VIDEO: Digital Dimensional Printing Files – RGB workflow

This VIDEO tutorial will demonstrate how to create files in Adobe Photoshop CS for Digital Dimensional Printing. This tutorial will focus on the process of using an RGB workflow for Digital Dimensional Printing.

Digital Dimensional Printing is a raised, high gloss, spot coating that is applied inline on our digital printing presses. Digital Dimensional Printing creates textures to your printed designs. Digital Dimensional Printing provides a very unique marketing advantage to your printed collateral.

An RGB workflow will save you a lot of time while not having to convert your images to CMYK. Not only will you save time, not converting to CMYK, but you will not have multiple files of the same image, saving valuable disk space.

These settings will ensure print-ready PDFs for faster turnaround times and no output errors in prepress; perfect for using online color printing.

What are some of your ideas for dimensional printing? Please leave your comments below…


Blog Printing

VIDEO: Digital Dimensional Printing-Coating Files – CMYK workflow

Digital Dimensional Printing is a raised, high gloss, spot coating that is applied inline on our digital printing presses.

 Digital Dimensional Printing creates textures to your printed designs. Digital Dimensional Printing provides a very unique marketing advantage to your printed collateral.

These settings will ensure print-ready PDFs for faster turnaround times and no output errors in prepress.

Have you ever felt printing like this before? Please leave a comment below…

[learn_more caption=”Transcript of Video” state=”open”] Hi. This is Rick Rys from

In today’s tutorial we are going to talk about preparing files for the new spot dimensional printing that is now available at

00:17 Spot dimensional printing is a raised high gloss spot coating/printing that’ll create a textured field to your printed projects. The spot dimensional coating/printing is available on our digital presses at

00:35 We are creating this image entirely within Photoshop CS. You can see we have our CMYK image of the football our logo and are type. We’ve also included all of our bleed in the actually image itself.

00:52 There is no reason to actually create extra work for yourself and create this image out of Indesign. We’re going to do the complete design and production out of Photoshop.

01:04 You can see right now we have our direct mail piece and the way the spot dimensional printing works, it works by creating a selection and the selection that you create is going to be textured or the raised high gloss coating.

01:23 Over here in our channels, you will notice that we have our cyan, magenta, yellow and black channels and I’ve already created a a selection called DIMENSIONAL and I’m going to isolate this DIMENSIONAL selection and show you the actual coating that’s going to be applied to the product.

01:45 So the areas that are in black are the areas that will have the spot dimensional coating. These will be the areas that will be raised and be in high gloss, so you can see we selected the actual dimples of the football.

01:57 This will give us the feel of the actual ball itself. It’s important to note that this DIMENSIONAL channel, the channel itself, has to be named as DIMENSIONAL and that this done through the channel options after selecting DIMENSIONAL.

02:15 Important to note that the word DIMENSIONAL needs to be typed in all caps. That is important when that file goes through the RIP in prepress, the DIMENSIONAL file will be extracted so that the actual DIMENSIONAL color plate can be created and printed on the fifth unit.

02:36 So once we create our dimensional file, name our file, we’re simply going to close this and go back to our image. For the sake of cosmetics, we’re going to turn our dimensional file off. It doesn’t matter if it’s selected or not. It’ll still be picked up So at this point, we’re ready to go to press.

02:58 The key ingredient here is how we save this file. When we go to file, under save as, and we are going to the part of naming our file, which i’ve already done, so name it, add our location, and this is the important part, the five channel/five plate file needs to be saved as a Photoshop DCS 2.0

03:25 This is still an EPS file but is built or configured as a DCS file. And DCS stands for desktop color separation. This will allow for the file to have more than four colors. So for instance, our fifth color dimensional file, will still be embedded into the one file, EPS-DCS file.

03:49 It’s important to note that our Spot Colors needs to be selected. This will ensure that our DIMENSIONAL file will be embedded within our EPS-DCS 2.0 file.

04:01 The other key thing is that we embed our CMYK profile, which this happens to be thcoated GRACoL 2006 profile. The GRACoL profile is the CMYK color space that our presses print to at So at this point we’re going to save our image and we’re going to have another submenu pop up there are three simple selections here that we need to configure.

04:28 The first is the preview which is simply going to be an 8 bit pixel preview of the image. Second, and most key important part of this, is the setting of the DCS – the desktop color separation file-format.

04:42 We make sure this is set to a single file with color composite. This is important. You can see we have many options here. We do not want to use the multiple file. If we use a multiple file, that will make five different files for the five different channels.

04:58 We do not want that. We want to have a single file with a color composite because we are running a color composite workflow through prepress. This will embed all five color plates in the same file. Now, secondly our encoding is going to be the ASCII eighty-five setting. So from here, click ok.

05:16 And at that point, our image has been saved. Now at this point we simply select our image and we upload it to the FTP server at and our job will be in production.

05:33 That is it. Spot dimensional printing is a really exciting new technology here at Keep in mind this is only available with digital printed products.

05:47 I appreciate your time and hope you enjoyed this tutorial. Come back and see us for the next one.

Have a great day! [/learn_more]

Color Management Featured Article

VIDEO: Never Convert RGB to CMYK Again

This VIDEO tutorial will show you the best method to convert RGB to CMYK for your images.

Running a color managed workflow has it’s benefits. One of which is the absence of having to convert RGB to CMYK. It’s not necessary to have multiple files for the same image.

Imagine the time savings and hard disk space!

The important part to remember is to have tagged RGB images to start with. Color management works on the principle of ‘input’ to ‘output’ ICC profiles. If an image does not have a profile attached, the ACE (Adobe Color Engine) will not understand how to re-map the color conversion from RGB to CMYK.

These settings will ensure print-ready PDFs for faster turnaround times and no output errors in prepress. Compression settings will ensure for quick upload times to your printer.

How much time will this save you? Please leave your comment below…

[learn_more caption=”Transcript of Video” state=”open”]
Hi. This is Rick Rys from

00:04 Today’s tutorial Never Convert to CMYK is a cool little export option out of Indesign CS that will eliminate the need to ever convert RGB to CMYK.

00:15 This cool little RGB workflow will eliminate a lot of disk space and save you a lot of time along with a lot of confusion regarding having two files of the same image.

00:27 You can see we have an image here that’s created in Indesign CS it consists of an RGB bitmap image, you can see the color space is RGB, and it is tagged with the Adobe RGB color profile.

00:42 We also have a CMYK Adobe Illustrator image which is a vector graphic.

00:50 It’s important to note that the image is created with different values of gray. This is important because these color values of gray are built with black only and we want to make sure we do not re-separate this into a four color gray.

01:06 We also have a series of color swatches that are placed as Pantone colors. Also, take note that we are using the LAB values of these colors.

01:21 So, once we are ready to go to press, we’re going to do a simple export option out of Indesign CS.

01:30 We’re going to utilize the Adobe PDF X-4 standard. Once we select PDF X-4, we’re going to save our file and we’ll go into the export Adobe PDF presets and select X-4; change the compatibility to PDF 1.7 standard; select our page and then go through the individual tabs here.

02:00 Under compression, we want to keep these values the same. We’re going to downsample to 300 pixels per inch when our image is greater than 450 pixels per inch. This will allow for a much faster upload to the color server at

02:18 Under marks and bleeds, two things – select our crop marks and change our bleed to .125″ top and bottom, inside and outside

02:29 The output tab is the most critical. This is where color conversion is going to take place and convert RGB to CMYK.

02:39 We want to focus on the color conversion pull-down menu. We want to select “Convert to Destination” and “preserve numbers”. The preserve numbers will maintain any native CMYK data within the document.

02:53 This is important for our placed Adobe Illustrator image where we want to maintain our gray values with just black ink only. Select “preserve numbers” and our destination this is where we’re going to convert to CMYK.

03:08 We want to make sure that we select coated GRAcOL 2006 color profile. The GRAcOL profile is the largest CMYK color gamut for sheetfed printing.

03:21 Under profile inclusion policy we want to make sure we include the destination profile in case we have to repurpose this or convert this to another press.

03:33 Under ink manager you’ll notice that we have our CMYK information here and also all of our placed Pantone color swatches. What we want to do to make sure is that we check the all spots to process. You’ll notice that it converted these into CMYK and more importantly, make sure that we select the use standard LAB values for spots.

04:00 This is important because this will use the LAB color data value for each
of those Pantone colors for a much more accurate conversion into CMYK.

04:13 Once we select OK, then we simply export the file. Once we export our file, we’re going to open it up into Acrobat and you’ll notice that our file is here and we’re going to do a quick little preflight. We’re going to go into the advanced tab, Print Production and select Output Preview.

04:40 You’ll notice a little output preview window will open up. Notice that all are images have now been converted to CMYK! So we could simply go through the process and deselect our individual colors and build our document: black, yellow, magenta, cyan for our CMYK values.

04:59 As we mouse over, you’ll notice that we are now in the CMYK color space and all of our Pantone colors have been converted to CMYK. More importantly, when we get down to our placed Illustrator graphic, you’ll notice here that the gray is made up of black ink only. You’ll notice that up here, once I thumbed over the sixty percent screen of black, this was maintained by using the preserve numbers value for the convert to destination. This did not re-separate it into four colors.

05:33 The important part about this it saves a lot of time as far as balancing color on press and also eliminating any registration issues on press having to line up four colors for just one color gray.

05:47 Well, I hope you enjoyed this tutorial. Look back for more tutorials in the future.

Have a good day!