. 

3. Click the color box you want. The COLOR SELECTION dialog appears 


4. Modify the RGB values. As you change a value, the screen is updated 

immediately and the image colors reflect your changes. 

Note that layouts are only updated when you select VIEW | REBUILD 

LAYOUT (F5). 

5. If you want to reset the colors to their default values, select SYSTEM 

DEFAULT from the list labeled USE TABLE. 




Preferences 

Defining Display Colors 


Fig. 31-1 

Monitor Color Setup Dialog 

Defining Display Colors 

Select function FILE | SYSTEM SETUP | DISPLAY COLORS to set the ORIS 

PDF Tuner display colors for your workplace. The DISPLAY COLOR SETUP 

dialog appears. 

Fig. 31-2 

‘Display Color Setup’ Dialog 

Click on a color box to modify the color. You can also select a set of predefined 

display colors from the USE PALETTE list. 

The terms GUIDES, COLUMN GUIDES and BASELINE GUIDES refer to three 

types of guides for which separate colors can be defined. 

See also Selecting Colors (page 10-8) and Using Guides (page 6-1). 





Setting Window Background Colors 

Preferences 

Setting Window Background Colors 

On Windows systems you can choose between different grayscales and 

patterns for the window background. This is the area displayed around 

the actual window contents. Separate grayscales and patterns can be 

selected for layout, image and image overview windows. 

To set window background colors, select FILE | SYSTEM SETUP | WINDOW 

BACKGROUND. The WINDOWS BACKGROUND dialog appears. 

Fig. 31-3 

‘Windows Background’ Dialog 

‘Windows Background’ Dialog 

Use this dialog to select a background color for layouts, images or the 

image overview. The changes are applied immediately. You can choose 

between the following colors and patterns: 

White brush 

Light gray brush 

Gray brush 

Dark gray brush 

Black brush 

Horizontal hatch 

Vertical hatch 

Upward hatch (45°) 

Downward hatch (45°) 

Horizontal and vertical crosshatch 

Crosshatch (45°) 

Note: 

This function does not affect the simulation of paper white on the screen. 

Open a CMYK image and select the FILE | SYSTEM SETUP | CMYK RE- 

PRESENTATION function for this purpose (see page 31-1). 




Preferences 

Defining Units of Measurement 


There will always be a white margin around the layout borders. This is 

the area in which layers are displayed although they are outside the layout. 

See also Fitting Windows to Images (page 30-17). 


Using the FILE | SYSTEM SETUP | SPECIAL UNITS function you can make 

various settings for the units of measurement used in ORIS PDF Tuner. 

This opens the SPECIAL UNITS SETUP dialog. See also Supported Units 

and Their Abbreviations (page 32-12). 

Special Unit 

This parameter allows you to define an individual unit of measurement. 

This unit is available under the name SPECIAL when selecting units from 

a list. 

Point Size 

This parameter allows you to define the size of the unit POINT which is 

available when selecting units from a list. 

The Didot Point and Pica Point units, by contrast, are fixed values which 

correspond to 1/12 of the Cicero or Pica value respectively. 

Layout Display Unit 

Use this parameter to define the unit to be used when displaying values 

for a layout. This affects the 

• STATUS window of layout functions 

• Status bar at the bottom of the layout window 

• Cursor position in the COLOR window (see page 30-21) 

Image Display Unit 

Use this parameter to define the unit to be used when displaying values 

for an image. This affects the 

• STATUS window of images and image overviews (see page 20-19) 

• Information about images on a layout (see page 16-19) 

• Cursor position in the COLOR window (see page 30-21) 





Preferences 


Fig. 31-4 

‘Special Units Setup’ Dialog 




Preferences 

Defining Layout Origin 


Defining Layout Origin 

Use the FILE | SYSTEM SETUP | LAYOUT REPRESENTATION function to determine 

the origin of the coordinate system on a layout (top left or bottom 

left). All coordinates are displayed accordingly, e.g. when creating paths. 

On images, the origin is always the bottom left corner, even if the images 

were rotated on the screen (FLIP function, see page 20-10). 

Fig. 31-5 

‘Layout Representation’ Dialog 

Displaying Toolbar and Status Bar 

Using the VIEW | TOOLBAR function you can display and hide the toolbar. 

The toolbar contains icons that allow quick access to frequently used 

functions. A check mark appears next to this function if the toolbar is displayed. 

Fig. 31-6 

Toolbar of ORIS PDF Tuner Layout window 

Using VIEW | STATUS BAR you can display and hide the status bar. This 

bar appears at the bottom of the main window and displays help on the 

function you are about to select or other information such as the name 

of the currently active function. 

A check mark appears next to this function if the status bar is displayed. 

Fig. 31-7 

ORIS PDF Tuner Status Bar 





32 Reference 

Keyboard Shortcuts 

There are keyboard shortcuts for the most common ORIS PDF Tuner 

functions in order to provide quick access to these functions. The following 

list shows all keyboard shortcuts available in ORIS PDF Tuner. 

Fig. 32-1 

Macintosh Keyboard 

COMMAND key ( ) 

OPTION key 

CONTROL key 

SHIFT key 

TAB key 

FORWARD DELETE key 

BACKSPACE key 

RETURN key 

ENTER key 

SPACEBAR 

Fig. 32-2 

Windows Keyboard 

Numeric Keypad 

ALT key 

CONTROL key 

SHIFT key 

TAB key 

SPACEBAR 

DELETE key 

BACKSPACE key 

ENTER key 




Reference 



General Shortcuts 

Function Mac OS Windows 

OK RETURN, ENTER ENTER 

Cancel ESC ESC 

Save +S CTRL+S 

Save as +SHIFT+S CTRL+SHIFT+S 

Delete BACKSPACE DELETE 

Print 

Zoom in 

Zoom out 

++ or 

+SPACEBAR 

+– or 

+OPTION+SPACEBAR 

CTRL+P 

Zoom to specified percentage 

+OPTION+2 

CTRL+2 

Zoom and fit to window +0 CTRL+0 

CTRL++ (numeric keypad) 

or CTRL+SPACEBAR 

CTRL+– (numeric keypad) 

or CTRL+SPACEBAR+ALT 

Pan SPACEBAR SPACEBAR or ALT 

Activate next window +


Reference 


Shortcuts for Layouting 


Create new layout +N CTRL+N 

Open layout +O CTRL+O 

Show/hide guides F7 F7 

Guide snapping on/off SHIFT+F7 SHIFT+F7 

Insert background image +E CTRL+E 

Brushing on the page F10 F10 

Filter layer creation: 

• Color Gradation 

• Tone Correction 

• Color Transformation 

F11 

F11 

F12 

F11 

F11 

F12 

Correct (layer, path) +M CTRL+M 

Enable layer selection mode F8 F8 

Activate all layers +A CTRL+A 

Duplicate layer +D CTRL+D 

Duplicate path (multiple) +OPTION+D CTRL+ALT+D 

Display complete layout +0 CTRL+0 

Hide dummy text on all layouts +OPTION+B CTRL+ALT+B 

Save value F2 F2 

Apply value SHIFT+F2 SHIFT+F2 

Undo +Z CTRL+Z 

Redo +SHIFT+Z CTRL+Y 

Display entire layout after pixel zoom +OPTION+1 CTRL+1 

Shortcuts for Text Editing 


Display TEXT PARAMETERS dialog +SHIFT+D CTRL+SHIFT+D 

Copy selected text +C CTRL+C 

Cut selected text +X CTRL+X 

Paste from Scrapbook/Clipboard +V CTRL+V 

New paragraph ENTER/RETURN ENTER 




Reference 




New line 

SHIFT+ENTER/RETURN SHIFT+ENTER 

Discretionary hyphen +SHIFT+– CTRL+– 

Discretionary new line CTRL+ENTER/RETURN CTRL+ENTER 

To move cursor... 

... to next/previous line or character 

... to beginning of line HOME 

... to end of line END 

... to beginning of text CTRL+ CTRL+HOME 

... to end of text CTRL+ CTRL+END 

To select next/previous characters SHIFT+ SHIFT+ 

To select complete text +A CTRL+A 

To select all characters from cursor position to... 

... beginning of line SHIFT+ SHIFT+HOME 

... end of line SHIFT+ SHIFT+END 

... beginning of text SHIFT+CTRL+ SHIFT+CTRL+HOME 

... end of text SHIFT+CTRL+ SHIFT+CTRL+END 

To delete... 

... next character FORWARD DELETE DELETE 

... previous character BACKSPACE BACKSPACE 

Shortcuts for Image Editing 


Open image +SHIFT+O CTRL+SHIFT+O 

Enable activate mask mode F9 F9 

Insert cut-out into layout +OPTION+E CTRL+ALT+E 

Retouch F10 F10 

Color Gradation F11 F11 

Tone Correction +L CTRL+L 

Color Transformation F12 F12 

Show before F4 F4 

Zoom to 100% +OPTION+1 CTRL+1 





Reference 

ORIS PDF Tuner Files 


Delete mask +BACKSPACE DELETE 

Shortcuts for Image Overview 


Next overview page 

PAGE DOWN 

Previous overview page 

PAGE UP 

Select next/previous image 

Select first image on first page 

Select last image on last page 

HOME 

END 

Select multiple images CTRL+ CTRL+ 

Select all images +A CTRL+A 

Zoom to 100% +OPTION+1 CTRL+1 

Rebuild image overview CTRL+F5 CTRL+F5 


This section lists all types of files that may be created when working with 

ORIS PDF Tuner. 

*.ALG 

A set of guides used on an ORIS PDF Tuner layout and saved to a file. 

Guides are non-printing elements with a ‘magnetic’ snap area which help 

to position layout elements accurately. 

You can load stored guides onto a layout using the GUIDES | ACTIVATE | 

LOAD function. See also Saving and Importing Guides (page 6-10). 

COLOURTRAFOS.DAT 

File containing color transformation settings saved by the user. It resides 

in the installation directory (usually ..\Program Files\CGS\Common 

Files\EXE on Windows systems). 

When using the IMAGES | COLOR TRANSFORMATION function you can load 

one of these setting by selecting LOAD in the MENU window. 




Reference 



See also Transforming Image Colors (page 24-1). 

_CONTEXT.LAY and _CONTEXT.HEAP 

ORIS PDF Tuner layout created on a VMS platform. Both files reside in 

the same directory, which is identified as the layout name in ORIS PDF 

Tuner/VMS. Open the _CONTEXT.LAY file to edit such layouts on a Windows 

platform. 

*.DDP 

File containing the ORIS PDF Tuner layout data. This file is created 

when you save a new layout for the first time. Open this file to edit the 

layout. 

The following elements are stored in a *.DDP file: 

• Guides 

• Paths 

• Text 

The following elements are only referenced, i.e., only the position, transformation, 

outline or typography are stored in the ORIS PDF Tuner layout, 

but not the data itself: 

• Images 

• Masks 

Use the FILE | MAKE CONSISTENT function to copy all images, masks and 

brushed layers to the directory in which the *.DDP file resides and to 

change the references accordingly (see page 11-16). 

See also Layout Reference List (page 4-21). 

*.DDP_BAK 

• Tints 

• Gradients 

• Filter layers 

• Dummy text 

• Brushed layers (see page 10-5) 

• Layout parameters 

(such as layout size, 

origin point, bleed) 

Backup copy of an ORIS PDF Tuner layout. Whenever you save an 

ORIS PDF Tuner layout, the layout is renamed from *.DDP to *.DDP_BAK 

before it is actually saved. This file resides in the same directory as the 

*.DDP file. 

Open this file if you want to revert to the previously saved state of the 

layout, e.g. if you have lost the current layout due to a program error. 

See also Restoring Previous Version of a Layout (page 5-6). 





Reference 


*.DDX 

Parameter file defining basic settings and exceptions for automatic trapping. 

It is created using the FILE | EXPORT function and can be used in 

ORIS Works hotfolders (see also page 3-53). 

*.DOT_CONTROL and *.DOT_DATA 

Linework with native ORIS PDF Tuner format. The image data are contained 

in these two files which reside in the same directory. To edit the 

linework you must open the *.DOT_CONTROL file. 

Note: 

If you rename a linework file with ORIS PDF Tuner format using the Macintosh 

Finder or Windows Explorer, make sure you use the same name 

for both files (without changing the file extension). If you move such a linework, 

make sure you move both files to the same directory. 

GRADATIONS.DAT 

File containing all settings for gradation changes and tone value corrections 

saved by the user. This file resides in the installation directory (usually 

..\Program Files\CGS\Common Files\EXE on Windows systems). 

When using the IMAGES | COLOR GRADATION or TONE CORRECTION function 

you can load one of these setting by selecting LOAD in the COLOR 

GRADATION or TONE CORRECTION window. 

See also Gradation Changes and Tone Value Corrections (page 25-1). 

*.HEAP 

Temporary file containing ORIS PDF Tuner data used at program runtime. 

This file is e.g. created when you save a new layout for the first time. 

It resides in the same directory as the *.DDP file. The file is deleted automatically 

as soon as you close the ORIS PDF Tuner layout. 

The fact that no *.HEAP file exists for a *.DDP file indicates that the corresponding 

ORIS PDF Tuner layout is not in use. 

*.MASKDAT and *.MASKIDX 

ORIS mask files. There are two mask files (*.MASKDAT and *.MASKIDX) 

for every image with ORIS masks and also for every ORIS PDF Tuner 

layout with masks (painted on the layout or created by filling cut-outs 

with tints, gradients or images). See also About Masks and Mask Files 

(page 22-1). 




Reference 



Note: 

If you rename an image or ORIS PDF Tuner layout using the Macintosh 

Finder or Windows Explorer, make sure to change its mask files to the 

same name. If you move a layout or image file, make sure you move the 

mask files to the same directory. 

If you delete an image, the mask files of this image are usually deleted 

automatically. However, if two images have the same name but a different 

file extension, the masks are stored in the same mask files. In this 

case only the masks of the deleted image are deleted and the mask files 

are preserved. 

Avoid images with identical names and pixel sizes which only differ in 

their file extensions. Masks of such images are stored in the same mask 

file, which may cause mask referencing problems. 

_OVERVIEW.DAT/RED/GRN/BLU 

Files that cache an ORIS PDF Tuner image overview in order to display 

it more quickly. They reside in the same directory. 

ORIS PDF Tuner image overviews allow the user to select images by 

their appearance. An image overview contains thumbnails of all images 

located in the current directory, provided ORIS PDF Tuner supports the 

image format. 

• The _OVERVIEW.DAT file stores the image file names and attributes 

(pixel size, image resolution, etc.). 

• The _OVERVIEW.RED, _OVERVIEW.GRN and OVERVIEW.BLU files store 

the thumbnail images. 

If an image overview contains more than 49 images, the thumbnails are 

located on follow-up screens which can be displayed using NEXT PAGE 

in the MENU window. In this case there are additional files named 

OVRVWn.*, where n is an ascending number. Example: OVRVW2.BLU (for 

the second screen). See also Image Overview (page 20-2). 

*.PAT 

A set of paths used on an ORIS PDF Tuner layout and saved to a file. 

Paths are non-printing elements that define the outline of layout elements. 

You can load saved paths onto an ORIS PDF Tuner layout using the 

PATHS | ACTIVATE | LOAD function. See also Saving and Importing Paths 

(page 8-14). 




PS_PARSE.LOG 

Reference 

Other Files in Installation Path 

Log file created whenever a PDF, EPS or PostScript document is converted 

into ORIS PDF Tuner format. It records all information and error 

messages that occur during conversion and resides in the same directory 

in which the new ORIS PDF Tuner layout is stored.See also Importing 

PDF and PostScript Files (page 2-1). 

TEXT STYLES.DAT 

File containing all global style sheets for text created with the function. 

This file resides in the installation directory (usually ..\Program 

Files\CGS\Common Files\EXE on Windows systems). 

Global style sheets are style sheets that are available to all new layouts. 

They can only be created when no layout is open. See also Creating Text 

and Headlines (page 12-1). 

TEXTPARAMS.DAT 


File containing saved dummy text parameter sets. It resides in the installation 

directory (usually ..\Program Files\CGS\Common Files\EXE on 

Windows systems). 

When creating dummy text you can load one of these parameter sets by 

clicking the LOAD button. See also Creating Dummy Text (page 14-1). 

TRANSPARENCY.DAT 

File containing all settings for transparency, soft edges and trapping 

saved by the user. This file resides in the installation directory (usually 



Transparency and Soft Edges (page 17-1) 

Trapping (page 18-1) 


ORIS Spot Color Files (*.OSC) 

The software includes various PANTONE® 1 Digital Color Library Files 

and HKS® spot color files. On Windows systems the default save location 

is the directory ..Program Files\CGS\Common Files\CC. 

See also Selecting Spot Colors (page 10-11). 




Reference 



PANTONE® 2 Digital Color Library Files 

PANTONE coated 2002.OSC 

PANTONE COATED 2X.OSC 

PANTONE COATED.OSC 

PANTONE Process Coated EURO.OSC 

PANTONE process coated.OSC 

PANTONE process uncoated.OSC 

PANTONE PROCESS.OSC 

PANTONE ProSim.OSC 

PANTONE SolidToProc C EURO.OSC 

PANTONE SolidToProc coated.OSC 

PANTONE uncoated 2002.OSC 

PANTONE UNCOATED 2X.OSC 

PANTONE UNCOATED.OSC 

HKS® Library Files 

HKS_E.OSC (Continuous paper) 

HKS_K.OSC (Art paper) 

HKS_N.OSC (Natural paper) 

HKS_Z.OSC (Newsprint paper) 

HKS_K_Raster.OSC (Art paper) 

3440 color shades achieved by 

screening the HKS_K spot colors 

and adding black 

Adria.OSC 

Allgaeu.OSC 

Aurora.OSC 

Blues.OSC 

Corsica.OSC 

Cupido.OSC 

Cupula.OSC 

Private.OSC 

Curacao.OSC 

Haifa.OSC 

Irland.OSC 

Jura.OSC 

Marocco.OSC 

Maritim.OSC 

Nordland.OSC 

Pompeji.OSC 

Pozzuoli.OSC 

Siena.OSC 

Tobacco.OSC 

Toscana.OSC 

Umbria.OSC 

Wiesengrund.OSC 

Dynamic sequences consisting of 5 to 7 color shades close to each 

other in lightness, color tone or saturation. There is a smooth transition 

between each color shade, a continuous rise or fall of the color effect. 

The individual sequences are variable and can also be reduced. 

Use this file for defining your own spot colors, i.e. colors that are not 

available in any of the other spot color files. You have to define the color 

names and the CMYK equivalence values. When selecting spot colors 

on a layout or image, this file is available under the name PRIVATE BOOK 

in the SPOT COLORS dialog (see page 10-12). 

1. PANTONE® and other Pantone, Inc. trademarks are the property of 

Pantone, Inc. 

2. PANTONE® and other Pantone, Inc. trademarks are the property of 

Pantone, Inc. 




Reference 


You can edit this Private.OSC using any text editor (e.g. Windows Notepad). 

The file has the following structure: 

PRIVATE 

Copyright: © CGS Publishing Technologies International, 

All Rights Reserved 

BEGIN_DATA_FORMAT 

Sample_ID : CMYK_C CMYK_M CMYK_Y CMYK_K 

END_DATA_FORMAT 

BEGIN_DATA 

Blue : 100 100 0 0 

Green : 100 0 100 0 

Red : 0 100 100 0 

Registration : 100 100 100 100 

END_DATA 

When editing this file, make sure you adhere to the following rules: 

• The first line must specify the name of the spot color system 

(PRIVATE in this case). 

• The copyright notice in the second line is optional. When used, however, 

it must begin with Copyright: as shown above. 

• The next three lines must be exactly as indicated in the example. 

• Specify the user-defined spot colors in the lines between 

BEGIN_DATA and END_DATA. Each line must comply with the 

following syntax: 

• Color name 

Note that color names that begin and end with a parenthesis 

must be enclosed in double quotes, e.g. (Pfgreen). 

• Blank or TAB 

• Colon 

• Blank or TAB 

• CMYK percentage values (each separated by a blank) 

You can also specify decimal fractions (e.g. 71.5). 

• To insert comments enter a semicolon in the first column. 

Color Tables 


Color tables are used for converting RGB colors to the CMYK color 

space, e.g. when exporting layouts or displaying colors on the monitor. 

The same table is used for all ORIS programs installed on your system. 




Reference 

Units and Values 


The name of this table is UCR.DAT on Windows and DDS_CC4_MONITOR on 

Macintosh platforms. The default save location on Windows systems is 

the directory ..Program Files\CGS\Common Files\CC. 

DUMMY_TEXT_ENU.TEXT 

Text file containing the English dummy text used on any ORIS PDF Tuner 

layout. This file resides in the installation directory (usually 


This text file is referenced when you insert dummy text. You can edit the 

file if you do not want to use the default text. 

See also Creating Dummy Text (page 14-1). 


Supported Units and Their Abbreviations 

ORIS PDF Tuner supports the units listed below. To specify a unit of 

measurement you can either type the corresponding abbreviation into 

the input box of the numeric value or select the unit from a list displayed 

to the right of this box. 

Unit Abbreviation Equivalent 

Millimeters mm 

Centimeters cm 10 mm 

Inches " 25.4 mm 

Cicero ci 4.512 mm (12 dp) 

Didot Point dp 0.376 mm 

Pica pi 4.217 mm (12 pp) 

Pica Points pp 0.351 mm (1/72 ") 

Lines/cm lpcm 2.54 lpi 

Lines/Inch lpi 0.394 lpcm 

Dots/cm dpcm 1 lpcm 

Dots/Inch dpi 1 lpi 

Percent % 

Pixels 

px 

Points pt user-defined 

Special s user-defined 





Reference 


Unit Abbreviation Equivalent 

Relative units dmm 

dinch 

dpt 

d special 

Distance from a specific coordinate 

measured in millimeters, 

inches, points or special units 

respectively 

Annotations 

The units Didot Point and Pica Point are fixed values. Each corresponds 

to 1/12 of the Cicero or Pica value respectively. The unit POINT, however, 

can be defined by the user. 

To define the units POINT and SPECIAL, use the FILE | SYSTEM SETUP | 

SPECIAL UNITS function. For more details refer to page 31-4. 

See also Combining Cicero/Pica and Point Units (page 32-14). 

Entering Units Together With Value 

In most dialogs you can enter the abbreviation of the unit into the input 

box of the numeric value. You only need to type the minimum numbers 

of characters necessary to clearly identify the unit. Usually it is sufficient 

to type the initial letter. The abbreviation is not case-sensitive. 

Selecting Units from a List 

In all dialogs you can select units from a menu located to the right of the 

input box. When you click the small arrow, a list of units opens. Having 

selected a unit, the current value is automatically converted into the new 

unit (but not in the case of a direct input, see page 29-7). The following 

figure shows an example: 

Fig. 32-3 

Selecting Units from a List 

In some dialogs (e.g. that of the Rectangle Editor) there is no menu for 

selecting units. Instead, the input box for the numeric value is designed 

as a list of the same value converted into different units. The following 

figure shows an example: 




Reference 



Fig. 32-4 

Abbreviations of Units (in Rectangle Editor) 

Combining Cicero/Pica and Point Units 

When the unit Cicero is selected, you can simultaneously specify Cicero 

and Didot Points as well as decimal places for the Didot Points. Likewise, 

you can also specify Pica Points (with decimal places) when the 

unit Pica is selected. 

Type all three values into the same input box and separate them by a period. 

Examples: 

Input 

Meaning 

2. ci 2 Cicero 

2.10 ci 2 Cicero and 10 Didot Points 

2.10.5 ci 2 Cicero and 10.5 Didot Points 

0.10 ci or .10 ci 10 Didot Points 

0.10.5 ci or .10.5 ci 10.5 Didot Points 

2.10.5 pi 2 Pica and 10.5 Pica Points 

2. ci 2 Cicero 

2.10 ci 2 Cicero and 10 Didot Points 

Note on Direct Input 

The same method is used in the case of a direct input (see page 29-7) if 

the unit pt (user-defined Points) is selected. For example, 2.10.5 pt 

means 2 Cicero or Pica and 10.5 points. To specify half a point you must 

enter 0.0.5 pt or .0.5 pt. 

Whether the first number is interpreted as Cicero, Pica or any other unit 

depends on the definition of the pt unit made with the FILE | SYSTEM 

SETUP | SPECIAL UNITS command (see page 31-4). 

See also Supported Units and Their Abbreviations (page 32-12). 




Decimal Places 


Reference 

Entering Special Character Sequences 

You can use either a point or a comma to specify decimal places. 


When creating text (see page 12-1) you can produce many special characters 

by entering a sequence of two characters preceded by the character 

Reference 



List of Special Characters 

The tables below list all special characters that can be produced using 

this method. To produce the character shown on the left, enter < followed 

by the characters on the right. 

Numbers, Symbols and Greek Characters 

Special Characters A-L 





Reference 

License Notes 

Special Characters N-Z 

License Notes 

ORIS PDF Tuner is a modular software system that allows you to choose 

the components you need for your specific requirements. 

License-Protected Software Modules 

Each of the following ORIS PDF Tuner software modules requires a separate 

software license: 

License 

O-ICD 

O-ETIF 

O-ESC 

Functionality 

Import of CopyDot data 

Import of CopyDot images with DCS format. These 

images can be edited with the Linework Editor (O-LED 

license). Without the O-ICD license you can only use 

CopyDot preview files (see also page 20-21). CopyDot 

images can be exported to any format. 

TIFF/IT output 

Conversion to TIFF/IT, TIFF/IT-P1 or P2 format (see 

page 3-1) 

Scitex Handshake output 

Conversion to Scitex Handshake format (see page 3-1) 




Reference 

License Notes 


License 

O-ICC 

O-OPI 

O-LED 

O-TRA 

O-CT 

Functionality 

ICC Color Management 

Use of ICC profiles for color corrections made when converting 

layouts to another format (see page 3-5) or for an 

accurate on-screen color representation while editing layouts 


OPI functionality 

Substitution of low-res images by the corresponding highres 

images when importing PDF, PostScript or EPS documents. 

Linework editing 

Modification of linework graphics including recoloring, filling 

and brushing (see page 26-1) 

Automatic Trapping 

Trapping the entire layout automatically when converting 

it to another format (except non-Flat PDF/PS/EPS). For 

more details refer to page 3-53 and page 18-1. 

ORIS Color Tuner 

Use of ‘ORIS_DAT Files’ created by ORIS Color Tuner for 

color-correcting layouts when converting them to another 

format (see page 3-5). 

Viewing/Updating Software Licenses 

Using the HELP | DONGLE INFO command to check the ORIS products 

and software versions licensed with the dongle on your computer as well 

as the expiration date of the dongle. Should you have problems with the 

dongle, you may be requested by the CGS support staff to submit this 

information. 

To update a software license, you receive a password from CGS in the 

form of a text file. We recommend to load this password file rather than 

entering the password on the keyboard to prevent the risk of mistyping. 

To update your dongle: 

1. Save the password file to a directory that does not contain any blanks 

or other special characters. 

2. Select HELP | DONGLE INFO to open the license dialog. 

3. Click the OK button in this dialog. A file selection box appears. 




4. Select the password file. 


Reference 

Reserved Windows File Names 

Having successfully updated the dongle, ORIS PDF Tuner terminates 

automatically and must be restarted. 


The following is a list of reserved file names. Windows systems do not 

allow you to create files with such names. If ORIS PDF Tuner layouts or 

images used on such layouts have been created on other platforms, 

make sure none of these file names are used. It is not possible to open 

layouts or images with such file names on Windows platforms. 

COM1 COM6 LPT1 LPT6 AUX 

COM2 COM7 LPT2 LPT7 CLOCK$ 

COM3 COM8 LPT3 LPT8 CON 

COM4 COM9 LPT4 LPT9 NUL 

COM5 

LPT5 

PRN 

Note: 

There may be more reserved file names. Please refer to the Windows 

documentation. 




Reference 







33 Glossary 

1-bit Masks 

8-bit Masks 

Bounding Box 

Brushed Layer 

Coarse Image 

Combined Paths 

Masks whose density is always 100% are referred to as 1-bit 

masks. Each image pixel is either completely masked or completely 

unmasked. Cut-outs created with 1-bit are entirely 

opaque. See also 8-bit Masks. 

Masks with a density that may vary between 0 and 100% are 

referred to as 8-bit masks. Cut-outs created with 8-bit masks 

have a varying degree of transparency, allowing underlying 

layers to show through and image edges to softly melt with the 

background. See also 1-bit Masks. 

Imaginary straight rectangle enclosing the outline of one or 

several elements 

Brushed layers are colors brushed into a rectangular area on 

the layout using the LAYER | RETOUCH function (see 

page 10-5). 

Images can be loaded with a reduced display resolution, i.e. 

every nth pixel only is displayed on the screen. Such images 

are referred to as coarse (as opposed to fine). See also Loading 

as Low-res Image or Preview (page 20-8). 

Combined paths are paths which can only be corrected using 

the Path Editor (see page 9-1) and not by modifying parameters 

such as the radius of a circle or the corners of a rectangle. 

Paths with this property are called ‘combined’ because they 

can be created using the PATHS | EDIT | SEPARATE or COMBINE 

function (see page 8-6). But they are also created when standard 

paths are scaled unproportionally, skewed or distorted 

perspectively. 

New ‘combined’ paths are created using the Path Editor ( ). 

The paths of text characters created with 

are also ‘combined’ paths. 

or LAYER | TEXT 




Glossary 

CropBox 

CropBox 

Filter Layers 

Gradient 

See MediaBox. 


Filter layers allows you to use image modification functions on 

a layout (e.g. gradation changes or color transformations). 

Thus you can e.g. improve the colors of an image without having 

to modify the image file. 

A filter layer acts on all layers (of any type) located below it, i.e. 

layers with a lower layer number. If there are several filter layers 

placed upon each other, the effects add to each other. The 

filter layer itself has no color and is therefore invisible if there 

are no layers located below it. 

See also Using Filter Layers (page 15-1). 

A layer consisting of several colors shading into each other (as 

opposed to a tint). There are two types of gradients: linear and 

circular (see figure). 

Hexachrome 

A PANTONE® 1 high-fidelity color scheme that uses a six-color 

process in color reproduction that can achieve a larger color 

gamut than conventional four-color separations. 

Hexachrome adds fluorescent orange and green inks to an 

enhanced CMYK set, producing CMYKOG. 

Fig. 33-1 

Hexachrome Process Print Colors 

HiFi Printing 

Layer 

High-fidelity color printing is a technology that raises printing 

quality above the accepted limitations of normal four-color 

offset. This implies some alteration or addition to the standard 

four-color process ink set, which allows the press to print a 

wider range of colors. 

Examples of this approach are the Hexachrome (CMYK+orange+green) 

and the Opaltone process (CMYK+RGB). 

A layer is an object on an ORIS PDF Tuner layout that will appear 

on the final printed page. There are different layer types, 

e.g. 

1. PANTONE® and other Pantone, Inc. trademarks are the property 

of Pantone, Inc. 





Glossary 

lmage EPS 

lmage EPS 

MediaBox 

• Graphic elements (tints, gradients, brushed layers) 

• Images (cut-outs, background images) 

• Text and dummy text 

• Filters (e.g. color gradation or pixelation) 

Each layer on a layout is located on a separate level and identified 

by a unique layer number. You can change the order in 

which layers lie on top of each other (stacking order, see 

page 16-15). If a layer is hidden it can be moved up to a higher 

level, for example. 

Layer #1 is the layout‘s background layer. This layer cannot be 

moved or transformed, nor can it be positioned on top of another 

layer. It is possible, however, to fill this layer with color or 

an image. 

Image EPS files contain only one single image. Such files are 

created e.g. in ORIS PDF Tuner by saving an image in EPS 

format or by image editing programs such as Photoshop. Image 

EPS files can be used in ORIS PDF Tuner like any other 

image. See also Page EPS. 

A PDF page can be defined by various ‘page boxes’: 

• MediaBox 

Defines the size of the physical medium on which the page 

is intended to be displayed or printed. The MediaBox includes 

any extended area surrounding the finished page for 

bleed marks, register marks, or other similar purpose. 

• CropBox 

Defines the region to which the contents of the page are to 

be clipped when displayed or printed. Unlike the other boxes, 

the CropBox has no defined meaning in terms of physical 

page geometry or intended use. It merely suggests 

where the page should be clipped. 

• TrimBox 

Defines the intended dimensions of the finished page after 

trimming. 

• BleedBox 

Determines the region to which the page contents needs to 

be clipped when output in a production environment. Usually 

the BleedBox is 3 to 5 millimetres larger than the Trim- 

Box. It is nice to know the size of the BleedBox but it isn’t 

that important in graphic arts. Most prepress systems allow 




Glossary 

MENU window 

MENU window 

This rendering intent is identical to the ABSOLUTE COLORI- 

METRIC conversion, except that the white point of the destihttp://www.image2output.com 

you to define the amount of bleed yourself and ignore the 

BleedBox. By default the BleedBox equals the CropBox. 

• ArtBox 

The ArtBoxis a bit of a special case. It can define a region 

within a page that is of special interest. It is rarely used by 

applications. 

One way in which it can be used is to handle ads: on a PDF 

of a page on which there is an advertisement, theArtBox 

can define the size of that ad. This allows you to place that 

PDF on another page but only use the ad from that PDF. 

A toolbar with function names that change according to the 

context, usually displayed on the right. 

Page EPS 

Rendering Intent 

Page EPS files containing not just one image but several elements. 

Such files are created e.g. by converting ORIS PDF 

Tuner layouts to EPS format (EXPORT function). ORIS PDF 

Tuner allows you to display only the preview of a Page EPS 

file. See also Image EPS. 

The method used for transformations between color spaces 

with a different color gamut. The ICC standard defines four 

methods of matching colors to the target color space: 

ABSOLUTE COLORIMETRIC 

This rendering intent transfers the color data to the destination 

color space on the basis of the smallest color distance 

(Delta E). During the process, the white point of the source 

color system is adopted in the destination color system. 

This is the appropriate method for digital proofing if simulating 

the paper white is important. It is used, for example, to 

proof a page reproduced for newspaper printing on a proof 

printer running a special paper, and at the same time simulate 

the newsprint color. 

RELATIVE COLORIMETRIC 





Glossary 

Standard Paths 

nation color system is projected onto that of the source color 

system. 

The RELATIVE COLORIMETRIC interpretation is appropriate 

for digital proofing without simulating the paper white. It addresses 

proof printers designed to process print run paper. 

If a newspaper proof is output on a color printer, for example, 

the conversion result is very similar to the ABSOLUTE 

COLORIMETRIC interpretation, but instead of simulating the 

newsprint’s shade of white, it is superimposed on the color 

printer’s shade of white. 

PERCEPTUAL (IMAGE) 

The PERCEPTUAL or PHOTOGRAPHIC rendering intent reproduces 

an image, taking into account the paper, dynamic, 

and color characteristics of the output system in such a way 

as to ensure that the human eye will perceive the image in 

the destination color system as a faithful reproduction of the 

original. 

It gently squeezes the entire source color gamut so that it 

just fits inside of the destination gamut. The hue is always 

preserved. This is the most commonly used rendering intent 

for reproducing photographic images. 

Standard Paths 

STATUS Window 

SATURATION 

The SATURATION or GRAPHIC rendering intent aims at preserving 

saturation and vividness rather than exact colors. It 

expands and contracts the source color gamut so that it exactly 

fills the destination gamut. Therefore, fully saturated 

source colors always map to fully saturated destination colors. 

This rendering intent is mostly used for reproducing business 

and presentation graphics including graphs and pie 

charts. 

Standard paths are paths a defined creation function such as 

rectangles, circles or stars. 

Such paths can be corrected by applying the same function 

that was used for creating them (see page 8-4). For example, 

a circle can be corrected by changing the radius or center. 

See also Combined Paths. 

A palette displaying information about the layout or image and 

its current settings, usually displayed on the left. 




Glossary 

Tint 


Tint 

TrimBox 

A layer consisting of a single color (as opposed to a gradient). 

See MediaBox.

ORIS PDF Tuner Version 4.4.8 User Manual - image2output - Support

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