Harlequin RIP Manual

TM
OEM Manual
Windows Operating Systems
v11.0r1—January 2016
2 OEM Manual Harlequin MultiRIP v11.0r1 January 2016
Contents
Preface 9
1 Introduction to the Harlequin MultiRIP 13

What is the Harlequin MultiRIP? 13
Why use the Harlequin MultiRIP? 14
The Harlequin MultiRIP in depth 15
Why become a Harlequin MultiRIP OEM? 32
Integrating the Harlequin MultiRIP with your product 33
About Global Graphics 37
2 Running the Harlequin MultiRIP 39

Machine requirements 39
Installing printer interface cards 44
Harlequin MultiRIP folder structure 44
Starting up the Harlequin MultiRIP 48
Menus affected by optional features 55
Stopping the Harlequin MultiRIP 56
3 Getting Started with the Harlequin MultiRIP 59

A simple Harlequin MultiRIP session 59
A more complex use of the Harlequin MultiRIP 66
Using the Harlequin MultiRIP with a spool folder 69
Monitoring the Harlequin MultiRIP 70
4 Harlequin MultiRIP Output Methods 73

Historical overview 73
Page buffering modes 73
The throughput system 75
Advanced details of page buffering modes 86
Page buffering modes: a summary 90
Harlequin MultiRIP v11.0r1 January 2016 OEM Manual 3
5 Configuring Output Formats 91
Creating and managing Page Setups 91
Page Setup Manager dialog box 92
Edit Page Setup dialog box 94
Selecting different devices 96
Sending output to the screen 99
Output to Preview 103
Output to None 103
Output to TIFF 104
Output to PDF Raster 118
Sending output to a printer 124
ProofReady plugins 125
Multiple device output plugins 126
Output plugin dialog boxes 129
Separations, Screening and Color 129
Advanced Media Saving 131
Media and time saving using optimization 137
Default page size 139
Margins 139
Printing effects 140
Control strip 141
Scaling the image 150
Features 151
Cassette management 153
Page Setup Options 153
Page Setup Option Extras 158
PDF Options 161
Calibration 161
XPS Options 163
6 Screening 167
Managing separations styles 167
Separations Manager dialog box 168
Edit Style dialog box 169
Halftoning 170
Screen angles 175
Dot shapes 176
Halftone frequency 179
Screening options and number of gray levels 180
Job settings and Harlequin MultiRIP settings 184
Harlequin Precision Screening 185
Harlequin Screening Library 191
Automatic detection of color separations 198
7 Configuring the RIP 199
Configure RIP dialog box 199
How the Harlequin MultiRIP controls files 200
Control of page buffering modes 201
Job timeout 203
Threads and parallel processing 204
Harlequin VariData 206
Printer buffer size 207
Extras 209
Specifying prep files 210
Harlequin MultiRIP memory allocation 210
Minimum free disk space 212
Disable sounds 212
Resetting the Harlequin MultiRIP to default values 213
Choosing the user interface language 213
8 Configuring Input 215

Input management 216
Plugin installation 217
Managing input plugins 217
Using the NT Pipe input 221
Using the Spool Folder input folder 224
Using the Socket input plugin 229
Using the Asynchronous Socket plugin 234
Using the Asynchronous Socket Quit plugin 235
Using more than one method 235
Using the Print File command 236
Printing PostScript language files 237
Printing PDF files 237
Printing XPS Documents 251
Printing HD Photo images 251
Printing JPEG and JFIF files 252
Printing GIF files 252
Printing TIFF 6.0 files 252
Printing page buffer files 254
Entering PostScript language code by hand 256
9 Media Management 259

Why manage your media? 259
Advancing and cutting media interactively 262
Advancing and cutting media automatically 263
Monitoring media 268
10 Simple Imposition 277

What is Simple imposition? 277
Input file formats 277
How to activate Simple imposition 278
The Imposition Manager 278
Configuring Simple imposition 279
Example impositions 295
11 Fonts 305
Supplied fonts 305
Types of font 306
The DLD1 format 307
Installing fonts in the Harlequin MultiRIP 308
Pre‐loading fonts 310
Producing a list of installed fonts 310
Proofing fonts 311
Removing fonts 312
Composite fonts (Type 0) 313
Font substitution 314
The HqnFontSetStubs start up files 315
Font backup 316
Font Emulation 316
12 Calibration 321
Why calibration is needed 321
Calibration and linearization 323
Calibration in the Harlequin MultiRIP 324
Example procedure 325
Editing calibration sets 334
Consistency of calibration 337
Tone curves 339
Press calibration 339
Using a combination of calibration sets 342
Print Calibration dialog box 343
Calibration Manager dialog box 345
Edit Calibration dialog box 349
Features introduced for flexographic printing 356
13 Color Separation 363

Introduction 363
What color separations are 373
Producing color images from separations 376
How color separations are produced 378
Creating and managing separations 380
Separations Manager dialog box 380
Edit Style dialog box 383
Color Setup 391
Color separation angles in job 401
Trapping features 402
Pages in the Output Controller 403
Appendix A Troubleshooting 407

Appendix B Jobs Containing Color Management Data 423
Appendix C Using Genlin 427
Glossary 435
Copyright and Trademarks 449
Index 457
Preface
The Harlequin RIP is an interpreter and renderer for multiple page description languages.
É
This manual is a complete guide to using the Harlequin RIP, and provides technical details
É
when necessary. For details of how to install the RIP, see the separate Installation Guide.
This manual is intended for anyone using or evaluating the graphical user interface version
of the Harlequin MultiRIP for PC platforms running on Microsoft Windows. The guide cov‐
ers the features of the Harlequin MultiRIP in a structured way, giving examples that show
you how to perform a wide variety of useful tasks in the RIP. For more details about the
other versions of RIPs available, see Chapter 1, “Introduction to the Harlequin MultiRIP”.
Contents of this manual

This manual discusses basic concepts at an early stage, leaving more complex issues for the
later chapters. In addition, each chapter starts with a basic description of the relevant fea‐
tures before describing in detail the more technical issues involved.
The first three chapters contain information about what the Harlequin MultiRIP does, and
how to get it up and running on your machine.
Chapter 1, “Introduction to the Harlequin MultiRIP”, gives a description of what the
RIP does and the kind of tasks for which you can use it. This chapter also gives a broad
overview of the different versions of RIP that are available.
Chapter 2, “Running the Harlequin MultiRIP”, describes your machine requirements,
and how to start up the Harlequin MultiRIP once it is installed.
Chapter 3, “Getting Started with the Harlequin MultiRIP”, describes the most funda‐
mental elements of the system. It shows you how to do useful work without learning a
large number of new skills.
The next four chapters form a more comprehensive account of the software.
Chapter 4, “Harlequin MultiRIP Output Methods”, introduces the different ways in
which the RIP can operate, and how you can get the best performance out of the soft‐
ware for the jobs you are running. The chapter moves from general principles to more
specific examples of the best way to use the RIP.
Chapter 5, “Configuring Output Formats”, describes the flexibility the Harlequin Mul‐
tiRIP provides for configuring the appearance of any printed page. The tools described
in this chapter will be used on a regular basis, and are important for anyone who will
make extensive use of the product.
Chapter 6, “Screening”, explains the control the Harlequin MultiRIP gives you over
screening techniques. This chapter includes a complete description of using Harlequin
Precision Screening.
Chapter 7, “Configuring the RIP”, shows you how you can configure the Harlequin
MultiRIP to give the best performance in your environment. You will probably want to
experiment with the options described in this chapter, but once you are satisfied that
the RIP is running as you want it, you will not need to alter them on a regular basis.
The later chapters of the manual deal with specific facilities that the Harlequin MultiRIP
offers, and may be used as reference.
Chapter 8, “Configuring Input”, describes the different ways in which you can send
postscript language code and other forms of job as input to the Harlequin MultiRIP,
either working on a stand‐alone machine, or as part of a network.
Chapter 9, “Media Management”, gives you complete details of the media manage‐
ment facilities available in the Harlequin MultiRIP.
Chapter 10, “Simple Imposition”, provides details on how to use the imposition fea‐
tures of the Harlequin MultiRIP.
Chapter 11, “Fonts”, describes the use that the Harlequin MultiRIP makes of fonts, the
different font formats that are available, and the special built‐in facilities that the RIP
has to make handling fonts easy and more efficient.
Chapter 12, “Calibration”, discusses the ways in which the Harlequin MultiRIP can
help you ensure accurate calibration of your output.
Chapter 13, “Color Separation”, describes the facilities the Harlequin MultiRIP pro‐
vides for controlling the printing of individual colorants in both composite and sepa‐
rated output.
Appendix A, “Troubleshooting”, provides solutions to common problems that occur
when running the Harlequin MultiRIP.
Appendix B, “Jobs Containing Color Management Data” describes how jobs and
images with attached color management data interact with related settings in the
Harlequin MultiRIP.
Appendix C, “Using Genlin” describes a utility program providing semi‐automatic
measurement of calibration targets generated by the Harlequin MultiRIP.
Lastly, the “Glossary” explains terminology used throughout the manual.
Assumptions
The Harlequin MultiRIP runs on Microsoft Windows. It is important that you are familiar
with the appropriate operating system, at least to the level of using the file Explorer and a
simple text editor or word processor such as Notepad or WordPad. If you are not, refer to the
Microsoft Help or manuals.
In complex installations, you may wish to send jobs between PCs, Macintosh computers, and
computers running the UNIX or Linux operating system. This manual describes the details
special to the Harlequin MultiRIP, but not the fundamentals of networking connections and
services. You are likely to require assistance from technical support staff for initial configura‐
tion and occasional maintenance of such installations.
Note: The supported operating systems are listed in the Installation guide and Release notes
Conventions
This manual uses some conventions to make it clear where you give keyboard commands or
choose from the menus and dialog boxes, as described in the following sections.
The keyboard
You can execute many of the commands available in the Harlequin MultiRIP either by using
the mouse or by using a keyboard shortcut. This is a combination or sequence of key presses
that executes a command without you having to choose a menu option with the mouse. Key‐
board shortcuts for individual commands are discussed, in context, throughout the manual.
Shift
The Shift key is often used when selecting a group of objects from a list. For example, when
selecting a group of files to print. It is also used in keyboard shortcuts and in some mouse
actions.
Ctrl
The Control key is used in keyboard shortcuts and in some mouse actions. For example, you
can often hold down Control while pressing another key or a mouse button. Whenever this
manual describes one of these actions, the text shows which key or mouse button to use: for
example, when you can use the Control key and the letter key K in combination, the text
shows Ctrl+K.
The Control key is also used when selecting several objects from a list that do not form a con‐
tiguous block. For example, you can use this key when selecting a number of files to print.
Some keyboard shortcuts are specific to a particular window and only operate when that
window is active. When using a windowing system, ensure that the relevant window is
active before using one of these keyboard shortcuts.
Fonts and formats
The following fonts and styles are used throughout this documentation.
1. Paragraphs that are numbered and use this font contain instructions which you should
follow in the shown order.
Text written in this sans-serif bold face represents a menu title, a menu item, or a control item
in a RIP dialog box. Text including an angle bracket ( > ) indicates both a menu and the
option in that menu. For example: “choose the Harlequin MultiRIP > Start Inputs option” is a
shorthand method of referring to the Start Inputs menu option in the Harlequin MultiRIP menu.
Text written in this typewriter face represents a piece of PostScript language code, a file
name, or text displayed by the Harlequin MultiRIP.
If a term is written in italic, it is the first mention of an important concept. This concept is
explained in the text immediately following, in the glossary, or both.
Note: Text indicated by starting with a bold word in the left margin is important and should
be read carefully. A Note, like this one, is often a suggestion that may save you work,
improve performance, or improve the quality of output.
Warning: Like a Note, a Warning is important and often indicates the need for care to avoid
loss of files or settings.
Note to OEMs: Notes like this one, specifically addressed to OEMs, are not meant for
onward publication to end‐users. They list opportunities for custom‐
ization, related technical documentation, and other items of possible
interest to staff at Global Graphics and its OEMs.
1
Introduction to the
Harlequin MultiRIP
This chapter provides an introduction to the capabilities of the Harlequin MultiRIP.
Note to OEMS: This chapter contains two types of information. Section 1.1 through

Section 1.3 contain material for both end‐users and OEMs, and should
be easily adaptable for use in an OEM’s own user manual. The remain‐
ing sections are for an OEM readership only.
• “What is the Harlequin MultiRIP?” on page 13 defines the Harlequin MultiRIP.
• “Why use the Harlequin MultiRIP?” on page 14 describes the advantages of using the
Harlequin MultiRIP.
• “The Harlequin MultiRIP in depth” on page 15 describes various features of the Harle‐
quin MultiRIP.
• “Why become a Harlequin MultiRIP OEM?” on page 32 describes the advantages of
integrating the Harlequin MultiRIP into an OEM system.
• “Integrating the Harlequin MultiRIP with your product” on page 33 discusses how to
integrate the Harlequin MultiRIP.
• “About Global Graphics” on page 37 describes the company behind the Harlequin
MultiRIP.
1.1 What is the Harlequin MultiRIP?

The Harlequin MultiRIP is an application that takes a document or job describing images or
pages and produces output from that job on an output device—which can be a printer, image‐
setter, computer screen, or a file on disk. The term output device is used throughout this
manual, except where the nature of the device is important.
In general, a software application or hardware device that performs this task is known as a
Raster Image Processor (RIP) or, where the PostScript language is involved, a PostScript lan‐
®
guage compatible interpreter.
The Harlequin MultiRIP is a software RIP management system. It contains both a software RIP
and a collection of supporting functions that help the RIP perform its task efficiently. For
example, the RIP accepts jobs from various sources, handles previewing and output of pro‐
cessed pages, and performs the associated file handling.
1 Introduction to the Harlequin MultiRIP
The Harlequin MultiRIP is designed for digital production print customers, driving high‐
speed devices with RIP farms. The difference between the Harlequin RIP and the Harlequin
MultiRIP is the inclusion of multi‐threaded compositing (MTC) of live transparency.
1.1.1 Input and output formats

The Harlequin MultiRIP accepts jobs and produces output in several formats, with the exact
options depending on your configuration of the RIP.
The range of input formats includes: the PostScript language and Encapsulated PostScript
(EPS) files, Portable Document Format (PDF) files, XML Paper Specification (XPS) files, (16‐
bit) TIFF 6.0 baseline files, and JPEG and JFIF files. The Harlequin MultiRIP supports modern
versions of these files including PostScript LanguageLevel 3, PDF versions up to and includ‐
ing 1.7, and derived standards such as PDF/X. The RIP also has controls for special handling
of older versions of these files if necessary.
The Harlequin MultiRIP can produce output in a variety of formats, to suit various physical
output devices and file formats. The ability to produce TIFF 6.0 files is a standard feature but
it is easy to add output options for other formats such as CIP3 PPF files. Similarly, there are
options for output to many proofing printers and final output devices.
1.1.2 Versions of the Harlequin MultiRIP

The Harlequin MultiRIP is available in different configurations and is able to operate on dif‐
ferent computer platforms. The configuration that is best for you depends very much on your
individual needs. This manual should help you assess the functionality that meets those
needs.
The Installation guide and Release notes contain the list of supported platforms.
The Harlequin MultiRIP is appropriate for a wide range of output devices including high‐
resolution imagesetters, lower‐resolution plain‐paper setters, and medium to high‐resolution
printers and plotters. It supports the special features of these devices, and maximizes their
overall productivity.
1.2 Why use the Harlequin MultiRIP?

The Harlequin MultiRIP has proven itself to be a fast, versatile, and powerful interpreter and
renderer for multiple page description languages. There are many reasons for choosing it
above other similar interpreters, the most important of which are discussed here.
The Harlequin MultiRIP is effective, compatible, and robust; and shows real benefits in
everyday use.
• The Harlequin MultiRIP is effective because it processes jobs quickly, is able to process
jobs of virtually any size, and can re‐output selected pages or a complete job without
re‐interpretation.
• The Harlequin MultiRIP is compatible because it is kept up to date with the PostScript
language, PDF, XPS, and font specifications; image file formats; and relevant standards
from independent bodies.
Note: The Harlequin MultiRIP is able to use proprietary extensions internally for qual‐
ity of output, speed, and efficiency without losing compatibility.
• The Harlequin MultiRIP is also compatible because it supports several networking
protocols for use in many kinds of networks, whether or not all the computers are of
the same type.
• Robustness comes from experience with many real jobs. You can configure the Harle‐
quin MultiRIP to override poor settings in incoming jobs (and avoid office printer
quality screening on expensive media); use its ability to detect poorly labeled color
separations, and so on.
• The Harlequin MultiRIP is flexible enough to support many workflows, including:
composite or preseparated color; the PostScript language, PDF or XPS. Some of these
input formats require the Harlequin MultiRIP options.
A system using the Harlequin MultiRIP is easy to extend and to upgrade when necessary
because the Harlequin MultiRIP is a software‐based RIP.
• You can add options, such as advanced screening, color management, and trapping,
when using LDK security, by obtaining a new product key.
• You can add more output options with software plugins to support imagesetters, pla‐
tesetters, proofing and display printers, and workflow integration.
• A PostScript language programmer can add simple fragments of PostScript language
code to provide features such as marking pages with draft or similar overprint and
color bars.
• It is possible to upgrade hardware and software independently. The Harlequin Multi‐
RIP is very similar on all platforms so there is little or no need for retraining if you
need to add another type of computer.
• When you upgrade the Harlequin MultiRIP you can transfer your existing settings to
the new version of the RIP and most optional output plugins.
• The Harlequin MultiRIP supports simple imposition of books, page padding, and
creep.
“The Harlequin MultiRIP in depth” on page 15 discusses many of these features in more
depth.
1.3 The Harlequin MultiRIP in depth

“Why use the Harlequin MultiRIP?” on page 14 described some of the advantages of using
the Harlequin MultiRIP. This section describes the features that contribute to those
advantages.
• Characteristics of a software RIP. See page 16.
• File format and version support. See page 17.
• Extended color capabilities. See page 18.
• Screening options. See page 23.
• Harlequin ColorPro. See page 24.
• Graphics formats. See page 25.
• Input and output methods. See page 26.
• Complex jobs. See page 27.
• Throughput control. See page 27.
• Previewing. See page 28.
• Page buffer compression. See page 28.
• Fonts and font handling, including composite fonts and font emulation. See page 29.
• Convenience features. See page 30.
• TrapPro. See page 56.
• Simple Imposition. See page 277.
1.3.1 Software RIPs compared to embedded RIPs

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

The Harlequin MultiRIP supports several file formats and maintains this support across the
widely‐used versions of these formats, as well as the latest versions.
The input file formats that the Harlequin MultiRIP supports are:
• PostScript LanguageLevel 3, Level 2, and Level 1.
• PDF versions up to and including PDF 1.7 files.
• XPS version 1.0 files.
• PDF/X‐1a:2001, PDF/X‐1a:2003, PDF/X‐3:2002, PDF/X‐3:2003, PDF/X‐4, PDF/X‐4p,
PDF/X‐5g, PDF/X‐5gp.
• JPEG and JFIF.
• TIFF 6.0.
• GIF.
See “Page Setup Options” on page 153 and Chapter 8, “Configuring Input” for more details.
The reason for supporting older versions of files and applications is that almost all page
descriptions are created automatically by applications. Those applications can only use the
features of the page description language as they existed at the time of writing the applica‐
tion, and those features are subject to change.
For example, the Harlequin MultiRIP is a PostScript LanguageLevel 3‐compatible RIP man‐
®
agement system but still supports features of PostScript Level 2 and earlier. The RIP also rec‐
ognizes uses of PostScript language code specific to common image creation and page layout
applications.
The PostScript language was first created and used in the mid‐1980s and since that time it has
undergone many improvements and changes. Throughout this period, people have been try‐
ing to create PostScript language page descriptions that, above all, work—despite any bugs
in the interpreters which may have existed at the time.
To cope with this situation, the Harlequin MultiRIP is compatible not only with the Post‐
Script language jobs of today, but with the jobs of yesterday. There are two aspects to dealing
with older jobs: dealing efficiently with features that are now better supported by more mod‐
ern versions of the page description language; dealing with work‐around methods for bugs
in older versions of the page description language. The Harlequin MultiRIP does both.
It might not be immediately obvious why it is necessary to deal with bugs and work‐around
methods, but consider this example.
What happens if a bug is fixed in a widely‐used PDL interpreter and renderer? Newer RIPs
and applications no longer have to cope with that bug, but problems arise if you wish to
interpret old page descriptions (generated with an application written before the bug was
fixed) with your new RIP. The old page descriptions take the bug into account, but the new
RIP does not, so the hard copy produced with your new RIP is wrong. If your RIP cannot
accommodate this, as the Harlequin MultiRIP can, your old files (and indeed your applica‐
tion if you still use it) are useless.
1.3.2.1 Additional information

The Harlequin MultiRIP can also enable substitution of high resolution images for PDF and
PostScript language jobs, using an in‐RIP implementation of the Open Prepress Interface
(OPI), versions 1.3 and 2.0, and Desktop Color Separation (DCS), versions 1.0 and 2.0. See
“Features” on page 151 for details.
The Harlequin MultiRIP can be configured to support special features—color management,
font substitution, duotones, and vignettes—of jobs produced by several image creation and
page layout applications. These applications include:
• Adobe Photoshop ®
• Adobe Illustrator
®
• QuarkXPress
®
See “Page Setup Option Extras” on page 158 for more details.
1.3.3 Extended color capabilities

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

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

Some applications (for example, Photoshop versions 2.5 and later) convert duotones involv‐
ing spot colors to CMYK colors when producing composite PostScript language jobs. While
the composite output is correct, when such jobs are submitted to a RIP that uses in‐RIP sepa‐
ration, the duotones are drawn on the process color separations and not on spot color separa‐
tions as expected.
Photoshop has the ability to produce spot color separations when in‐RIP separation is
selected for a LanguageLevel 3 RIP. This eliminates the problem just described for output
generated by Photoshop 5.0 when sent to any LanguageLevel 3 RIP.
In addition to producing correct output from Photoshop 5.0 jobs, the Harlequin MultiRIP
correctly handles jobs from Photoshop versions 2.5 through 4 as well. The Harlequin
MultiRIP detects this construct in Photoshop jobs and correctly diverts the duotone to spot
color separations. Note that you must configure the Harlequin MultiRIP to generate these
spot color separations for this to work.
For more information see “Adobe Photoshop features” on page 159.
1.3.3.3 Patterns and Smooth Shades

LanguageLevel 3 implements features that improve the quality of PostScript language fills.
In addition, it allows shades to be output smoothly at the resolution of the output device tar‐
get. The RIP extends this capability by allowing for vignette replacement, in which existing
vignettes in PostScript language and PDF jobs are replaced.
This functionality greatly improves the quality of gradients and shades on output.
1.3.3.4 Images
The Harlequin MultiRIP supports type 3 and 4 image dictionaries (for uses such as masks).
This allows an application to produce masks using multiple images in a more efficient fash‐
ion. This mask technique also improves performance by eliminating the need for a detailed
PostScript language clipping path. This feature is best suited to lower‐resolution output
devices and workflows.
1.3.3.5 settrapparams
LanguageLevel 3 includes a software interface that allows the description of trap settings
within a PostScript language file.
The Harlequin MultiRIP incorporates the settrapprams interface and uses this for setting
trapping parameters. Harlequin has extended settrapparams to include those trapping
parameters that are not covered by the 3010 specification.
1.3.3.6 Type16 halftones

The Harlequin MultiRIP supports type 16 halftones, which can contain more than 256 shades
of gray. Harlequin has always supported an arbitrary number of gray levels, even in the Post‐
Script language Level 1 compatible RIPs. In the Harlequin MultiRIP, this support for more
shades of gray is also accessible using the LanguageLevel 3 constructs.
1.3.3.7 Idiom recognition

The Harlequin MultiRIP uses idiom recognition to detect PostScript language procedures
and replace procedures that are bound when defined. This extends to procedures some of the
benefits that Harlequin’s shadowop operator provides for operator redefinition. Once the
PostScript language code is intercepted, the Harlequin MultiRIP replaces it with optimized
code.
This operator has many potential uses that include detecting level 2 code in a PostScript lan‐
guage file and replacing it with LanguageLevel 3 code.
1.3.3.8 Type 32 fonts

The RIP recognizes and supports Type 32 fonts.
1.3.3.9 Other operators

The RIP supports the LanguageLevel 3 operators that are defined in the 3010
LanguageLevel 3 specification. The Harlequin MultiRIP accepts PostScript language output
from applications using these LanguageLevel 3 operators.
1.3.3.10 File filters

The Harlequin MultiRIP supports the required file filter additions documented in the 3010
LanguageLevel 3 specification.
1.3.4 Color, screening, and Roam functionality

The RIP contains several capabilities relating to color, screening, and roam. Where appropri‐
ate, Harlequin has taken care to enable the end‐user to control the underlying functionality
from the user interface.
Not all of the functionality is applicable to all output devices or workflows. You will find
some features more relevant than others for particular output devices and workflow
instances.
1.3.4.1 Color API
The Harlequin MultiRIP contains a programming interface (API) that allows you to set the
options for the Harlequin color management modules from PostScript language code. This
provides control over all color options, including the installation of ICC profiles, without a
user interface.
1.3.4.2 Spot color screening and calibration

The Harlequin MultiRIP has the capability to calibrate and screen spot colors as well as pro‐
cess colors. This feature greatly simplifies the management of spot colors in the Harlequin
MultiRIP.
1.3.4.3 UseCIEColor
This operator improves color control in the PostScript language code by allowing device‐
dependent input data to be translated to a device‐independent CIE color space. The input
colors are mapped to the device‐independent color space using an input profile. The colors
may then be transformed ready for printing on another output device.
Harlequin has provided this functionality for some time through the color management
modules the latest being ColorPro. You can choose to use the color management specified in
the job by UseCIEColor, or to override this and instead use the more detailed controls pro‐
vided with ColorPro.
1.3.4.4 Embedded ICC profiles

When ColorPro is enabled, the Harlequin MultiRIP can detect and use ICC profiles embed‐
ded in Photoshop EPS, TIFF, JPEG or HD Photo images. See the ColorPro User’s Guide for
details.
1.3.4.5 Colorimetric roam

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

There are GUI controls for setting memory.
By default the Harlequin MultiRIP assumes it should take advantage of all the physical RAM
on the system, and will limit itself to that amount less an allowance for the operating system
and other applications. Alternatively, you can specify an amount to which you wish the RIP
to limit itself and/or the amount it should allow for use by other parts of the system. In either
case, the specified memory is not held exclusively for the Harlequin MultiRIP. Instead, the
Harlequin MultiRIP takes only the amount of memory it requires at the time. This amount
rises while processing a job but once the job is processed the memory is returned to the sys‐
tem. This allows the Harlequin MultiRIP to co‐exist on a system with the operating system
and other applications.
You can also specify a reserve amount of memory, available for short‐term use by the
Harlequin MultiRIP. For example, the Harlequin MultiRIP may use this reserve in time‐criti‐
cal operations, where the alternative would be to use disk storage, as long as the reserve is
large enough to keep the operation in memory.
1.3.6 Multi-threaded compositing

With LDK security multi‐threading is enabled by obtaining a product key allowing a particu‐
lar number of threads. Multi‐threaded compositing (MTC) is designed to improve perfor‐
mance when processing files containing transparency.
MTC is a layered option and requires an LDK product key for it to be enabled.
To use more than one thread an LDK product key is required.
You must ensure your RIP is running multi‐threaded. Multi‐threading allows the RIP to take
advantage of hyperthreading and multi‐core CPU architectures as well as multiple
processors.
For more information see “Using multi‐threading” on page 204.
1.3.7 Harlequin Parallel Pages (interpreter/renderer pipelining)

™
Harlequin MultiRIP supports the interpretation of one page of a job while the previous page
of the same job is being composited and/or rendered in one or more separate threads.
Harlequin Parallel Pages works in combination with multi‐threaded compositing and multi‐
threaded rendering (MTR).
Harlequin Parallel Pages is applied to jobs submitted in all PDLs supported by the RIP.
The use of Harlequin Parallel Pages is protected by activating your RIP with an LDK product
key.
For more information see “Harlequin Parallel Pages—(Interpreter/renderer/pipelining)” on
page 204.
1.3.8 Harlequin VariData

™
The advent of variable data jobs means that many parts of a printing job will remain constant
with small parts, such as text, being changed for each print. Thus, time savings can be made
by processing the constant areas only once, especially if the constant area is a large graphic.
This is the idea behind the Harlequin VariData (HVD) feature. The RIP detects constant areas
within a PDF file, retains them and then re‐uses them as necessary.
Any PDF file with pages that share raster elements and have marks which change from page
to page should be accelerated by this optimization in the RIP. The RIP scans the PDF for such
pages, RIPs the shared raster elements once, and then retains them for use on subsequent
pages with the same page elements.
HVD internal and external mode requires that the RIP is activated with an LDK product key.
For more information see “Harlequin VariData” on page 206 and “Use Harlequin VariData
check box” on page 249.
1.3.8.1 Garbage collection

Garbage collection is performed when memory is low and reclaims the memory occupied by
composite objects that are no longer accessible to the PostScript language program.
This helps some jobs that allocate a lot of memory, but not all. Some jobs that could not par‐
tial paint will now need significantly less memory than before.
When garbage collection starts, a message is displayed on the console window.
Garbage collection is controlled using the PostScript Language operator vmreclaim.
For more information on garbage collection, see section 3.7.4 of the The PostScript® Language
Reference (3rd Edition).
1.3.9 FlatOut
The Harlequin MultiRIP releases are capable of stitching single‐page PGB (Page Buffer) files
into a predefined flat. This feature enables the development of page‐based workflows around
the Harlequin MultiRIP.
Three components are required to produce a stitched flat:
1. A background PGB (Page Buffer) file. You can create a background in a page layout
application and then convert the PostScript language code to a PGB using the
Harlequin MultiRIP. This flat background contains a slot for each page. This back‐
ground may contain sluglines, crop marks, and so on.
2. Single‐page PGB file(s). For example, to produce an eight‐page flat, eight single‐page
PGB files must be generated.
3. A flat description file. This file describes the location of the background and single‐page
PGB files on disk. The flat description file also indicates the positioning of pages on the
flat.
The flat description file is presented as an input to the Harlequin MultiRIP and the PGB files
are stitched into a single flat for output to the specified output device.
For additional information on how to generate a flat description and more on PGB stitching,
please refer to the FlatOut User Guide.
1.3.10 Screening options

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

For very high quality output, Harlequin Precision Screening (HPS) has been produced. This
is a proprietary feature that eliminates objectionable moiré patterning when producing color
separations.
Once correctly set up, and with sufficient memory available, the Harlequin MultiRIP can pro‐
duce output with HPS at speeds comparable to those obtained when using traditional lower‐
quality rational tangent screening.
HPS has been designed for automatic operation, without the need to refer to complex tables
of magic numbers, and you can choose to override any bad settings in the job. This is espe‐
cially useful for print bureaus, who often receive PostScript language code that is not set up
for high quality screening.
HPS can be activated using an LDK product key.
1.3.10.2 Harlequin Screening Library

Global Graphics has developed a number of special screening strategies for very high quality
press work, particularly when printing in color. They are included in the Harlequin Screen‐
ing Library (HSL), and requires an LDK product key to become enabled.
HSL includes Harlequin Dispersed Screening (HDS), Global Graphics’s patented Frequency
Modulation (FM) screening technology. Moiré patterning is impossible with HDS, and it
gives finer detail for a given device resolution. Also included are Harlequin Chain Screening
(HCS), which is particularly good at creating smooth flat tints and at holding detail in contin‐
uous tone regions, and Harlequin Micro Screening (HMS) which allows a greater range of
tones to be used even at high screen rulings.
1.3.10.3 Screening for extended color systems

Several color systems require more than the four screens used for CMYK work. The
Harlequin MultiRIP contains screens suitable for use with extended gamut color systems
such as the PANTONE Hexachrome Color Selector system or the various photo‐ink technolo‐
®
gies using different densities (light and dark versions) of one or more colorants.
1.3.11 Harlequin ColorPro

™
It is possible to add and use the advanced color management facilities provided by
Harlequin ColorPro which is an optional extra provided with the Harlequin MultiRIP and
requires an LDK product key for it to be enabled.
ColorPro together with SetGoldPro profile making software is Global Graphics’ color
™
science solution for ensuring color quality and accuracy for proofing and emulation.
ColorPro provides the largest realizable color gamuts for the final print market and allows
greater accuracy than would be possible using standard profiles.
Harlequin ColorPro embraces open systems, industry standards and device‐independent
color science, and is able to make full use of them. If you have ICC profiles with which you
already achieve good results you can use these profiles with ColorPro. You should however
be aware that ColorPro contains color science that is optimized for the Harlequin MultiRIP
and is easily utilized with the introduction of SetGoldPro.
ColorPro allows you to specify different gamut‐mapping algorithms in the reproduction of a
page. For example, you can simultaneously specify Absolute colorimetric to reproduce some
elements of the page and yet specify Perceptual to reproduce the photographs. The end result
is that, on a single page, the color for photographs are each calculated without affecting other
elements on the page.
Harlequin ColorPro allows processing of colors in page data using ICC profiles produced by
OEMs, third parties, or end‐users using third party characterization and profiling tools. ICC
profiles specify a translation between two color spaces. Each profile is prepared for a specific
set of imaging conditions. One device may have more than one profile. The profiles may
correspond to running the device with different combinations of resolutions, inks, and paper.
New profiles can be easily added to ColorPro, and previously installed profiles can be
selected without the need to reinstall each time a profile is used.
An option to uninstall ICC profiles is also provided.
In addition, ColorPro allows the use of profiles prepared in the Harlequin MultiRIP format.
Global Graphics supplies a number of profiles for commonly used systems.
When ColorPro is enabled, the Harlequin MultiRIP can detect and use any ICC profiles that
Photoshop has embedded in EPS, TIFF, JPEG or HD Photo images.
This manual describes the Harlequin MultiRIP without ColorPro, but mentions areas where
ColorPro would modify your use of the Harlequin MultiRIP. The extra facilities are described
in the separate manual ColorPro User’s Guide.
For information on color facilities provided in the Harlequin MultiRIP as standard see “Color
Setup” on page 391.
1.3.12 Graphics formats

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

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

The RIP sends all output to printers and other output devices through output plugins,
thereby allowing the quick and straightforward addition of support for new output devices.
Typical output plugins support single output devices or families of similar devices and may
be supplied with special screens, calibration and color management, and other features
appropriate to the device, such as control of exposure or cutting media.
Optional output plugins support file formats useful in workflow systems, advertising distri‐
bution, and setting up printing presses. These formats include the CIP3 Print Production For‐
mat (PPF).
1.3.13.2 Input plugins

Input plugins provide communication between the Harlequin MultiRIP and other systems,
primarily as sources of input.
The standard input plugins provided with the Harlequin MultiRIP include:
• Spool Folder
This plugin allows you to set up the Harlequin MultiRIP so that it continually scans or
polls a folder (directory)—for example, on a central server—for input files. When these
files appear and are complete, the RIP processes them. The spool folder uses the net‐
work file access provided by your machine—for example, Network File System (NFS)
on machines running the UNIX operating system. You can use multiple configurations
(as described in “Multiple inputs” on page 27), allowing you to have several scanned
folders, each with a different associated Page Setup. See the Spool Folder Input Plugin
manual for further information.
• NT Pipe
This provides a named pipe allowing high speed communication with an application
such as an Open Prepress Interface (OPI) server.
• Sockets
With this plugin, the Harlequin MultiRIP can accept input from a network socket client
program, which may be part of a larger workflow system. This plugin supports TCP/IP
and UNIX socket protocols.
1.3.13.3 Multiple inputs

For some input types, it is possible to have available several configurations or Page Setups
(where parameters such as resolution, output device, rotation, and negation are given spe‐
cific values). When using the Spool folder plugin, several spool folders can be made avail‐
able, each with an associated Page Setup.
You can enable multiple types of input to operate at the same time.
1.3.14 Complex jobs

Given enough memory and disk space, the Harlequin MultiRIP can interpret arbitrarily com‐
plex jobs. The same is not true for many other high resolution RIPs.
This is achieved with a feature called partial page buffering (or “painting partial pages” in
some messages). Essentially, if a particular job is so large that it cannot all be fitted into mem‐
ory at once, the RIP interprets only as much of the page description as does fit into memory,
and places the interpreted image in a partial page buffer. Having dealt with part of the
image, the RIP gains enough free memory to deal with the next part—the effect being that the
page description is divided into manageable sections, which are interpreted one at a time.
Disk space is used to hold what has been interpreted so far until the whole image has been
processed, and printing can commence.
1.3.15 Throughput control

In almost all circumstances, it is desirable to produce page images as quickly as possible
while maintaining high quality. All Harlequin MultiRIPs are written with this aim in mind
and can benefit from operating with fast hardware. Beyond this, and especially when using
high resolution imagesetters, special techniques can help maximize the rate of producing
useful output. The Harlequin MultiRIP can use these techniques, collectively called through‐
put control, when either of the multiple page buffering modes is selected. See “Page buffering
modes” on page 73 for more details of multiple and single page buffering modes.
The Harlequin MultiRIP increases job throughput in two ways.
Firstly, the RIP differs from other RIPs in the way bitmaps are produced and sent to an out‐
put device. A traditional RIP must interpret a page and send the bitmap directly to the out‐
put device before continuing with the next page. Because of this, if you have to change
cassettes or some fault occurs with the output device, the current page cannot be output until
the fault is cleared; productive work stops until the situation is resolved.
The Harlequin MultiRIP can be operated in this way if desired, but it offers a powerful alter‐
native that overcomes these limitations—by saving bitmaps on disk in the form of page buf‐
fers, before bitmaps go from the disk to the output device. Many page buffers can be stored
on disk (as many as will fit into the available disk space), and the RIP can continue to pro‐
duce and save page buffers, even if the device is not ready to output. If a printer jam occurs in
an overnight job, the RIP is still able to process the job and the page buffers are ready for out‐
put the next day. In a high volume environment, this ability can be invaluable.
Even when there are no problems with the output device, you can still save time—if you
need to produce more than one copy, you do not need to reinterpret the page description,
because the bitmaps are still retained on disk. This means, for example, that if a page gets
damaged in the developer or there is a problem with ink delivery then it is easy to print
another copy.
Secondly, the Harlequin MultiRIP increases job throughput by allowing job interpretation
and output to occur simultaneously. While some pages of a job are being interpreted, other
pages, which have already been interpreted, can be sent to the output device. This can greatly
increase throughput when outputting several pages in succession. With a fast computer, it is
possible to drive the imagesetter continuously for several pages. Even with fast output
devices, time can be used effectively, because the RIP can be interpreting data while the out‐
put device starts up.
1.3.16 Previewing
The Harlequin MultiRIP allows you to preview pages, at their output resolution on screen to
check them for mistakes before they are output, at their full output resolution. You can pre‐
view halftone, contone and grayscale images using the full color capabilities of the display
system.
You can request a reduced view of the entire page in a separate window. This provides a bet‐
ter idea of what the whole page looks like, and also acts as a navigation aid to help you to dis‐
play any part of the page at full resolution, to check fine detail.
The remaining functionality depends on the page buffering mode. (See “Page buffering
modes” on page 73 for more information.)
Using either of the multiple page buffer modes, you can view several separations or pages,
overlaid or separately. This allows a good check of the page, including checking image posi‐
tioning, trapping, and so on. You can view separations in their natural colors, thus obtaining
a realistic impression of final output, or in false colors, to highlight differences between simi‐
lar separations or composite pages.
In either of the single page buffer modes, you can view only individual separations or a com‐
posite image, and only in the natural colors.
1.3.17 Page buffer compression

When producing jobs at high resolutions or on large format devices, large amounts of disk
space are often required if page buffers are used. The RIP makes the most of the available
disk space by compressing page buffers as they are created and placed on disk, and then
uncompressing them as they are read from disk and printed or displayed.
Compression saves a great deal of disk space and often means that large jobs can be printed
without stopping the imagesetter, because compressed data can be read from disk more
quickly. Stopping an imagesetter part way through a job can lead to a loss in output quality,
so this facility can be of great benefit. (See the description of data underrun on page 207, which
explains one problem that page buffer compression can help avoid.)
Page buffer compression always produces buffers of the same size as or smaller than the
original. For color pages, it typically achieves a compression ratio of 3:1, and for newspaper
pages a typical ratio of 10:1. That is, the compressed page buffer could be less than a third of
the size of an uncompressed one for color pages, and a tenth of the size for newspaper pages.
For color images, this can mean reducing disk requirements from 150 MiB to only 50 MiB.
Page buffer compression in the RIP is a completely lossless procedure. The quality of your
output is fully preserved when compressing and then uncompressing the page buffers. For
details of the amount of disk space you need to reserve for page buffers, see “Ability to RIP a
job” on page 41.
Files greater than 2 GiB can be read and written. The most likely use of this is the ability to
generate page buffers greater than 2 GiB.
1.3.18 Fonts and font handling

To print text, the relevant fonts must be installed in a RIP before interpreting a job, or the
fonts must be supplied with that job.
If the interpreter sees that a Times‐Roman font is needed for a particular job, it must know
what a Times‐Roman font is. The Harlequin MultiRIP comes ready‐supplied with the 35
standard fonts found on most PostScript language printers and several additional fonts. (For
more information see “Supplied fonts” on page 305.) Thousands of other fonts are commer‐
cially available, as is software to help you design your own fonts from scratch. The RIP can
load any PostScript language font into the RIP for use in interpretation (unless the font is
encrypted using some proprietary encryption mechanism).
The Harlequin MultiRIP enables you to download, list, and proof fonts easily and quickly.
You have complete control over which fonts are loaded when the RIP is run, and can remove
any unwanted fonts at any time.
The Harlequin MultiRIP can convert any Type 1 PostScript language font into its own format,
DLD1. DLD1 fonts consume much less memory and disk space than normal Type 1 descrip‐
tions, and so reduce processing time—but with no change in output quality.
The 35 standard hinted fonts are provided with the Harlequin MultiRIP in DLD1 format.
Font hinting is essential when previewing images or printing at low resolution, where it
greatly improves the quality of the output.
1.3.18.1 Composite fonts

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

When fonts requested by the job are unavailable to the RIP, some work flows benefit
significantly from being able to produce acceptable, readable copy using another font. This is
particularly true with rapid turnaround work flows typical of digital printing. To achieve
this, emulated fonts are used to produce suitable facsimile text based on the characteristics of
the font that is being emulated in terms of style, spacing, height and width. In this way, a
suitable readable font with similar characteristics of the target font is used in the place of a
missing font.
Font Emulation is often acceptable when digital printing, and can be preferable to the file not
being produced at all. For more information see “Font Emulation” on page 316
1.3.19 Convenience features

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

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

Sometimes you may want to apply a special effect to your jobs. For example, you may want
to have the word Draft overprinted on every page. Because these can be one‐off needs—you
may want to produce a special copy of a document while it is at draft stage—it is preferable
not to alter the job if at all possible.
The Harlequin MultiRIP provides this facility by allowing you to specify a fragment of Post‐
Script language code, independent of your main job, to be processed in conjunction with it. A
fragment such as this is known as a page feature.
A page feature carries out some process on your job, leaving the original untouched. Often,
the effect of the process is to produce a desired printed effects but some page features pro‐
duce no printed output because their purpose is to report some properties of the job.
A number of page features are provided with the Harlequin MultiRIP for immediate use or
as examples. You can choose any of those for immediate use from a menu in a dialog box. See
“Features” on page 151 for details.
As with plugins, you can add new page features by placing them in a particular folder.
Note to OEMs: If you are interested in writing your own page features, ask Global
Graphics for the Extensions manual. This describes some powerful
extensions to the PostScript language especially designed for use in
page features and elsewhere and supported by the Harlequin Multi‐
RIP.
1.3.19.3 Interactive sessions

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

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

Note to OEMs: All material from here to the end of this chapter is intended for OEMs
and evaluators only. It can be removed from user manuals.
The Harlequin MultiRIP is a product already meeting the needs of many graphics and pre‐
press users, so it is a good choice for those users. The Harlequin MultiRIP is also a good
choice for integration into various systems, based on many business and technical reasons.
Note: The Harlequin MultiRIP is a proven brand with marketing backup, but Global Graph‐
ics can provide an equally good service to OEMs who prefer to supply a product without
obvious branding.
The Harlequin MultiRIP is a good choice now, for these reasons:
• There is a range of RIP editions for different needs. See “Editions of the Harlequin
MultiRIP” on page 33 for details.
• There is good scope for customization and differentiation in the market through use of
existing options, OEM development, or custom development by Global Graphics.
OEMs can add their own plugins and use documented programming interfaces (APIs)
and PostScript language extensions. Additionally, Global Graphics can offer internal
additions to functionality or oversee complete projects including delivery of custom
software and hardware.
• The RIP editions with a GUI support localization of dialog boxes and messages into
different languages, including those requiring double‐byte representations.
• There is technical support and documentation for the configuration and internal work‐
ing of the RIP, and its interactions with popular real‐world applications.
• Global Graphics provides user‐level documentation for the RIP and its add‐on options
to shorten time to market and lower your costs.
The Harlequin MultiRIP is also a good choice for the future:
• Global Graphics is developing RIPs and other components for use in workflow and
networked applications, using a mixture of open standards and internal optimizations.
• Global Graphics is developing forms of GUI, such as PPM, for simpler applications
and increasing the degree of OEM customization possible in those GUIs.
• Global Graphics participates actively in the international groups developing new stan‐
dards for file interchange in the graphics and prepress industries. This gives Global
Graphics a voice in determining those standards and an early view of how those stan‐
dards are being implemented.
1.5 Integrating the Harlequin MultiRIP with your product
The way in which you build a system using the Harlequin MultiRIP starts with a choice of
the appropriate edition. This section lists the available editions, looks at one edition in detail,
discusses input and output plugins, and describes one of the optional programming
interfaces.
1.5.1 Editions of the Harlequin MultiRIP

There are several editions of the Harlequin MultiRIP, each adaptable to a particular combina‐
tion of user needs and offering different scope for OEM development and integration.
The Harlequin MultiRIP can be run in headless mode, that is, without a GUI. This mode is
achieved using a simple ‐headless command when starting the RIP and is intended for use
where commands can be supplied through plugins. The Harlequin MultiRIP also has a
CORBA interface (see the description of the SOAR SDK below). The Harlequin MultiRIP in
headless mode is able to use plugins and other configuration data used by the standard
mode of the Harlequin MultiRIP
The different configurations or editions of the Harlequin MultiRIP include:
• The Harlequin MultiRIP, is supplied with an integrated GUI and provides multi‐thread
compositing, and is described in this manual. It is available on Microsoft Windows
platforms.
• The Harlequin MultiRIP (headless mode) is the same RIP as the Classic Edition but is run in
headless mode, that is, as a suppressed‐GUI RIP executable. This mode is achieved
using a simple -headless command when starting the RIP and intended for use
where commands can be supplied through plugins. Global Graphics also provides a
RIP with a CORBA interface (see the description of the SOAR RIP below). The
Harlequin MultiRIP in headless mode is able to use the plugins and other configura‐
tion data used by the standard Harlequin MultiRIP.
• The SOAR SDK supports development against the Harlequin MultiRIP CORBA inter‐
face. The SOAR SDK is currently available on Microsoft Windows platforms and other
Harlequin MultiRIP platforms on demand. SOAR offers a well‐defined cross‐platform
interface for use in fully‐featured workflow systems or special purpose desktop appli‐
cations. Typically this interface allows construction of distributed systems comprising
a Harlequin MultiRIP, an OEM’s own GUI product, and perhaps other service manag‐
ers supplied by OEM’s or Global Graphics. The SOAR host, job‐logger and ROAM
server are supported.
1.5.2 Contents of a Harlequin MultiRIP

The Harlequin MultiRIP comes complete with a user interface and code to allow the core RIP
to communicate with a variety of output devices, the file system, and different networks. You
may not wish to use all the facilities of this system but it is useful to consider it as an example
of how the core RIP interacts with other components as part of a complete system.
The details of the work you must carry out to integrate the Harlequin MultiRIP with your
product depend on the product you are assembling, the computer platform you are using,
and the amount of work you wish to do.
Global Graphics can configure the Harlequin MultiRIP to your specifications if appropriate.
This can mean that you have a shippable system very quickly. Please contact us for details.
If you want to connect to an input or output device for which Global Graphics or third parties
do not supply a plugin driver, you can either develop your own driver (possibly with a corre‐
sponding hardware interface development), or ask Global Graphics to quote for doing the
necessary work. Global Graphics can supply documentation or training to help you produce
input or output plugins.
Figure 1.1 shows the organization of The Harlequin MultiRIP.
Core RIP User Interface
Modules Active
Queue
Held
Queue
PREVIEW
Core RIP Interface
Plugin Interface Code
Output Plugins
Input Plugins
TIFF
EtherTalk OEM-defined
Spool
Sockets Core
RIP
OEM-defined
Comms
Recorders
File System
Figure 1.1 Schematic diagram of a Harlequin MultiRIP system
The core Harlequin MultiRIP forms the central module, onto which other modules are
joined, each module performing a specific set of tasks. The four outer areas encircling it rep‐
resent the modules in the system which must be added to use the RIP.
The module shown at the top of the diagram is the user interface of your system. This con‐
sists of the parts of the application that users see when using the software, such as windows
or command line options. In editions other than the Harlequin MultiRIP, all user information
and commands can be routed to and from computers remote from the computer running the
RIP.
On the left is the module which deals with connections to other systems for input, usually
over a network. The diagram shows connections to a number of example networking sys‐
tems—this is not an exhaustive list of possibilities. You can add other networks with appro‐
priate plugins and the user can make multiple connections to different networking systems,
if needed.
The module at the bottom deals with connections to the filing system of the machine on
which you are running the Harlequin MultiRIP. This module deals with all the file access
requirements of the RIP, including access to PostScript language objects—for example, when
a job requires access to a disk‐based resource such as a font. It also handles file access from
inside the RIP itself—for example, access to temporary work space files on disk. In order to
replace the underlying filing system, therefore, only this self‐contained module needs to be
replaced, leaving the core RIP unaltered.
On the right is the module dealing with page delivery and post‐processing. This module
takes output from the RIP and delivers it to a printer, a computer screen, a formatted file like
TIFF, or an OEM‐defined device. Typically, this module will use a selection of output plugins
to meet all your customers’ needs.
1.5.3 Input and output options

The Harlequin MultiRIP can use input and output plugins. “Input and output methods” on
page 26 describes the benefits of plugins to the user, but there are also advantage for OEMs
and other developers.
• The availability of ready‐to‐use plugins from Global Graphics or third parties means
that you may not need to do any development.
• You can develop support for a new device independently of the Harlequin MultiRIP,
meaning faster time to market.
• You gain the ability to extend or upgrade existing installations.
It is easy to add an output plugin to your product. Because of the modular design on which
the Harlequin MultiRIP is based, code to run a particular device and any supporting files
such as color profiles can simply be placed in an appropriate disk folder (directory). Subject
to any security mechanisms, such as supplying an LDK product key, that device becomes
available when the RIP is next run. You can add the plugin when configuring your complete
product for manufacturing or supply the plugin folder with a simple installation procedure
for later installation at a user site.
The RIP passes image data to output plugins in 1‐bit halftone, grayscale or color run‐length
encoded (RLE), or grayscale or color contone format, as appropriate. Also, all device control
functions such as cuts, feeds, and paper tray selection are passed though the plugin mecha‐
nism.
You can easily add your own input plugins. An input plugin provides an interface between
the Harlequin MultiRIP and an external job source and hides the details of communication
with that source. This means that interfaces to input devices can be written independently of
the Harlequin MultiRIP.
An input plugin may also be used to provide a PostScript language device on which a file can
be opened, to support files opened explicitly from PostScript language programs that are
stored in some special way. They can also be used to add custom PostScript language filters
for manipulating data.
1.5.4 Harlequin Display List Technology

Harlequin Display List Technology (HDLT) is one API supported by Global Graphics. HDLT
provides a programmatic interface for customization between interpretation and rendering,
in all versions of the Harlequin MultiRIP. This optional extension gives a PostScript language
programmer the ability to intercept elements as they are put onto the display list. Once
objects are intercepted, almost any processing can be done before the programmer decides
whether to add, discard, or replace each object.
HDLT provides the ability to customize behavior after interpretation but before rendering,
enabling tasks that are otherwise effectively impossible. HDLT is fully described in the Harle‐
quin Display List Technology User’s Guide.
1.5.5 RIP security

The Harlequin MultiRIP uses Sentinel LDK security for its protection and for its many extra
and layered options. LDK security provides both software and hardware protection options.
With software protection the RIP license and layered options are secured against various
identifiers extracted from the computer on which the RIP is running. These identifiers do not
need to be known at the time the license is ordered; they are read when the RIP installation is
activated. Hardware protection allows the RIP and its options to be secured against a hard‐
ware dongle.
For more information see the document entitled “LDK Security for Harlequin MultiRIP”.
If you think you may have any expiring LDK product keys select the Harlequin MultiRIP >
Expiring Licenses... option. The dialog below will appear showing any expiring licenses:
Figure 1.2 Expiring Licenses dialog box
1.6 About Global Graphics
Harlequin began operating in 1986 in Cambridge, England, and was acquired in July 1999 by
Global Graphics S.A. Harlequin was renamed Global Graphics Software Limited in June 2001
and is now a multinational software company offering technology‐based products and ser‐
vices for the digital printing and publishing industry. The company is a recognized leader in
high‐performance printing and publishing technologies. Global Graphics maintains a pres‐
ence in the Americas, Europe, and the Asia Pacific Basin.
Global Graphics sells products through OEMs. Our OEM partners include the worldʹs lead‐
ing makers of imagesetters, computer‐to‐plate and direct‐to‐press systems, digital color
proofers and large‐format printers, as well as several leading prepress systems integrators.
Because our products are integrated with these OEMs’ digital publishing and prepress sys‐
tems, they are offered under a variety of brand names.
Global Graphics, supplies high‐performance precision equipment and system solutions to
the graphic arts industry. Global Graphics supports its clients and distribution network
worldwide and services its significant installed base through a technical and service office
network in Europe, America, and Asia.
See the “Copyright and Trademarks” on page 449 of this manual for sources of more
information.
2
Running the Harlequin
MultiRIP
This chapter is a short guide to getting the Harlequin MultiRIP running on your machine. It
does not contain complete installation details because these differ between different combi‐
nations of computer, operating system, and output device. For full details, see the separate
Harlequin MultiRIP Installation Guide for your platform (combination of computer and operat‐
ing system).
This chapter provides details for the following:
• Machine requirements, described in “Machine requirements” on page 39.
• Connecting your machine to an output device, described in “Installing printer inter‐
face cards” on page 44.
• The files and folders used by the RIP, described in “Harlequin MultiRIP folder struc‐
ture” on page 44.
• Starting up the Harlequin MultiRIP and an introduction to the standard menus and
dialog boxes, described in “Starting up the Harlequin MultiRIP” on page 48.
• Some menus that appear only when options are enabled, described in “Menus affected
by optional features” on page 55.
• Stopping the Harlequin MultiRIP, described in “Stopping the Harlequin MultiRIP” on
page 56.
2.1 Machine requirements

This section covers the hardware requirements that you need to run the Harlequin MultiRIP.
Do not worry if you are not familiar with the RIP technical terms used in this section. As you
work through the manual, all of these terms will be explained. The “Glossary” on page 435
explains many of these terms.
Hint: Follow the basics of this section on first reading to get a working installation of the RIP.
When you are more familiar with the RIP, use this section for reference, so that you can
improve the RIP’s performance in your environment.
2 Running the Harlequin MultiRIP
2.1.1 Performance
For a given processor type and speed, the most important things affecting the performance of
the Harlequin MultiRIP are the built‐in or physical memory (RAM) and the speed and size of
disks.
The Harlequin MultiRIP is a supplied as 32‐bit or 64‐bit application.
Using a 64‐bit build aids performance in the following ways:
• The compiled code can perform some steps in fewer cycles because of larger word
sizes thereby increasing the RIP speed by around 10%.
• Much larger address space.
• A 64‐bit build can access all the RAM installed in your computer.
Note: Check the release notes and installation guide for the latest specification information.
In addition the following points should be considered:
• There must be sufficient space to hold page buffers on disk.
• There must be sufficient virtual memory available for the job. This is especially impor‐
tant when using composite fonts.
• For some output devices, a disk with a certain minimum performance may be
required.
Important: The general rule is that the more memory, the better the performance. Note espe‐
cially that if you use the following features, we recommend that you add extra RAM:
• Add an additional 8 MiB RAM for each composite PostScript language font used in a
single job.
• Add an additional 12 MiB RAM for when using Harlequin Precision Screening (HPS).
• Add an additional 256 MiB RAM when using TrapPro.
• When using Harlequin ColorPro, add extra RAM. The required amount can vary
according to the functions you use.
• There are some instances when the Harlequin MultiRIP cannot paint partial page buf‐
fers to disk: for example, when recombining preseparated jobs or using TrapPro. In
such cases, the RIP will need extra memory and must have enough memory to com‐
plete the job. See “Harlequin MultiRIP memory allocation” on page 210, the TrapPro
User Manual and Harlequin MultiRIP Installation Guide for further details.
• For large format devices, more memory may be required.
In general, if a job uses more than one of these features, add together the extra memory
required by each feature. For example, if a job uses composite fonts and you are using HPS
add together the extra amounts of RAM. You will also need enough extra RAM to accommo‐
date any printer and network buffers you want to set up.
For more details, see Chapter 6, “Screening”, Chapter 7, “Configuring the RIP”, and Chap‐
ter 11, “Fonts”.
Note: This manual uses conventions of font and style to describe special key combinations
and to highlight the titles of programs, options in menus and dialog boxes, and text that we
suggest you type. For details, see the “Conventions” on page 11 in the Preface.
Windows Server 2008 R2 use disk space as virtual memory.
For Windows Server 2008 R2, the defaults suggested when you install Windows are satisfac‐
tory for use with the Harlequin MultiRIP. If you later install more disk space or memory, you
should update the virtual memory setting. To do this, open the System control panel and dis‐
play the Performance tab. In the Virtual Memory section, click the Change button and use the
recommended figures.
In summary, as well as the memory and disk allocations discussed here, the performance of
the RIP also depends on the following:
• The speed of the processor.
• The amount of additional RAM on your machine. (Additional RAM is RAM above the
basic requirement.)
• The disk speed of your machine.
• The interface used to send data to the output device, especially if it is a high‐perfor‐
mance device.
Performance issues are described throughout this manual, but see especially Chapter 7,
“Configuring the RIP”, and Appendix A, “Troubleshooting”, for details about optimizing
the performance of your hardware.
For further details on machine specifications you should consult the relevant installation
guide.
2.1.2 Ability to RIP a job

Depending on what page buffer mode you choose, the Harlequin MultiRIP will usually cre‐
ate one or more page buffers on disk when you process any job (see Chapter 4, “Harlequin
MultiRIP Output Methods”, for full details). This allows the RIP to print any job on a
machine of any performance, no matter how complex the job is. The only requirement for
your machine (apart from a minimum requirement of RAM) is that it must have sufficient
free disk space to hold these page buffers.
By default, the Harlequin MultiRIP compresses page buffers as it creates them: the compres‐
sion is always lossless and does not affect the output quality in any way. This compression
can reduce the disk space required to anything from half to a tenth of the uncompressed file,
or even less. However, you do not have to compress page buffers if you do not wish to. See
Chapter 7, “Configuring the RIP”, for full details.
Note: Crop marks can greatly increase the actual size of the page (by adding largely blank
surrounds to the image) and hence create a need for more disk space. If you ask the
Harlequin MultiRIP to compress page buffers as they are created, the extra space required by
crop marks compresses well, as does the other blank space between text and images.
Typical free disk requirements, for both compressed (C) and uncompressed (U) page buffers,
are shown in the following table, giving details for output at different resolutions and for dif‐
ferent page sizes. These figures are for halftone page buffers holding a monochrome page or
one separation of a separated page. All figures are given in MiB.
US Letter A4 Tabloid A3 Broadsheet

Resolution U C U C U C U C U C
300 dpi 1.00 0.20 1.00 0.20 2.00 0.40 2.10 0.41 4.60 0.93
400 dpi 1.70 0.36 1.80 0.37 3.60 0.71 3.70 0.74 8.20 1.60
600 dpi 4.00 0.80 4.10 0.83 8.00 1.60 8.30 1.70 19.00 3.70
800 dpi 7.10 1.40 7.40 1.50 14.00 2.90 15.00 3.00 33.00 6.60
900 dpi 9.00 1.80 9.30 1.90 18.00 3.60 19.00 3.70 42.00 8.30
1200 dpi 16.00 3.20 17.00 3.40 32.00 6.40 34.00 7.20 74.00 14.80
1524 dpi 26.00 5.20 27.00 5.40 52.00 10.40 54.00 10.80 120.00 24.00
2400 dpi 64.00 12.80 68.00 13.60 128.00 25.60 136.00 27.20 296.00 59.20
3048 dpi 104.00 20.80 108.00 21.60 208.00 41.60 216.00 43.20 480.00 96.00
Table 2.1 Typical free disk requirements for page buffers
Contone page buffers or composite color page buffers are bigger than monochrome page buf‐
fers when uncompressed, by a combined factor taking account of the number of bits used per
color and the number of colors in the page buffer. For example, when uncompressed, a four‐
color page using 8 bits per color (256 tonal values) would use 32 times more memory than the
figures given here. It is harder to predict the relative sizes of compressed page buffers
because the contents of the page have a large effect. For example, the compression ratio
achievable for a page filled with an unchanging background tint is likely to be better for a
contone page buffer than for a halftone page buffer.
In addition, you must ensure you have enough disk space to hold workspace for processing
the scanned images on any one page of your job. For example, when printing the Seybold
Musicians test job (a full‐color scanned image), 8 MiB of extra disk workspace will sometimes
be required in addition to the figures shown above. (Whenever possible, the Harlequin
MultiRIP uses RAM in preference to disk space.)
If you have spare memory after allocating memory for the considerations described in “Per‐
formance” on page 40 and in the separate Harlequin MultiRIP Installation Guide, you may be
able to use this surplus to create a RAM disk in which to place page buffers. To be useful, the
RAM disk must be at least large enough to hold a single page buffer, and if you want to use
throughput (using either of the multiple page buffer modes), it should ideally be large
enough to hold at least two page buffers.
For 2540 dpi color work, a RAM disk of around 100 MiB is desirable. For 1016 dpi mono‐
chrome output, a RAM disk of around 30 MiB may be enough.
2.1.3 Driving a printer effectively
The machine requirements discussed so far have concerned the production of a page buffer.
Meeting these requirements is sufficient for you to view the page buffer on screen or for the
Harlequin MultiRIP to convert it into a file in a useful graphics format.
When you want to convert the page buffer to an image on physical media, you must transfer
the data to an output device. This transfer is another factor determining overall performance
and often imposes other requirements on the computer system running the RIP.
Many output devices need data to reach them at a sustained high speed; in general, this
speed becomes higher and harder to achieve as the resolution of the device increases. Table
2.2, page 43, shows examples of required data transfer rates (in kibibytes per second) for typ‐
ical output devices supported by the various versions of the Harlequin MultiRIP.
Rate Resolution
Output device
(KiB/s) (dpi)
200 300 Large format inkjet printer
2000 300 Dye‐sublimation printer
750 2400 Slow imagesetter
1500 1270 Fast imagesetter
8000 4000 Large format drum recorder
Table 2.2 Required data rates for typical output devices
With simple jobs, these data rates can be achieved without using a page buffer on disk. How‐
ever, with complex jobs, a page buffer may be required, which means that the disk on your
computer must be fast enough to supply data at these rates. If the disk is too slow and your
printer is not capable of stop / starting without abandoning the page, it is not possible to out‐
put the whole page. If your printer can stop / start in the middle of a page, then achieving the
required data rate is less important, but the quality of the output may still be affected,
depending on the device.
When you look at the data rates in this table, note the following:
• The disk speed of your machine must be slightly faster than the data rate of the output
device in order to drive it successfully—the extra speed allows for the overhead of
transferring the output to the printer. For example, a machine with a disk speed of
1.3 MiB/s may be required to drive a slow imagesetter at 750 KiB/s.
• To smooth out peaks and troughs of disk performance and other system and RIP func‐
tions, the Harlequin MultiRIP uses a printer buffer in memory. Typically, you should
make this buffer large enough to hold between 5 and 10 seconds of output to the
device: for example, 7.5 MiB for a device that outputs at 750 KiB/second. You can set
the size of the printer buffer in the Configure RIP dialog box: see Chapter 7, “Config‐
uring the RIP”.
We strongly recommend that you use compressed page buffers. If this is done, the Harlequin
MultiRIP can achieve higher data rates because less data has to be read from disk. Compress‐
ing page buffers also lets you run the RIP on a slower disk than would be required were page
buffers not compressed. There are very few situations where it is not desirable to compress
page buffers.
2.2 Installing printer interface cards

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

The folder in which the Harlequin MultiRIP is installed contains the Harlequin MultiRIP
application itself, and a folder called SW, as well as other support files. The SW folder contains
the files that the RIP needs in order to run, such as device driver files, PostScript language
header files, and fonts. You can install new device drivers, features, and so on—in many
cases by placing the relevant folders or files directly into the appropriate folder, but it is safer
to use a supplied installation program if there is one.
Warning: Do not delete any files from the SW folder, except in the limited cases where this
manual or the Harlequin MultiRIP support staff advise you to do so.
Note: Installing the Harlequin MultiRIP creates some of the following items immediately:
other items are created later, as required by later re‐configuration of the RIP or the use of par‐
ticular options such as screening features or spooled input.
The SW folder contains the following items:
• The caldata folder, which is created when you first use the Output > Print Calibration
menu option to print a calibration target, and is updated as you print more targets.
This folder holds files and folders describing the printed targets. If you use the Genlin
program to measure a printed target, it generates a file of results in this folder.
• The categories folder contains the categories resource.
• The charstrings folder contains the file StandardCharStrings, which contains the
standard name‐to‐character mappings used by most fonts. Other mapping files may
also be stored here.
• The CIDFont folder contains fonts defined in the CID (character identifier) format.
• The CMap folder contains information for use with CID fonts.
• The colorrenderings folder contains color rendering resources.
• The colorspaces folder contains resources for the color spaces defined in the Harle‐
quin MultiRIP.
• The Complete folder is provided as a default location for the spool folder input to
place files that it has successfully processed.
• The Config folder contains all the configuration files for the Harlequin MultiRIP.
These include files detailing such things as the current Page Setup and Configure RIP
settings, as well as folders for information including the configuration for available
devices, default color profiles, and target definitions.
In the Config folder, the Factory Settings subfolder contains the default configura‐
tion for the Harlequin MultiRIP when it is shipped. This is essentially a copy of the
Config folder itself.
In the Config folder, the Page Setups subfolder contains all the Page Setups you have
saved within the Harlequin MultiRIP.
• The Crdgen folder contains the color rendering dictionary (CRD) generator plugin exe‐
cutables. You can only manipulate CRDs in the Harlequin MultiRIP with the ColorPro
option enabled.
• The Devices folder contains all the output plugin files (possibly within subfolders) for
the various output devices.
• The encodings folder contains the font encodings for the fonts installed in the RIP.
• The Error folder is provided as a default location for the spool folder input to place
files that it cannot process.
• The Extensions folder can contain folders or files used to implement extensions to the
RIP.
• The FlatPgbDir folder provides space for the page buffer files used by FlatOut. See
the FlatOut User Guide for details.
• The fonts folder contains fonts used by the Harlequin MultiRIP (including the fonts
installed with the RIP).
• The FontSet folder is used for PostScript LanguageLevel 3 font sets, often used with
CFF fonts. It may be empty.
• The forms folder contains resources for bitmap forms.
• The halftones folder contains halftone resources.
Note: The comments in these halftone resources files show how you can define custom
dot shapes in capable graphics and layout applications, and have these dot shapes
linked to Harlequin screens in the generated PostScript language files.
• The icccrd folder contains the color rendering dictionaries (CRDs) produced from
ICC profiles.
• The IdiomSet folder contains idiom set resources. Each idiom set in this folder is
loaded when the RIP starts.
Note to OEMs: It is reasonable to add your own idiom sets to the Harlequin MultiRIP
by placing them in this folder. Adding too many idiom sets can
degrade the performance of the bind operator but the addition of, for
example, over a hundred well‐formed idiom sets has little effect.
• The Inputs folder contains all input plugin files (Spool, and any others).
• The Messages folder has been moved to the same level as the SW folder and contains
localized message files. The appropriate file is selected the first time the RIP is started
• The MediaSavingDir contains page buffers that are marked for media saving. The
MediaSavingDir is located as a subfolder to the PageBuffers folder.
• The NamedColor folder is the location of files defining a resource type /NamedColor,
which stores color values referred to by name.
• The NamedColorOrder folder contains files defining the orders in which resources of
type /NamedColor, are searched when the Harlequin MultiRIP is looking for the defi‐
nition of a named color. For more information see “Named colors” on page 366.
• The Page Features folder contains all the PostScript language header files that are
available in the Enable Feature drop‐down list of the Edit Page Setup dialog box. This
menu is generated dynamically from the files available in this folder. If a feature is
turned on in the relevant Page Setup, the appropriate file is run at the beginning of the
job. Additional example page features are available in the folder called Examples
within this folder. The example files supplied with the RIP show you how to do such
things as produce draft copies, perform page imposition, resubmit page buffers, and
use image replacement with DCS files. You can add your own files if you wish.
• The PageBuffers folder provides space for rendered pages that are written to disk.
The MediaSavingDir is located as a subfolder to the PageBuffers folder.
• With LDK security the Passwords folder is no longer used.
• The patterns folder contains resources for PostScript language patterns.
• The PrepFiles folder contains all the prep files used by the Harlequin MultiRIP.
• The procsets folder contains various patches to the PostScript language, as well as
other functionality that is not built directly into the Harlequin MultiRIP. Patches for
specific applications are held here, as well as calibration test jobs.
Note to OEMS: OEMs can add files to the procsets folder.
• The ReproductionCriteria folder is the location of files defining a resource type
/ReproductionCriteria. This is used to link color rendering dictionaries (CRDs) to
the criteria which created them. This allows the Harlequin MultiRIP to test whether a
CRD needs to be regenerated or whether one already exists.
• The Screenin folder contains screening plugins for use by the Harlequin MultiRIP. In
many installations, there are no screening plugins.
• The Screens folder is used when halftone screens are cached (saved to disk for later
use). There is a subfolder here for each dot shape cache known to the Harlequin Multi‐
RIP, either as supplied or as created during use.
• The Separation Features folder performs a similar task to Page Features but
applies only when separating jobs in the Harlequin MultiRIP.
• The Spool folder is a default location used by the Spool folder input plugin for receiv‐
ing jobs.
• The Sys folder includes HqnStart, the Harlequin‐specific startup file, and Bootlist, a
list of files to be executed upon booting (starting) the Harlequin MultiRIP. This folder
also contains HqnProduct, which contains PostScript language startup code specific to
that product, and HqnOEM, which may contain additional startup PostScript language
startup code created by the RIP supplier (or OEM).
• The targeteps folder contains any EPS files that are incorporated in custom calibra‐
tion targets (and potentially other targets). This folder is referred to from target defini‐
tions while interpreting a target file, especially in response to the Print Calibration
dialog box.
• The tmp folder is used as a location for temporary files.
• The TrapParams folder is used for PostScript LanguageLevel 3 trapping parameters. It
may be empty.
• The Usr folder contains several files needed by the Harlequin MultiRIP.
• The Utilities folder contains files, each of which can perform a useful function when
run as a job (using the Print File menu option):
• BackupConfiguration.ps
This file enables you to make a backup file containing all your configuration set‐
tings for an installation of the Harlequin MultiRIP.
• BackupFonts.ps
This file enables you to make a backup file containing all your fonts, both the stan‐
dard set and any additional fonts that you have installed.
You can store such a backup file elsewhere for security and, for example, use it as a
simple way to restore a complex configuration if you need to reinstall the same version
of the Harlequin MultiRIP. (You can restore backed‐up fonts to a newer version of the
RIP but you can only restore configuration settings to the same version of the RIP.)
Note: The BackupFonts.ps and BackupConfiguration.ps files should only be used
via the Print option on the File menu. Attempting to use these files from a socket input
may cause the RIP to crash.
The WorkSpace folder provides space for any temporary workspace files created by the
RIP.
• The LOGFILE file contains a record of all transactions with the Harlequin MultiRIP
monitor. This file can be saved and its size restricted. For more information see “Moni‐
toring the Harlequin MultiRIP” on page 70.
• The files FILERED.PS and FILEMAP.DAT (replacing FILEMAP.PS, which is still present
for short‐term compatibility) contain important information for use in file name map‐
ping. The RIP manages these files automatically: you must not change these files
manually.
File name mapping is necessary because PostScript language file names can be very
long, can contain characters that have special meanings for file systems on the com‐
puter running the Harlequin MultiRIP, and are case sensitive. For each PostScript
language file name that could be a problem, the RIP creates a unique and acceptable file
name in the file system and records both file names together as a mapping in
FILEMAP.DAT.
You may find it useful to inspect FILEMAP.DAT, if you need to associate a particular file
name with the other name in its mapping. For example, this is a typical mapping
(between Press and PRESS):
(Press)(PRESS)M
Note: The file names are all uppercase, exactly as shown in this manual. It is possible for
Explorer in Microsoft Windows to display these names with only a leading capital let‐
ter.
• The version file contains text describing the version of the Harlequin MultiRIP, for
use by some RIP utilities. Do not edit or remove it.
2.4 Starting up the Harlequin MultiRIP

You should refer to the installation guide for your platform for details on how to install and
configure the Harlequin MultiRIP.Note: The RIP executables are supplied with associated
shared library files. The associated shared library files must be in the same folder as the RIP
executable otherwise the RIP will not start.
To start up the Harlequin MultiRIP application, choose the Harlequin MultiRIP entry from the
Start menu, or double‐click the Harlequin MultiRIP icon in the install folder:
<company>.exe
An initial dialog box is always displayed while the program starts up. Some extra things hap‐
pen in special circumstances:
• When you are starting up the RIP for the first time after installation, you see a dialog
box asking you to choose the language to be used in dialog boxes, menus, and mes‐
sages. The dialog box shows you which languages are available. (A language is avail‐
able if the entries after its name are all Present or Yes.) If you are in doubt, choose
English (United States) initially; you can switch to another language later, using
the Harlequin MultiRIP > Language menu option, as described in “Choosing the user
interface language” on page 213. Select your chosen language and click OK.
• When you have installed a plugin or other option, that option may require enabling
with an LDK product key.
• If you have chosen to reset the Harlequin MultiRIP to its factory settings, you see a
series of dialog boxes asking you which settings you wish to reset. See “Resetting the
Harlequin MultiRIP to default values” on page 213 for details of how to do this.
When the RIP has finished loading, a window containing the following menu items appears:
Figure 2.1 The Harlequin MultiRIP menus
Some windows appear, as described in Chapter 3, “Getting Started with the Harlequin Mul‐
tiRIP”. That chapter describes some basic procedures that you can use to familiarize yourself
with the Harlequin MultiRIP. The remainder of this chapter introduces the menus, tool bar,
and status bar; and describes how to stop the RIP.
For information on how to quit the RIP see “Quitting the Harlequin MultiRIP” on page 56.
2.4.1 The headless RIP

The Harlequin MultiRIP can be run in headless mode. This means that the RIP is run as nor‐
mal but without any graphical user interface. In this mode all interaction with the RIP is done
using PostScript language files.
Before using headless mode you should at least have configured a Spool folder. You can shut
down the headless RIP by submitting a suitable PostScript language file. See “Quitting the
headless RIP” on page 57 for more information.
To start the RIP in headless mode navigate to the installation directory and use:
<company>.exe -headless
Alternatively, if you wish to start the RIP in headless mode every time you start the RIP, open
the file:
<installation folder>/SW/Config/UIPreferences
Change the line:
/Headless false
to:
/Headless true
Save the UIPreferences file and then start the RIP in the normal way.
If you have configured the UIPreferences file to start the RIP in headless mode you can
start the RIP in GUI mode by navigating to the installation directory and using:
<company>.exe -gui
To stop a RIP running in headless mode see “Quitting the headless RIP” on page 57.
When run as a headless RIP the page buffering mode is automatically changed to Single
(if required). See “Page buffering modes” on page 73 for more information.
The page buffering mode can be changed from Single (if required) to one of the other

available throughput modes. This can only be done using a PostScript Language file or via
SOAR.
2.4.2 The menus

There are several menus:
• The Harlequin MultiRIP menu contains commands for configuring and operating the
RIP, as well as for producing output.
• The Edit menu contains the common window‐based edit facilities of Cut, Copy, Paste,
and Clear.
• The next menu changes name to indicate which device it is controlling. This menu con‐
tains commands for controlling output and cutting the media being used on any print‐
ers connected to the computer. Because the displayed name can change, this
documentation refers to it as the Device menu. (Figure 2.1, page 49, shows Preview in
this position.)
The device does not necessarily have to be a physical output device connected to your
machine. The RIP is equally capable of saving an image to a file in a particular format,
such as TIFF. You can find out more about these options in “Selecting different devices”
on page 96.
• The Color menu contains commands for starting the Separations Manager and for color
management. The color management commands depend on optional parts of the Har‐
lequin MultiRIP. See “ColorPro™ menus” on page 55.
• The Output menu contains commands for controlling calibration, media management,
and output.
• The Fonts menu contains commands for installing, deleting, and proofing fonts within
the RIP.
• When required, the RIP can display other menus to the right of the permanent menus
mentioned so far. For example, the Print File menu appears when you have used the
Print File command to print a file, and contains commands allowing you to control
printing of that file.
All standard commands in these menus are described in later chapters of this book together
with the situations and operations that require you to use them. See “Menus affected by
optional features” on page 55 for details of menus affected by optional features in the Harle‐
quin MultiRIP.
2.4.3 The tool bar

All versions of the Harlequin MultiRIP have a tool bar containing icon buttons and a status
area. The buttons provide rapid access to frequently used menu options and dialog boxes, as
described in “Tool bar buttons” on page 52. The status area shows what the RIP is doing, as
described in “Status area” on page 54.
The tool bar is part of the main window.
2.4.3.1 Tool bar buttons

These tool bar buttons have the following uses:
Print File Displays the Print File dialog box, where you can

choose a file to print. This is equivalent to the
Harlequin MultiRIP > Print File command.
Print Calibration Displays the Print Calibration dialog box, where you

can print various patterns of calibration target for
use in calibrating output devices, including printing
presses. This is equivalent to the Output > Print
Calibration command.
Start Inputs Starts any enabled inputs. This is equivalent to the

Harlequin MultiRIP > Start Inputs command when the
inputs are stopped.
Stop Inputs Stops any enabled inputs. This is equivalent to the

Harlequin MultiRIP > Start Inputs command when the
inputs are enabled.
Page Setup Manager Displays the Page Setup Manager dialog box, where

you can create and edit Page Setups. This is equiva‐
lent to the Harlequin MultiRIP > Page Setup Manager
command.
Device Manager Displays the Device Manager dialog box, where you

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

you can create and edit separation styles for the
selected device. This is equivalent to the Color >
Separations Manager command.
Color Setup Manager Displays the Color Setup Manager dialog box, which
allows you to create and edit color setups with or
without color management depending on whether
the LDK product key allows the ColorPro option to
be activated. See the “Color Setup” on page 391 and
Harlequin ColorPro User Guide for details. This is
equivalent to the Color > Color Setup Manager
command.
TrapPro Manager Displays the TrapPro Manager dialog box, which

allows you to create and edit trapping setups.
TrapPro is a layered option and requires an LDK
product key for it to be activated. See the Harlequin
TrapPro User Guide for full details. This is equivalent
to the Output > TrapPro Manager command.
Calibration Manager Displays the Calibration (Dot Gain) Manager dialog

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

you can create cassettes and edit their information.
This is equivalent to the Output > Cassette Manager
command.
Imposition Manager This option displays the Imposition Manager dialog

box, which allows you to create and edit Simple
imposition setups. Pre‐configured imposition
schemes are provided as standard. Editing existing
and creating new setups is a layered option and
requires a LDK product key for it to be activated. See
Chapter 10, “Simple Imposition” for full details.
This is equivalent to the Output > Imposition Manager
command.
Input Controller Displays the Input Controller dialog box. Also, this

button hides the controller if it is already displayed.
This is equivalent to the Harlequin MultiRIP > Input
Controller command.
Media Manager Displays the Media Manager dialog box, where you

can set up automatic media management. This is
equivalent to the Output > Media Manager command.
Note: The Device Manager, Separations Manager, Color Setup Manager, Calibration Manager, and

Cassette Manager buttons are also available from the Edit Page Setup dialog box.
2.4.3.2 Status area

The status area has three sub‐areas: one shows what the input system and interpreter are
doing, one shows what the output system is doing, and a final one shows the most recently
used output device.
Figure 2.2 shows some typical contents of the status area.
Figure 2.2 The status area of the tool bar
The meanings of these example status bars are:
1 Idle The RIP is not looking for jobs on its inputs.
2 Scanning The RIP is looking for input but none is arriving.
3 Interpreting The RIP is interpreting a job.
4 Printing The RIP is sending a job to an output device.
In all these examples, the output device is the Preview device. The text can change to show
other types of output, including output to graphics files and real printers and imagesetters.
This completes a brief description of the controls and status indicators in the Harlequin
MultiRIP. If you want to try using the RIP, see Chapter 3, “Getting Started with the
Harlequin MultiRIP” on page 59. If you want to stop the RIP, see “Stopping the Harlequin
MultiRIP” on page 56.
2.5 Menus affected by optional features

A number of commands and options in dialog boxes appear only if your copy of the
Harlequin MultiRIP has been supplied with certain optional features and these are enabled.
The major features that have this effect are:
• Harlequin ColorPro. See “ColorPro™ menus” on page 55.
• Harlequin Screening Library (HSL). The visible changes are limited to new dot shapes
in the screening part of the Edit Style dialog box, as described in Chapter 6, “Screen‐
ing”.
• TrapPro. See “TrapPro™” on page 56.
• Media Saving. See “Advanced Media Saving” on page 131.
• Simple Imposition Manager. See “The Imposition Manager” on page 278.
• Pitstop Profile Manager.
2.5.1 ColorPro™ menus

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

This command allows you to create and edit custom color reproduc‐
tion strategies in ColorPro. It appears only when the ColorPro option
is enabled.
Color Setup Manager

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

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

This command uninstalls ICC profiles and appears when Harlequin
ColorPro is enabled.
2.5.2 TrapPro™
TrapPro is an option for the Harlequin MultiRIP that can be set up to perform trapping. If
TrapPro is present and enabled, the following command appears in the Output menu. See the
separate TrapPro User Manual for full details.
TrapPro Manager
This command displays a dialog box where you can inspect and create different sets of
rules for trapping. These rules become available in the Trapping section of the Page
Setup dialog box. See “Trapping features” on page 402 for details.
Ink Set Manager
This command displays a dialog box where you can configure various types of ink
including normal, opaque and transparent.
2.5.3 Media Saving

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

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

If you are the only user of the RIP, all you must do is ensure that no jobs are in progress and
choose the Quit command in the Harlequin MultiRIP menu. Take more care if there are other
users, as described here.
If the RIP is providing a network service, warn the other users that there will be an interrup‐
tion of service.
Disable output, by selecting the check box labeled Disable output in the Output Controller, if
you are operating in either of the multiple modes. This shuts down the output cleanly, by
allowing the current job to complete but not starting any other jobs. (When you restart the
RIP, output is re‐enabled automatically, though you will have to answer a question if there
are any jobs waiting to be output in the Active Queue.)
Wait for any active jobs to complete.
Leave the RIP settings in their usual state, unless you know that you will be making signifi‐
cant changes to the RIP, the computer, the network, or connected output devices.
• If you leave settings unchanged, you need only restart the RIP to have it start respond‐
ing to all its previous inputs.
• If you are making changes, you may prefer to disable inputs from other computers
until you have restarted the RIP and proved that there are no resultant problems.
From the Harlequin MultiRIP menu, choose Quit (or press Ctrl+Q) to exit the RIP.
2.6.2 Quitting the headless RIP

To quit the headless RIP a file containing the following PostScript Language code can be
placed into a spool folder:
$printerdict /superstop /superstop put
systemdict /quit get exec
Note: If a file containing this code is placed into a spool folder to quit the RIP, the file will not
be automatically moved from that folder when the file is run. Therefore, you should ensure
that the file is moved before attempting to re‐start the RIP.
Alternatively, on Windows use Ctrl Alt Delete and end the Harlequin MultiRIP process.
2.6.3 Stopping the computer

If you are also stopping the computer, exit any other applications and follow the usual proce‐
dure described in the manual for your computer or operating system.
Once you have followed the procedure, wait until you see a message saying that you can
remove power. Switch off the computer.
3
Getting Started with the
Harlequin MultiRIP
Chapter gave a broad overview of the kinds of tasks the Harlequin MultiRIP can perform. In
this chapter you will learn how to process simple jobs, and how to switch between different
configurations.
3.1 A simple Harlequin MultiRIP session

Once the Harlequin MultiRIP is installed and running on your machine, you can start to use
it. “Starting up the Harlequin MultiRIP” on page 48 describes how to start the RIP and gives
an overview of the menus and tool bar.
It is a good idea to start with a short test job and to view it on screen so that you avoid wast‐
ing materials. (Even when you are familiar with the RIP you should consider using such an
on‐screen test when processing a new kind of job for the first time.)
Note: This manual uses some conventions of font and style to describe special key combina‐
tions and to highlight the titles of programs and dialog boxes, options in menus and dialog
boxes, and text that we suggest you type. For details, see “Conventions” on page 11 in the
Preface.
3.1.1 Creating a Page Setup

First, you need to create a convenient Page Setup—a collection of settings that the RIP uses to
process the jobs submitted to it:
1. Choose the Page Setup Manager option from the Harlequin MultiRIP menu. If you cannot
choose this option, stop inputs to the RIP. To do this, click the tool bar button that shows
a red arrow and traffic light, or choose the Harlequin MultiRIP > Start Inputs menu option.
2. In the Page Setup Manager, as shown in Figure 3.1, select a Page Setup. Default Page
Setup is a safe choice: select it and click Edit to display the Edit Page Setup dialog box.
If you want to create a new Page Setup, the easiest way is to copy the Default Page
Setup. Select Default Page Setup and click Copy to display the New Page Setup
dialog box.
3 Getting Started with the Harlequin MultiRIP
Figure 3.1 Page Setup Manager dialog box
3. In the Edit Page Setup dialog box, shown in Figure 3.2, set the Device to None and the
Vertical and Horizontal resolutions to something small, say 72 dpi. If you change the
Device, you must choose a separations style listed in the Style drop‐down list and, for
some devices, a cassette name from the Cassette drop‐down list.
For the purposes of this example, you can select any option from these lists. For more
information about the options in this dialog box, see “Edit Page Setup dialog box” on
page 94.
The None device does not produce any printed output, but does perform all the neces‐
sary processing for the job, including producing page buffers—as defined on page 442 in
the “Glossary”. This device can be used for testing and timing jobs, and is especially
useful for previewing the job on screen.
Figure 3.2 New Page Setup dialog box
4. Click OK. (Click Save As if you are working in the New Page Setup dialog box, and save
the Page Setup as Default Page Setup; this changes the original Page Setup but it is
convenient for use this name during this session.)
5. Click OK again to close the Page Setup Manager dialog box.
The Output Controller/Monitor window must be displayed for you to see the processed out‐
put for the None device. If you cannot see this window: first choose the Configure RIP option
from the Harlequin MultiRIP menu and check that the option shown against Page buffering is
Multiple (Parallel); then display the Output menu and look at (but do not choose) the
option Output Controller.
If there is a check mark next to the menu option, the RIP is displaying the window but it may
be hidden behind another window. The Output > Output Controller menu option can be used
to toggle between opening and closing the Output Controller/Monitor. Each time that you
open the Output Controller/Monitor it opens in front of all other RIP windows.
Note: The Output Controller is only available in either of the multiple page buffer modes.
You can also view a page in one of the single modes by setting the output device to Preview
instead of None. In the following description we assume that you are working in Multiple
(Parallel) mode. If you are using one of the single modes, see “Sending output to the
screen” on page 99 for more details about previewing pages.
For the example job described next, make sure that you have deselected the Disable output
check box in the Output Controller/Monitor. This box is selected by default, so that you can
hold pages for on‐screen viewing before sending the pages to real output devices.
3.1.2 Creating a simple job

You also need to set up a sample job. Usually, jobs are files created by another application,
but you can create a simple job within the RIP, as follows:
1. From the Fonts menu, choose Proof Fonts. A window appears with a list of the available
fonts, which the Harlequin MultiRIP can use with any of its possible output devices.
(See Figure 3.3.)
Figure 3.3 Proof Highlighted Fonts dialog box
2. Select between one and six fonts. To select a range of fonts, click on the first font of that
range and then hold down the Shift key when you click to select the last font.
3. From the Page Setup drop‐down list, select Default Page Setup.
4. Click the Proof button. Several things happen on screen, with some items appearing
and quickly disappearing again:
• A Print File menu appears alongside the other RIP menu titles. This menu disap‐
pears when the job is complete.
• The status area on the right of the tool bar in the Harlequin MultiRIP window
shows an animated picture of a hand writing a page. “None” appears in the status
area on the right. (When you use other output devices, you see other animations
and names.)
• Text reporting the progress of the job appears in the scrolling text area of the
Harlequin MultiRIP window as the RIP starts the job and reads the necessary fonts.
• At least one progress dial window also appears and shows what is happening. For
example, the Read Dial shows how much of the job the RIP has read and disap‐
pears when the RIP has processed the complete job. With a small job like this proof
and a fast computer, the Read Dial may not appear; Figure 3.4 shows the dial.
Other dials can appear, depending on the size of the job and the settings in your
copy of the RIP.
Figure 3.4 Read Dial
Notice what happens in the Output Controller/Monitor window. A job called 1. fontlist
appears in the list on the left, the Active Queue. After a few moments its name moves into the
box at upper center of the window, to show that the RIP is processing it, and then to the Held
Queue on the right. (The job is called 1. fontlist, to show that it is the first page of the
fontlist job. This job is probably only one page long, unless you chose several fonts.)
3.1.3 Previewing the image on screen

This job has now been processed by the Harlequin MultiRIP and sent to an output device.
The output device you chose was None, a dummy device provided for test runs like this one
and for previewing, so no physical printing has happened. However, you can look at an on‐
screen view of the page you have created:
1. Select the job in the Held Queue (by clicking), and then click the Roam button. A Roam
window appears. Note that you can preview any page in the Output Controller.
The Roam window displays samples of the fonts you selected. (See Figure 3.5.) This window
also displays the title of the page, 1.fontlist, the color of the page, and the resolution.
For most sizes of page, there are also horizontal and vertical scroll bars at the edges of the
Roam window. (The scroll bars appear only when the window is too small to display the
whole page at one time.) When there are scroll bars, you can use them to move your view to
different parts of the page image. Alternatively, you can drag the page image around by
holding down the left mouse button when the cursor is over the image and moving the
mouse. For more information about navigating in the Roam window, see “Roam and Pre‐
view windows” on page 101.
Figure 3.5 Roam window
Note: When viewing a higher resolution image, the Roam > Reduced Roam menu option is

probably available. It allows you to see more of the image in one view.
When you have finished inspecting the page preview, close the window. To do this, choose
the Close option in the window control menu. Alternatively, you can use the standard meth‐
ods for your operating system.
Note: You must close the Roam window (and the Reduced Roam window if you opened it)
before you can roam another page.
3.1.3.1 Other pages in the job

If there are other pages in the job, the RIP has probably processed them in the time you spent
inspecting the first page: if so, there are appropriate messages in the Harlequin MultiRIP
window and new entries in the Held Queue on the right of the Output Controller/Monitor.
Any following pages are called 2. fontlist, 3. fontlist, and so on. You can:
• View one of the processed pages by selecting it and clicking the Roam button.
• Stop processing any remaining pages by using the Kill Current Job option in the Print
File menu. Any pages already processed stay in the Held Queue until deleted.
3.1.3.2 Killing jobs and error messages

After killing a job and depending on what stage the job had reached, you may see a Post‐
Script language error message in the Harlequin MultiRIP window. Error messages look simi‐
lar to the following:
%%[Error: interrupt; OffendingCommand: interrupt; File: %disk0%tmp/fontlist]%%
Job Not Completed: fontlist
Such error messages are harmless if you stopped the job: they simply report that the job
stopped before it was complete.
In other circumstances, an error message alerts you to a possible problem with a job. The
details of the message may help a PostScript language programmer or your support organi‐
zation to diagnose the cause of that problem.
3.1.4 Outputting to a real device

Your installation of the Harlequin MultiRIP may have been set up to be able to talk to a real
printer or imagesetter and, if this is so, you can try sending some output to it. (If you do not
have a suitable physical output device, try using None again but vary the screen resolution to
a value in the range 300 through 600 dpi, so that you can see more detail. Run another job
proofing fonts, then move to the next section, “Sending a job to the Harlequin MultiRIP” on
page 66.)
To send output to a physical device:
1. First display the Harlequin MultiRIP menu and choose the Page Setup Manager option
(which this manual often describes as choosing the Harlequin MultiRIP > Page Setup Man-
ager option).
2. In the Page Setup Manager dialog box, select Default Page Setup and click Copy to
display the New Page Setup dialog box. The New Page Setup dialog box is very similar
to the Edit Page Setup dialog box, shown in Figure 3.2 on page 61.
3. Select your preferred physical device from the Device drop‐down list.
Note: If the device is not listed in the Device drop‐down list, you may need to configure
it using the Device Manager, available from the button next to the Device list and
described in Chapter 5, “Configuring Output Formats”. It is probably easier to use the
None device to do another screen preview.
4. Assuming that you have successfully chosen a physical device, set the resolution and
any other required options in this New Page Setup dialog box. Note that if you change
the Device, you have to choose a separations style from the Style drop‐down list and, for
some devices, a cassette name from the Cassette drop‐down list.
5. Click Save As; the RIP displays the Save Setup dialog box. In the Save As text field type
a name: Default to Printer is suitably descriptive, so type that name then click Save.
Note: The Harlequin MultiRIP limits all user created names or file names to 31 bytes.
This is equivalent to 31 characters when using standard ASCII text, and 15 characters
when using double‐byte character sets, such as Kanji.
6. Click OK to close the Page Setup Manager.
7. Choose Media Manager from the Output menu and select the Disable media management
box. (You need to configure the media management before using it—that topic is cov‐
ered in Chapter 9, “Media Management”.)
8. Now create a new sample job as before, by choosing the Fonts > Proof Fonts command
and choosing some fonts from the Proof Highlighted Fonts dialog box.
9. From the Page Setup list, select Default to Printer and click Proof.
The RIP displays the same indicators of activity: text in the Harlequin RIP window, an ani‐
mated picture, and one or more progress dials. Another fontlist job appears in the Active
Queue and a large, empty rectangle appears just above the center of the Output
Controller/Monitor and starts to fill with gray. This rectangle is known as the progress box.
Note that in either of the single modes, the progress box appears in a separate window.
This time, when the job is being processed, watch the two gray bars that successively fill the
progress box, a light gray and a dark gray spreading from the top. The light gray bar repre‐
sents the amount of data the RIP has processed; the dark gray bar represents the amount that
has been sent to the output device (printer).
Note: The bottom edge of the light gray bar should always be ahead of (below) the dark gray.
If the dark gray catches up, the page may not be output properly—it depends how the
printer reacts to having to wait for data. In this case the RIP printer buffer has probably been
set too small, and you should increase its size. You can do this in the Configure RIP dialog
box available from the Harlequin MultiRIP > Configure RIP menu command. Typical sizes are in
the range 4 MiB through to 12 MiB.
When the dark gray has reached the bottom of the progress box, the RIP has finished the job
and the progress box clears. If the job was processed successfully, you can now pick it up
from your output device. If the job does not output, or stops and starts while outputting, you
may need to reconfigure the RIP or the host machine. (To help you identify a problem, the
text window in the Harlequin MultiRIP window displays and records any error messages.)
The Output Controller/Monitor provides another two useful facilities:
• If you want to reprint a page once it is in the Held Queue, you can do so easily: just drag
it with the mouse back into the Active Queue. Try that with the top fontlist job now:
it is sent again to the same device, which should be None. If you did the same to the
other fontlist job (which was sent to your imagesetter or printer), the RIP would
produce another hard copy.
It is very quick to output a page like this again, because it has already been processed
once; the RIP stores the raster data, and just sends this data again to the relevant output
device. By default, the RIP deletes processed jobs from the Held Queue only when it is
necessary to free up disk space for new jobs.
• If you select a job and click on the Info button (or just double‐click on the job), the RIP
brings up the Throughput Info dialog box, which contains the settings for that particu‐
lar job. You can change some of these settings before reprinting the job.
Note: If you are roaming a page, there are fewer available options in the Output Controller.
For example, you must close the Roam window (and the Reduced Roam window if you
opened it) before you can roam another page.
3.1.5 Sending a job to the Harlequin MultiRIP

You have seen how the Harlequin MultiRIP processes a simple job, created within the RIP.
Now it is time to see how to send a real job.
If you want to print a file, you can do so directly by choosing Print File from the Harlequin Mul-
tiRIP menu and specifying that file. Try printing a file now, if you have a small file available:
for example, a PostScript language file. The RIP interprets the file and sends it to the printer
or on‐screen preview, according to the Page Setup that you choose in the Print File dialog
box.
“Using the Print File command” on page 236 describes this method and the following sec‐
tions describe other types of files that the Harlequin MultiRIP can print.
Usually, however, you will want to let the RIP accept input directly from other applications.
We shall see how to do this by publishing a printer visible to other computers on your net‐
work. For more details on supplying jobs to the RIP, see Chapter 8, “Configuring Input”.
3.2 A more complex use of the Harlequin MultiRIP

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

To make and save a new Page Setup:
1. Stop inputs to the Harlequin MultiRIP if necessary. In the Harlequin MultiRIP menu,
make sure that there is no check mark in front of the Start Inputs option. Choose the Start
Inputs option if there is a check mark: this stops inputs. Alternatively, click the Stop
Inputs button in the tool bar.
2. Choose Page Setup Manager from the Harlequin MultiRIP menu or click the Page Setup

Manager button in the tool bar. The Page Setup Manager dialog box appears, where you
have two choices. If there is already a similar Page Setup, select it and click Copy to
display the Edit Page Setup dialog box. (If there is no similar Page Setup, click New to
display the very similar New Page Setup dialog box.)
3. Edit the settings in the New Page Setup dialog box to give the configuration you want.
Click Save As.
4. The Save Setup dialog box appears, and you can specify a name for your new Page
Setup in the Save As text field. (See Figure 3.6.) Click Save to save the setup and return
to the Page Setup Manager dialog box.
You can verify that the setup was saved under this name by looking at the entries in the
Page Setup Manager dialog box. Whenever you want to output a job manually you can
use this setup by selecting its name in the Page Setup menu in the relevant dialog box:
for example: the Print File or Proof Highlighted Fonts dialog box. You can also config‐
ure the Harlequin MultiRIP to make named Page Setups available to jobs submitted by
other users and applications, as described next.
Note: You can reorder the entries in the Page Setup Manager dialog box by selecting
one or more entries and dragging with the mouse. The order in the Page Setup Man‐
ager is the order of appearance in menus where you choose a Page Setup—typically
when configuring a managed input (described in “Managing input plugins” on page
217) or interactively printing a file (described in “Using the Print File command” on
page 236).
Figure 3.6 Save Setup dialog box
3.2.2 Associating a Page Setup with an input

Creating and saving Page Setups also allows you to make a published printer use a specific
Page Setup: this allows all users of the RIP to choose a suitable Page Setup for a particular job
by choosing the associated printer. Try the following to see how this works with just two
published printers on the network:
1. Display the Page Setup Manager. Copy the Page Setup Default to Printer—select it
and click Copy. In the New Page Setup dialog box, make no changes, just click Save As.
Give this Page Setup the name Pos.
2. In the Page Setup Manager, select Pos and click Copy to make a copy and start editing
that copy. In the Effects section of the New Page Setup dialog box, select the Negative
check box and click Save As.
3. Save the new Page Setup with the name Neg. Click OK to close the Page Setup Manager.
4. Display the Input Controller and create two new spool folder inputs called Pos-O-
Print and Neg-O-Print. While using the Input Channel Edit dialog box, select the
Page Setup Pos for Pos-O-Print and Neg for Neg-O-Print. (Configure Pos-O-Print
to use the spool folder (directory) SPOOLPOS and Neg-O-Print to use SPOOLNEG: they
must use different folders.)
Once you have enabled the new inputs, and used Harlequin MultiRIP > Start Inputs, the RIP
uses the two new folders. Sending a job to Pos-O-Print (the SPOOLPOS folder) causes it to
be output as normal, while jobs sent to Neg-O-Print are output in negative.
You can publish several more inputs to the Harlequin MultiRIP, each with different Page Set‐
ups. As well as changing the Negative setting, you can change the output device, output reso‐
lution, rotation, screening strategies, and many other settings.
3.3 Using the Harlequin MultiRIP with a spool folder
Using a Spool Folder input, you can configure the Harlequin MultiRIP to print files placed
into a common folder, usually one accessible from other computers on your network. This
means that various users or applications can write files into a spool folder. The RIP repeat‐
edly checks this folder, and when it finds a new file, it processes the file. The RIP deletes each
file from the spool folder after printing it but, using the Spool Folder Configuration options,
you can instruct the RIP to save the file in another folder after printing.
The RIP associates each spool folder with a Page Setup, giving the benefits described in
Section 3.2, “A more complex use of the Harlequin MultiRIP”, when the RIP was published
as a network printer. In particular, you can define several spool folder inputs, each with a dif‐
ferent Page Setup, to match the needs of different users or applications. (If you find it conve‐
nient, you can use the same Page Setup with a spool folder and other types of input.)
To define a spool folder, follow these steps:
1. Choose Input Controller from the Harlequin MultiRIP menu (or bring that window to the
front if there is already a check mark against that menu option). When the Input
Controller dialog box appears, click New. In the Input Channel Edit dialog box, choose a
Name for the output device you are about to publish, say SpoolPrint, and type it in.
Choose SpoolFolder from the Type menu and for Page Setup choose an appropriate
Page Setup.
Click Configure to specify the folder. The default folder is called Spool in the SW folder.
You can use any other folder that the RIP can access. See “Using the Spool Folder input
folder” on page 224 for more information. Exit the Spool Folder Configuration dialog
box by clicking OK.
2. In the Input Channel Edit dialog box, select the Enabled box and click OK to exit. If nec‐
essary, choose Start Inputs from the Harlequin MultiRIP menu. You will see a dial appear
as the new setup is published.
This starts the spool folder and any other enabled inputs. If there are files already in the
spool folder, the RIP asks if you want to start by printing them. Files that are put into
the folder after this input is enabled are rendered and printed in order of arrival in the
folder.
Note: The RIP may fail to publish a spool folder input. If so the relevant entry in the
Status column of the Input Controller dialog box shows Stopped. The most likely
reason is that you have tried to use a folder already in use by another spool folder
input: return to the Spool Folder Configuration dialog box and choose a new folder.
3. When you want to stop running the spool folder (and all other enabled inputs), choose
Start Inputs in the Harlequin MultiRIP menu again.
To disable a spool folder temporarily, select it in the Input Controller and click Off. To remove
a spool folder’s entry in the Input Controller, select the entry and click Delete. (Removing the
entry does not remove the associated folder on disk, nor any contents of that folder.)
Note: Even though PostScript Language compatibility level 1 is rarely used, you should note
that the spool folder plugin does not work with Page Setups set to PostScript Language com‐
patibility level 1. See “PostScript language compatibility level” on page 154 for more infor‐
mation. If this is attempted an “undefined” on “findresource” error will occur.
3.4 Monitoring the Harlequin MultiRIP

The Harlequin MultiRIP window shows the progress of jobs through the Harlequin Multi‐
RIP. The text displays information about timing, errors, job completion, fonts, and other mes‐
sages.
Figure 3.7 shows some example messages in the Harlequin MultiRIP window.
Figure 3.7 Harlequin MultiRIP window messages
The window displays only messages since the start of the RIP session and can display the last
32,000 characters of these messages. (Within this limit, you can scroll back to inspect the mes‐
sages for old jobs: the window scrolls back to the end when new text appears.) In Multiple
(Parallel) mode—the default page buffer mode—timings require careful interpretation,
because the RIP may be outputting and interpreting jobs at the same time. Also, if the RIP has
to pause (for example, to wait for disk space to be freed), the timings may be misleading
because of the variable time spent freeing space.
The RIP adds a copy of all the messages appearing in the text window to a file, called LOG-
FILE, in the SW folder.
The size of the log file can be restricted by editing the GeneralPreferences text file found
within the Config folder in the SW folder.
By changing the value of /MaxLogfileSize to any value other than 0 will specify the maxi‐
mum size of the file in bytes. When this maximum value is reached LOGFILE will be changed
to LOGFILE.OLD.
The size of the file is checked when the RIP is started and each time a message is written to
the file. Only one LOGFILE.OLD is retained. Therefore, you must be aware of the size of the
log files and rename them to keep all messages.
Note: You will only see messages that have been added to the log file since you started the
current RIP session. To view the entire contents of the log file including messages from any
earlier sessions, you must use a text editor like Notepad or WordPad, provided with Win‐
dows.
The log file is an important source of information when difficulties arise. Refer to it if you
have any problems.
Note: Font backup does not back up logfiles with the prefix LOGFILE. Thus copies of logfiles
whose names do not start with LOGFILE will be included in font backup files.
4
Harlequin MultiRIP Output
Methods
This manual uses the term throughput to mean the productivity of your RIP workflow— how
much work you are completing in a given time. The Harlequin MultiRIP provides a compre‐
hensive set of tools that allow you to maximize your throughput.
4.1 Historical overview

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

Depending on the job involved, and the configuration of your hardware, you can choose
whichever mode is most suitable and overcome many of the problems described above.
There are two general methods of operation in the RIP—multiple and single. Multiple modes
allow you to write each interpreted page to disk, ready for later printing and reprinting. Sin‐
4 Harlequin MultiRIP Output Methods
gle modes only interpret one page before printing must occur (and hence make the RIP oper‐
ate in a more traditional manner).
The four specific modes are: Single, Single (if required), Multiple, and Multiple (Parallel). Table
4.1 introduces and compares these modes.
Table 4.1 Comparison of page buffer modes
Mode Behavior
Single (if required) Only buffers a page to disk if the page is too com‐
plex to process in working memory—deletes this
buffer after printing.
Otherwise, sends output directly to the output
device.
Single Always buffers a page to disk before printing it.
Deletes the page after printing.
Multiple Always buffers a page to disk before printing it.
Retains on disk all pages created for a job, for ease
of reprinting.
Multiple (Parallel) Always buffers a page to disk before printing it
Retains on disk all pages created for a job, for ease
of reprinting.
Sends interpreted pages to the output device while
interpreting other pages at the same time.
Note: For normal use, you should use Multiple (Parallel) mode. This gives the best overall
performance from the RIP and the best control over every page processed. The RIP uses this
mode by default.
Refer to Chapter 7, “Configuring the RIP”, for details of how to select different page buffer‐
ing modes in the RIP.
4.2.1 Page buffering modes for the headless RIP

When run as a headless RIP the page buffering mode is automatically changed to Single
(if required).
The page buffering mode can be changed from Single (if required) to one of the other

available throughput modes. This can only be done programatically using a PostScript lan‐
guage file or via the SOAR interface.
4.2.2 Operating modes

Figure 4.1 presents an overview of the behavior of the Harlequin MultiRIP in the single and
multiple modes.
When the RIP is in either of the single modes, it sends each page straight to the output device
once it has been interpreted. If the RIP buffers a page to disk, that page buffer is deleted once
the page has been printed.
Single Modes Multiple Modes
Interpreter Interpreter
....../manualfeed ....../manualfeed
exch def exch def
/paperheight /paperheight
exch def exch def
Jobs Jobs
Page buffer
file
Page
buffer files
Output device Output device
Figure 4.1 How the Harlequin MultiRIP behaves in Single and Multiple Modes
When in one of the multiple modes, pages are always buffered, and they are not usually
deleted (until disk space is required for new pages) so they can be reprinted at a later point.
The throughput system tools can be used to oversee printing—allowing a range of benefits,
which are described below. See “The throughput system” on page 75.
Note also that when in Multiple (Parallel) mode, interpretation can take place at the same
time as outputting an earlier page to a printer or imagesetter, but this is not true of either of
the single modes. This is not illustrated in the diagram.
Even though the increase in job throughput is significant when in Multiple (Parallel) mode,
there may be cases—usually because of hardware limitations—when you will need to use
one of the other modes provided. For example, you may not have enough disk space to store
any page buffers, or the combination of a slow disk and an output device with a high data
rate may mean that working in Multiple (Parallel) mode becomes impractical. See “The
throughput system” on page 75 for more details.
4.3 The throughput system

This section describes the Output Controller, which is the central part of the throughput sys‐
tem, and discusses how it can be used to increase throughput. The Output Controller is avail‐
able when either of the multiple modes is selected (see “Control of page buffering modes” on
page 201, for details on how to change the page buffer mode).
The Output Controller gives you powerful facilities for controlling any jobs output by the
RIP. These include:
• Reprinting without reinterpreting the original page description.
• Changing the order of the pages to be printed.
• Control over a variety of page characteristics without reinterpreting the page descrip‐
tion.
• Aborting any page before it is completely printed.
4.3.1 Output Controller

To display the Output Controller (if it is not already displayed), select Output Controller from
the Output menu, or type Ctrl+O. It will appear as a separate window on your screen, as
shown in Figure 4.2. If you want to remove it, choose the menu option again. By default, the
Output Controller is displayed when you start up the RIP.
Figure 4.2 Output Controller / Monitor dialog box
4.3.1.1 The Active Queue and Held Queue

The Active Queue and Held Queue in the Output Controller can contain a number of items,
each representing a page of output.
The Active Queue contains pages which are currently queued for printing. Pages listed at the
top of the Active Queue will be printed first.
The Held Queue contains pages which are being held on your hard disk. They may have
already been printed, or you may have moved them there yourself. (See “Moving page buf‐
fers” on page 78).
Both the Active Queue and Held Queue allow you to select all the pages within that queue by
clicking the Select All button below the queue. When a single page is selected in either queue
click Select Page to select all the files that comprise the page. For example, all the individual
separations for that page. Alternatively, click Select Job to select all separations and pages for
the whole job.
Note: Select Page and Select Job are disabled if your selection spans multiple jobs or pages.
The number of items in a queue, together with the amount of disk space they use, is dis‐
played below each queue.
If a page is currently being printed, it is shown in the box at the top of the Output Controller
between the Active Queue and Held Queue.
As pages are printed, there is a constant flow from the Active Queue to the Held Queue. After a
page has been interpreted, it will be placed at the end of the Active Queue, printed in its turn,
and then transferred to the Held Queue where it will be retained until disk space is needed for
new pages, when it will be automatically deleted. This is illustrated in Figure 4.3.
4. Print page buffer
3. Place page buffer in 5. Retain page buffer in

Active Queue Held Queue
2. Interpret job
1. Issue print command
Figure 4.3 Flow of a page buffer between the active and held queues
4.3.1.2 Interrupting output

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

You can move any of the pages shown in the Output Controller between the Active Queue and
Held Queue by selecting and moving them with the mouse.
To move a page buffer, do the following:
1. Select the desired file.
2. Holding down the left mouse button, drag the file between the queues.
The selected page will move with the mouse pointer and enter the list at the position where
you release the mouse button.
Shift
If you wish, you can move a block of several pages at once. To select a block, select the first
one, then hold down the Shift key and select the last one.
Ctrl
You can also select several page buffers which do not form a contiguous block. Hold down
the Control key while selecting the page buffers.
You can reprint or abort a job, or reorder the pages in the queue, easily and quickly, by mov‐
ing the pages between the queues, as follows:
• To reprint a page, move it from the Held Queue to the Active Queue.
• To stop a page before it is printed, move it from the Active Queue to the Held Queue.
• To abort the page that is currently being printed, move it from the box between the
queues to the Held Queue.
• To change the order of the pages in a queue, move them within the queue.
• If you are moving a lot of pages at once, disable output first to ensure that none of
them are inadvertently printed before you are able to move them.
4.3.1.4 Page buffer information

Information about each page is displayed in the Active Queue and Held Queue. Refer to
Figure 4.2 on page 76 to see examples of this. The following items of information are dis‐
played:
• The delete permission for each page.
• Whether or not the page was created by an older version of the RIP.
• The page number of the original job.
• The original job name.
• The color for printing the page.
The delete permission for (or origin of) each page
You can configure the RIP so that it automatically deletes pages once they have been printed,
or when space on the hard disk is low. However, you can still retain an important page by
changing its delete permission. See “Deleting buffered pages” on page 81, for details on
deleting pages automatically, and “Operations on buffered pages” on page 82, for details on
retaining important pages.
The mark, if any, to the left of each page in the Active Queue and Held Queue indicates its
delete permission.
x—The page is locked and cannot be deleted automatically
—(no mark) The page is unlocked and can be deleted automatically
<—The page was created in an earlier version of the Harlequin MultiRIP
Note: The mark ( < ) in front of the name of an older buffer is there to remind you that there

are some limitations on what you can do with earlier versions of page buffers: see “Page buf‐
fers produced by older versions of the Harlequin MultiRIP” on page 86 for details.
The page number of the original job
The page number of the original job from which the page buffer comes is displayed on the
right of the delete permission.
For example, if you are producing separated CMYK color, the RIP produces four mono‐
chrome pages for each original page of the job. The first four pages represent the Cyan,
Magenta, Yellow, and Black separations for the original page 1. The next four represent the
CMYK separations for the original page 2, and so on. Separated pages produce pages with
the original number labeled by color. Thus the four separations for page 1 are called
1. Jobname (C), 1. Jobname (M), and so on.
If you only print a range of pages from a document, they are labeled in the original job from 1
upwards, rather than with the true page number in the document. For example, pages 3
through 7 of a document are labeled from 1 through 5 in the job.
The original job name
The name to the right of the page number is the job name. This is not necessarily the same as
the file name of the job.
If the job name for a PostScript language job is not specified in the page description, then one
of the following will apply:
• If the input came from a file, the file name will be used.
• If the input came from the Executive, then the value of %exec% will be used.
For other types of jobs, the file name will be used.
The color for printing the page
Color separation pages in the Output Controller are labeled with their separation name (for
example: C, M, Y, or K; or the spot color name), or Composite if there are several colors on one
page, for example when using the PackDrum page feature. (PackDrum is intended for use with
drum imagesetters, and it is an example so you must add it before use, as described in “Fea‐
tures” on page 151.)
4.3.1.5 Monitoring progress

The Output Controller can be used to monitor the progress of each page as it is printed: the
large box between the two queues gives you an indication of the progress of the job. As soon
as a buffer begins to print, the shape of this progress box changes to reflect the aspect ratio of
the page. For instance, if it is a portrait page, the box will have greater height than width, and
if it is a landscape page, it will be wider than it is high.
As the page is printed, the box starts to fill from the top with a light gray pattern, followed by
dark gray. Figure 4.2, page 76, shows this happening.
• The amount of dark gray in the progress box indicates the proportion of the job that
has already been printed.
• The amount of light gray in the progress box indicates the proportion of data currently
in the printer buffer, waiting to be printed.
• The amount of white space in the progress box indicates the proportion of data not yet
printed and not yet buffered.
• When the progress box is completely filled with dark gray, the page has finished print‐
ing, though margins and extra feeds may require a few more seconds.
In addition, the time taken for the current page buffer is displayed in the message area below
the progress box.
Some printers may also buffer the data internally, so they may not start printing until some or
all of the data has been received.
The message area and the progress box are both used to display additional information when
problems arise. For example, if your printer becomes low on media, an icon will be displayed
in the progress box, together with an appropriate status message. See Appendix A, “Trouble‐
shooting”, for a full description of these error messages.
Note: In either of the single modes, the Output Controller is not available and the progress
box appears in a separate window.
4.3.2 Job management

The Output Controller gives you control over a variety of page attributes. Using the Output
Controller you can for example:
• Ensure that certain pages will never be automatically deleted.
• Specify the number of copies of any page to print.
• Change individual page characteristics without having to interpret the job again.
There are two general methods of controlling these attributes: configuring the RIP so that it
carries out certain tasks automatically, and changing them yourself.
4.3.2.1 Deleting buffered pages
When the RIP is in either of the multiple page buffering modes, pages are kept buffered on
disk. When the hard disk fills up, however, there is no room for new pages, and so the RIP
cannot interpret any further jobs. To proceed, the RIP deletes some existing pages to make
room for new ones.
The drop‐down list labeled Delete in the Output Controller lets you specify one of three strat‐
egies to follow. Choose whichever option you prefer.
• The default strategy is When necessary. As disk space is required for new page buf‐
fers, the oldest ones will automatically be deleted from the Held Queue. Pages which
have been locked will not be deleted. (See “Locking important pages” on page 83, for
details of how to lock pages.) The amount of hard disk space currently available is dis‐
played at the bottom of the Output Controller, so you can tell when old page buffers
are likely to be deleted. (The number displayed does not include any space you have
reserved for the system—see Chapter 7, “Configuring the RIP”).
• Choosing Always will cause pages to be deleted immediately after they have been out‐
put. This means that page buffers will never be retained for reprinting, unless they
have been locked before printing was completed. (See “Locking important pages” on
page 83, for details of how to lock pages.) When switching to Always from another
strategy, any unlocked pages in the Held Queue will be automatically deleted if you
answer yes to a prompt.
• Choosing Never will cause pages to be locked as soon as they have been output, which
means that they will never be deleted automatically. If this strategy is used for long
periods of time, the hard disk will eventually fill up, and no more jobs will be pro‐
cessed until you manually remove pages or otherwise create more disk space.
Note: The option When necessary offers a good way to retain newer page buffers and man‐
age disk space automatically. If you choose Never or Always for some special purpose, we
strongly suggest that you return the setting to When necessary as soon as possible—the RIP
remembers and uses the option you choose for Delete, even between RIP sessions.
In When necessary and Always modes, it is possible for the RIP to get so far ahead of the
output device that the disk becomes filled with pages in the Active Queue. In this case, the RIP
will temporarily suspend creating more pages until some of the existing ones are output and
can be deleted to allow it to continue. The Harlequin MultiRIP window displays a message
warning that the system has temporarily run out of disk space.
If disk space runs out when there are no pages that can be removed and no pages still to be
output, the RIP will continue anyway, and if the disk reserve is used up then it will abort the
job.
4.3.2.2 Operations on buffered pages

There are a number of useful tasks that you can perform on buffered pages, as listed below.
Some of the options are only available for pages which are not currently being output or
when no pages are being output.
Using the lists of page buffers, and the Roam button, you can:
• View pages on the screen.
• Select several color separations and view them on the screen.
Using the Info button and the Info dialog box, you can:
• Lock and delete page buffers.
• Print multiple copies of page buffers.
• Change a page to print in negative or vice versa.
• Change the exposure with which page buffers are printed.
• Trim excess white space from the output.
• Select the output device and cassette for page buffers (when appropriate).
• Set margins and center the page on the media (when appropriate).
• Change the colors used to Roam page buffers.
You can apply these changes to the selected page only, or to all the pages of a job.
These options are available in the Info dialog box. (Some options can be unavailable: either
temporarily while you are Roaming a related page buffer or permanently because the output
plugin requires particular settings.) Display the Info dialog box by selecting a page and
pressing the Info button, or by double‐clicking on the page.
Note: The mark ( < ) in front of the name of an older buffer is there to remind you that there
are some limitations on what you can do with earlier versions of page buffers: see “Page buf‐
fers produced by older versions of the Harlequin MultiRIP” on page 86 for details.
4.3.2.3 Viewing pages with the Roam function

You can view one page or several pages or separations at the same time.
By selecting one page buffer and clicking Roam, you can preview the selected page. This pre‐
vents wasted film and time by letting you check that an image has processed correctly before
it is printed. While roaming a page, the RIP is still able to process other jobs, but not to output
them. You cannot roam a page while the RIP is outputting, so you should disable output
when using Roam.
To roam more than one page at once, select all the pages you wish to view and click Roam;
the selected pages will be overlaid in the Roam window. For example, this allows you to pre‐
view all separations of a color image together. Remember, you can select several buffers
using the Shift and Control keys.
When viewing a higher resolution image, the Roam > Reduced Roam menu option is probably
available. It allows you to see more of the image in one view. You must close the Roam win‐
dow (and the Reduced Roam window if you opened it) before you can roam another page.
For more details about the Roam function see “Roam and Preview windows” on page 101.
4.3.2.4 Locking important pages

To lock a page buffer so that it is not deleted by the RIP when disk space is low, select the
Don’t delete page check box in the Info dialog box. Page buffers which have been locked in
this way are displayed in the Output Controller with a mark on the left of the job name, as
described on page 79.
Figure 4.4 Info dialog box
You can delete any buffers from the hard disk—whether locked or not—by selecting them
and clicking on the Remove button in the Output Controller. A warning dialog box appears
which lets you cancel the operation if necessary.
4.3.2.5 Printing multiple copies

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

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

You can trim white space from the top and bottom of a page by selecting the Trim page check
box in the Info dialog box. The default trim page setting is specified in the Page Setup for the
selected job. See “Other options that save media” on page 138, for details. Trim page is
switched off as a default.
4.3.2.8 Changing the output device or cassette

You can change the selected output device or cassette for a page by choosing the one you
want in the Output device or Cassette drop‐down lists of the Info dialog box. Next time the
page is printed, the new output device or cassette will be used. The default value taken by
these options is the one specified in the Page Setup for the selected job. See Chapter 5, “Con‐
figuring Output Formats”, for details.
Only output devices suitable for the page buffer are shown in the Info dialog box.
4.3.2.9 Changing the exposure

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

You can specify the color of a job separation to roam from the Info dialog box. Click the
Change roam color button to use the Change Roam Color dialog box, as described in “Chang‐
ing the color in Roam” on page 404.
When roaming color images, this lets you assign different colors to different separations and
view the resulting image without having to interpret the job again.
4.3.2.11 Specifying page layout

You can change a variety of margin settings for a page buffer by clicking Page layout in the
Info dialog box. The Page Layout dialog box will then be displayed, as shown in Figure 4.5. It
is the same as the Page Layout dialog box that you can display by clicking Page layout in the
Edit Page Setup dialog box, as described in “Default page size” on page 139.
Figure 4.5 Page Layout dialog box
This dialog box allows you to change the margins for the selected page buffer. Type the mar‐
gin size you want into the appropriate text boxes. You can choose the units of measurement
you require from the Select units drop‐down list. In addition, you can center the selected
page on the media by clicking on the Center page on Media Width and Center page on Media
Length check boxes. The default value for each option is taken from the Page Setup for the
selected page buffer. If you override any of these values, they will take effect next time you
print the page buffer.
Some of the fields in the Info dialog box may not be editable, depending on the type of
device.
Note: When Centre page on Media Length and Centre Page on Media Height are enabled the left
and top margin values are set to zero. In other words, the RIP does not clip when those
options are turned on. The page buffer ignores the margin when the “centre” options are
turned on.
4.3.2.12 Changing attributes for the whole job

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

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

This section gives more details about each page buffer mode. As mentioned earlier, you
should use Multiple (Parallel) mode whenever possible, but if this proves difficult, you can
specify a different mode in the Configure RIP dialog box, described in Chapter 7, “Configur‐
ing the RIP”.
Recall that a page is buffered to disk into a file of rasterized data, produced as the RIP inter‐
prets the data on the page. When the page has been interpreted, the data in the buffer file is
sent to the output device and printed.
Using buffers on disk means that complex pages can be interpreted without requiring large
amounts of working memory.
This section provides more specific details than the brief description in “Page buffering
modes” on page 73. You may find this section useful if you wish to experiment with running
the RIP in different modes.
4.4.1 Multiple (Parallel) mode

Multiple (Parallel) mode is a highly efficient way of increasing throughput, utilizing your
computer to the full, and is the recommended mode for most cases. However, if you have an
output device that can stop / start, you may want to use the Single (if required) mode, espe‐
cially if the data rate of the printer is high.
Interpretation of pages can proceed while other, already interpreted, pages are being output.
In addition, multiple page buffers are created and saved on disk in this mode. These are not
deleted after the pages have been output, allowing pages to be reprinted whenever necessary.
This is extremely useful if a problem such as a developer jam occurs with the output device.
All the available processor time on your machine is used in this mode—priority goes to the
task of sending bitmap data to the output device, and any processor time not used in that
way can be used to interpret the next page of data.
It is possible for several pages to have been written to disk, but not yet sent to the output
device. This may occur if there are pages which are quick to interpret, or if the printer is rela‐
tively slow or is not ready.
Eventually, of course, this will fill up the hard disk. When this happens, interpretation is sus‐
pended until enough pages have been output and deleted, or disk space has been freed up by
another application. When the disk fills up, the Harlequin MultiRIP window displays this
message:
System warning: Insufficient Disk Space
In Multiple (Parallel) mode, you can customize the RIP so that when disk space runs out, it
automatically deletes pages which have been output. See “Deleting buffered pages” on page
81 for details.
4.4.2 Multiple mode

In Multiple mode, like Multiple (Parallel) mode, page buffers are kept on disk. (This is in con‐
trast to the single modes, where only one page can be held on disk at a time.) Before reprint‐
ing, the Output Controller can be used to change many characteristics of the interpreted
pages, meaning that time is not wasted in interpreting jobs again.
As in Multiple (Parallel) mode, it is possible that the hard disk will become full—you should
ensure that page buffers are deleted when necessary to free up disk space. You can let the RIP
delete pages for you, preserving important pages which you do not want deleted, or you can
delete page buffers yourself whenever you want.
The main difference between this Multiple mode and Multiple (Parallel) mode is that inter‐
preted pages cannot be output while other pages are being interpreted.
In Multiple mode, when a page is ready, interpretation is suspended until it has been output,
in a similar fashion to the way the single modes operate. The advantage of Multiple mode
over either of the single modes is that, because multiple page buffers can be written to disk,
interpretation can continue even if the output device is not ready to accept data (for instance,
if there is a media jam or if it has been turned off).
Multiple mode should be used if you experience a lot of data underrun in Multiple (Parallel)
mode. This is only likely to happen with very complex jobs or an output device that requires
data to be supplied at a very high speed.
4.4.3 Single mode

When running in this mode, the RIP interprets a page of a job and sends it to the output
device, then interprets the next page and sends it, and so on, until all the jobs specified have
been printed.
Note: To run successfully in Single mode, as in Multiple mode, it is important that the RIP
can send data to the output device as quickly as the output device requires it.
In this mode, the RIP always creates a single page buffer, sends the data in it to the output
device, and then deletes the page buffer to make room for the next one. This means that you
cannot use the throughput system tools.
By default, if a data underrun occurs and data cannot be read from the page buffer fast
enough to keep up with the printer, the RIP tries once more to output the page and, if it still
fails, aborts the job.
Note: The RIP does not display the Output Controller/Monitor in Single mode and Single (if
required) mode.
In this mode, the Output menu, on the main Harlequin MultiRIP window, contains a Hold and
Reprint option. (You can also select this option by pressing Ctrl+H.) Selecting this option
allows you to choose whether or not to reprint each following page without having to rein‐
terpret it. This can be used to print more copies of a page.
When you have selected the Hold and Reprint option, the RIP displays a dialog box at the end
of processing each page—asking if you want to reprint the page. You can answer: Yes, in
which case the RIP reprints the page and re‐displays the dialog box; or No, in which case the
RIP deletes the page buffer and interprets the next page.
Note: As a side effect of using Hold and Reprint, the RIP displays a harmless error message in
the Harlequin MultiRIP window:
%%[PrinterError: re-print for hold and re-print]%%
4.4.4 Single (if required) mode
This mode is similar to Single mode, except that a single page buffer will be created only when
it is necessary. The RIP will attempt to output a page to the printer without using a page buffer
at all, but will create one in either of the following cases:
• It is not possible to interpret the page quickly enough to keep up with the printer, and
the printer does not have a stop and restart function.
• All the available working memory on your computer has been filled by interpreted
data before the page has been completed.
In the second case, the interpreted data is placed in a page buffer, thus freeing memory. More
data is interpreted, and when memory is exhausted again the data is merged into the original
page buffer, and memory is again available to continue the job. This process continues until
all the data for the page has been interpreted, at which point the data in the page buffer is
sent to the chosen output device, as for Single mode.
This mode is very productive but robust where there is an unpredictable mix of simple and
complex jobs, and is especially useful when most jobs are relatively simple. It is productive
because the RIP processes the simple jobs without creating disk buffers and achieves maxi‐
mum throughput for these jobs. It is robust because, when a job is complex enough to require
buffering, the RIP creates and then sends the page buffer: this takes some extra time but the
time is taken only when required.
In some cases, Single (if required) mode provides the quickest way to output a job.
The Output menu on the main Harlequin MultiRIP window, contains a Hold and Reprint
option, as described for Single mode.
4.4.5 Multiple (Parallel) compared to Single (if required) mode

The preferred mode for maximum performance and convenience is Multiple (Parallel) mode.
The Single and Multiple modes will always be slower than Multiple (Parallel) mode: they are
available only to help you cope with very demanding output devices that are not able to
stop/start, when there is very little memory to use as a printer buffer.
However, in some circumstances, it is possible that the Single (if required) mode will be
faster than Multiple (Parallel) mode. This is because the bitmap of an output page does not
need to be compressed, written to disk, read back from disk and decompressed again, before
being printed. If you run in Multiple (Parallel) mode, and the page buffer folder is on a RAM
disk, the disk time required is minimal, but you still have to compress and decompress the
page. It is a question of speed versus convenience. Multiple (Parallel) mode offers much
greater convenience, and will usually also offer the best performance.
However, you should use Single (if required) mode if you are either only outputting a single
page, (so there can be no benefit from the overlapping of outputting and interpreting) or if
the time to compress and decompress the page to and from disk is large. This is true, for
example, of the Seybold Rainbow Islands test job, where 30% time savings are possible if Sin‐
®
gle (if required) mode is used at 2400 dpi.
The main problem with Single (if required) mode is that if the job is too complex, then the
printer will catch up, a paint to disk will be necessary, and the page output again: wasting the
time spent on the failed page and some media.
Another potential inefficiency of Single (if required) mode is that if the page is relatively sim‐
ple, a lot of processing time is wasted when the page is outputting, which could be used to
get the next page ready (as happens in Multiple (Parallel) mode).
4.5 Page buffering modes: a summary

The table below provides a summary of the major capabilities of each page buffering mode.
Single (if Multiple

Will the Harlequin MultiRIP… Single Multiple
required) (Parallel)
Ever create a page buffer?    
Always create a page buffer?    
Ever create more than one    
page buffer?
Retain any page buffers on    
disk?
Always output as soon as a    
page is ready?
Always stop interpreting    
while outputting?
Interpret pages while    
outputting other pages?
Allow pages to be output    
again?
Allow modification of page    
buffer settings without
reinterpretation?
Allow previewing the page?    
Table 4.2 Summary of the capabilities of each page buffering mode
5
Configuring Output
Formats
Chapter 3, “Getting Started with the Harlequin MultiRIP”, presented some of the basic ways
of getting output from the RIP. That chapter introduced the Page Setup Manager and Edit
Page Setup dialog box and showed how you can use Page Setups to choose the output device
and many output options.
This chapter describes the details of these dialog boxes and discusses likely output devices.
5.1 Creating and managing Page Setups

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

The Page Setup Manager dialog box appears when you choose Page Setup Manager from the
Harlequin MultiRIP menu, or when you type Ctrl+S. (You must stop inputs before you can dis‐
play the Page Setup Manager: if necessary, choose the Harlequin MultiRIP > Start Inputs menu
option or click the tool bar button that shows a red arrow and traffic lights.)
Figure 5.1 Page Setup Manager dialog
The Page Setup Manager contains a list of all existing Page Setups, showing the name of each
Page Setup, the corresponding output device and some important settings: the output resolu‐
tion, the calibration set in use, and the separations style.
In a new installation of the RIP, there is always one Page Setup called Default Page Setup.
This Page Setup uses a set of options that can be expected to work with any installation of the
RIP, producing a low‐resolution on‐screen preview. You can delete or redefine this Page
Setup to suit your installation.
5.2.1 Controls and actions

The controls below the list allow you to create new Page Setups, and to edit, copy, or delete
existing Page Setups. You can also choose the units in which to view the resolution of output
listed for each Page Setup.
Edit Select a Page Setup and click this button to edit it in the Edit Page
Setup dialog box. A shortcut is to double‐click a Page Setup. See “Edit
Page Setup dialog box” on page 94 for details of using this dialog box.
Note: To rename a Page Setup, copy it and save the copy with the
desired name, before deleting the original.
New Click this button to create a new Page Setup and edit it in the New
Page Setup dialog box. See “Edit Page Setup dialog box” on page 94
for details of using this dialog box.
Copy Select a Page Setup and click this button to edit a copy in the New Page
Setup dialog box.
Delete Select one or more Page Setups and click this button to delete them.
If any of the Page Setups are in use by a managed input, the RIP dis‐
plays a warning dialog box for each used Page Setup. Click Yes if you
are certain that you want to delete the Page Setup.
5.2.2 Reordering Page Setups

You can also select Page Setups and reorder them by dragging them to new positions in the
list. The order in the Page Setup Manager is the order of the Page Setups listed in the Print
File, Proof Fonts, and Print Calibration dialog boxes and in the Select Page Setup dialog box
shown before entry to the Executive window.
5.2.3 Selecting several Page Setups

You can select multiple Page Setups when you want to delete or reorder them. Use the fol‐
lowing keys:
Shift
To select a block of setups that appear together in the list, select the first setup in the block,
then, while holding down the Shift key, select the last setup in the block.
Ctrl
To select several setups, regardless of whether they form a continuous range, hold down the
Control key while selecting the setups you wish to delete.
5.2.4 Closing the Page Setup Manager

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

The Edit Page Setup dialog box (shown again in Figure 5.2) appears when you click Edit in
the Page Setup Manager. The New Page Setup dialog box appears when you click New or
Copy. The New Page Setup dialog box is the same as the Edit Page Setup dialog box, except
that the OK button is labeled Save As. See “Closing the New Page Setup dialog box” on page
95 for details. References to the Edit Page Setup dialog box throughout this manual also
apply to the New Page Setup dialog box.
Figure 5.2 Edit Page Setup dialog box
The options you can configure from the Edit Page Setup dialog box include:
• The device to which the RIP sends output.
• The separations to be created from each job, together with the output format.
• The halftone screening to be used with each job.
• The calibration to be applied to each job.
• The color setup for the job.
• The effects to be applied to input jobs.
“Selecting different devices” on page 96 through “XPS Options” on page 163 describe the
options within these categories. Many options involve subsidiary dialog boxes.
All the information that you need to create a Page Setup is available from the Edit Page Setup
dialog box. You can call the Device Manager, Separations Manager, Color Setup Manager,
Calibration Manager, and the Cassette Manager from the Edit Page Setup dialog box.
The changes you make in these managers are independent of the Page Setup you are creat‐
ing. For example, you can use the Separations Manager to create a separations style, even if
you do not want to use that separations style in the Page Setup.
5.3.1 Closing the Edit Page Setup dialog box

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

You must close the New Page Setup dialog box to save your changes. You must also close the
Page Setup Manager before you can use any tool bar buttons or menu options in the RIP: for
example, to start inputs.
If you click Save As in the New Page Setup dialog box, a dialog box appears, requesting that
you enter a name for the new Page Setup. Figure 5.3 shows this dialog box.
Figure 5.3 Save Setup dialog box
The dialog box shows a list of existing Page Setups. You have these options:
• Type a name in the Save As text box and click Save. The new Page Setup is added to
the list in the Page Setup Manager.
• Select a name from the list of the Page Setups to transfer it to the Save As text box. You
can edit the name first or click Save immediately to overwrite the existing setup.
• Click Cancel to return to the New Page Setup dialog box.
If you attempt to save a setup using an existing name, the RIP asks you to confirm the action
before overwriting the existing setup. If you answer No, you return to the Save Setup dialog
box where you can choose another name.
Once you have saved the Page Setup, you must also click OK in the Page Setup Manager to
finally save your changes.
5.4 Selecting different devices

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

Under Resolution, there are two options that allow you to specify the resolution of the image
to be printed. The resolution defines the detail with which an image is printed or displayed,
and is given in terms of dots per inch (dpi).
The list of available resolutions varies between output devices. Most physical output devices
support a limited number of resolutions and you must choose from the values shown in the
drop‐down lists. For some devices (such as TIFF) you can either type in a resolution or
choose one of the values.
Normally the vertical and horizontal resolutions should be the same value: this is your only
option when the screening method is HDS or when the chosen output device requires the
same vertical and horizontal resolution. For other screening methods and with other output
devices you can set the resolutions to different values—if you need to.
• Set both resolutions at once by defining just the vertical resolution—the horizontal res‐
olution is automatically set to the same value.
• Set different vertical and horizontal resolutions by setting first the vertical and then the
horizontal resolution.
Note: The resolutions shown in this dialog box always take effect for jobs that do not specify
a resolution. If the job attempts to specify the resolution, you must select the Override resolu-
tion in job check box if you want to produce the resolution shown here.
5.4.2 Image interpolation

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

If you input an image that has a resolution which is slightly lower (between 50%‐100%) than
the resolution of the output device, the resulting image appears with “jaggies”. Image inter‐
polation will generally eliminate this type of problem, with very little (if any) perceptible loss
of image quality.
If you input an image that has a resolution which is significantly lower (50% or less) than the
resolution of the output device, the resulting image appears “blocky”. Image interpolation
will smooth such images giving a blurry look. If the resolution of the original image is
reduced more when compared to the output device, the output becomes more blurry.
In practice, you can still get jaggies when the image has a resolution that is significantly
lower in resolution, but their effects are not as pronounced as in the slightly lower case.
It is a good idea to run some tests and decide whether or not to use image interpolation.
Image interpolation works by producing a smooth transition between adjacent sample values
rather than painting all pixels covered by a source sample with the same color.
There is a performance penalty when interpolation takes place, and this penalty is related to
the area of the output image, and to whatever color management is taking place.
Because it may increase the time required to render the image, image interpolation is dis‐
abled by default. It is enabled when the width or height (or both) of an image on the device is
larger than the corresponding dimension of the source. If either dimension of the image on
the device is less than that of the source, the filter is deactivated.
Image interpolation takes place when the Interpolate flag in an image or mask dictionary is
set to “true” and this is set by the generating application, or you can force all images to be
interpolated.
Note: Interpolation (image and mask) is not supported for type 4 images.
Image interpolation increases the resolution of the image to the device resolution by increas‐
ing the bit depth of the image. For example, a 1 bit grayscale image will interpolate to, say, an
8 bit image, with a smooth gray scale transition between each black and white pixel.
Image mask interpolation produces output that is 4 times higher in resolution than the input,
but it can run up to three times in a row, providing at most 64 (4 x 4 x 4) times higher resolu‐
tion output. The mask interpolator uses two criteria to choose if higher resolution output is
needed:
• If the source mask width and height are both higher than the device resolution, stop.
• If either the source mask width or height are more than 150% of device resolution, stop.
• Otherwise, interpolate again.
The second check is concerned with images whose source data is not square, but they have
been transformed so that on the device they are close to becoming square. This is to avoid the
larger side of the image becoming very large as the smaller side tries to achieve the device
resolution.
5.4.2.2 Reducing image resolution

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

There are two output devices that are provided for sending output to the screen: Preview
and None. None is the more flexible choice if you are running the RIP in the Multiple or Mul‐
tiple (Parallel) page buffer mode.
None is a dummy device provided for test runs and for previewing, so no physical printing
takes place. You can preview the pages sent to the None device using the Roam command
from the Output Controller in the same way as you can preview the pages sent to an actual
device. You can roam several pages at once if they are the same size, which allows you to
view selected separations of a color image together or to compare buffers for the same page
when processed with different Page Setups. You can also hide one or more separations when
previewing a composite image. The Output Controller is only available in either of the multi‐
ple page buffer modes.
Preview is also a dummy device, and it enables you to preview individual separations, a
composite image, or selected colors of a composite image in all page buffer modes. The Pre-
view device does not allow you to combine pages or separations for viewing, and jobs sent to
Preview do not appear in the Output Controller.
5.5.1 Using the Preview device

By setting the output device to Preview, you can preview any jobs processed on your moni‐
tor. As a separate output device, Preview is most useful when running in Single or Single (if
required) modes, when the Output Controller is not available. The RIP pauses all job process‐
ing while you are viewing a page and resumes only when you close the Preview window.
When you print a file to the Preview device, a new window appears containing the image
processed, as shown in Figure 5.4.
Figure 5.4 Preview window
You have already seen an example of screen roam in Chapter 3, “Getting Started with the
Harlequin MultiRIP”. Using screen preview as a device gives you the same options as screen
roam. You can preview up to 24‐bit RGB or 32‐bit CMYK raster images, as long as you have
sufficient memory. If you have installed an N‐color device, you can also roam N‐color
images.
Navigation in the Preview window is the same as in the Roam window. For details see
“Roam and Preview windows” on page 101. You can hide one or more separations when pre‐
viewing a composite image. See “Roam Options and Preview Options dialog boxes” on page
102 for details.
5.5.2 Using the None device

When running in a multiple page buffering mode, you can preview pages from within the
Output Controller by clicking the Roam button. (See “Job management” on page 80.) By set‐
ting the output device to None, you can carry out test runs, and preview pages and
separations.
You have already seen an example of screen roam in “A simple Harlequin MultiRIP session”
on page 59. As you saw in that example, when you print to the None device, you can select a
page in the Held Queue of the Output Controller and click Roam. The Roam window appears.
The title bar of the Roam window contains the name of the file, the resolution and the color of
the page or pages. You can view any page in any queue of the Output Controller, not just the
pages you printed to the None device.
To roam more than one page at once, select all the pages you wish to preview and click Roam;
the selected pages will be overlaid in the Roam window. For example, this allows you to pre‐
view some or all separations of a color image together. Remember, you can select several
page buffers using the Shift and Control keys.

If you roam the separations of a color image or if you are roaming a composite image then
the combined image may become difficult to interpret, particularly if any of the separations
have similar colors. There are ways to reduce the complexity:
• You can hide one or more separations as you are roaming the separations until all but
one separations are hidden. See “Roam Options and Preview Options dialog boxes” on
page 102 for details.
• You can choose to display a separation in any color (in the Info dialog for that separa‐
tion) before starting to roam it. See “Changing the color in Roam” on page 404 for
details.
The Roam and Preview windows are described in detail in the following sections.
5.5.3 Roam and Preview windows

Note: This description applies to both Roam and Preview windows. For ease of description,
this section refers to the Roam and Reduced Roam windows only: the same description
applies to the Preview and Reduced Preview windows except that the word Roam in menus
becomes Preview.
When previewing pages, the size of the image is proportional to the resolution chosen in Edit
Page Setup: the higher the resolution, the larger the image appears. Choose a high resolution
if you want to look at a processed image in fine detail; choose a lower resolution to see the
whole image at once.
When you are viewing a higher resolution image, the Roam > Reduced Roam menu option is
probably available in the Roam window. It allows you to see more of the image in one view.
You must close the Roam window (and the Reduced Roam window if you opened it) before
you can roam another page.
For most sizes of page, there are horizontal and vertical scroll bars at the edges of the Roam
window. (The scroll bars appear only when the window is too small to display the whole
page at one time.) When there are scroll bars, you can use them to move your view to differ‐
ent parts of the page image. Alternatively, you can drag the page image around by holding
down the left mouse button when the cursor is over the image and moving the mouse. While
you are dragging the image, the shape of the mouse cursor changes to a hand. The hand
speed determines how quickly the image moves when you move the mouse. You can set the
hand speed, together with other options, in the Roam Options dialog box. See “Roam
Options and Preview Options dialog boxes” on page 102 for details.
Shift
Hold down the Shift key to see cross hairs marking the location of the view, in proportion to
the size of the Roam window. For example, if the cross hairs are shown in the bottom right of
the window, the window contains the bottom right portion of the page. Hold down the Shift
key and click the mouse (Shift‐click) to jump to another part of the page. For example, if you
Shift‐click on the middle of the window, the window scrolls to show the middle of the page.

5.5.3.1 Roam Options and Preview Options dialog boxes

Note: This description applies to the options for both the Roam windows and the Preview
windows. For ease of description, this section refers to the Roam and Reduced Roam win‐
dows only: the same description applies to the Preview and Reduced Preview windows.
Display this dialog box by choosing the Options command from the Roam menu in either the
Roam window or the Reduced Roam window.
Figure 5.5 Roam Options dialog box
The Roam Options dialog box contains a list of the separations shown in the Roam window
and the Reduced Roam window.
You can use this dialog box to choose the separations that are displayed. Select a separation,
or use the Shift or Control keys to select multiple separation names, then click one of these
buttons:
On Displays the selected separation or separations.
Off Hides the selected separation or separations. You cannot use this but‐
ton if using it would hide all separations.
The other controls do not require a selected separation.
Color display By default, the RIP displays the page image as quickly as possible. If

you prefer a more accurate (but slower) display of colors, select Accu-
rate from the Color display drop‐down list. (This control may be
unavailable if there are restricted display colors because of hardware
limitations or display modes chosen in the operating system.)
Hand speed The hand speed determines how quickly the image moves when you

move the mouse. If you find that the page image moves too quickly,
you can slow down the hand speed by selecting Medium or Slow from
the Hand speed drop‐down list.
You can close the Roam Options dialog box using the Roam > Options menu option again.
Alternatively, closing the Roam window will also close the Roam Options dialog box. If you

do not close the Roam Options dialog box explicitly, it will be displayed the next time you
preview pages.
5.5.3.2 Reduced Roam and Reduced Preview windows

When viewing a large or high resolution image, the Roam > Reduced Roam menu option is
probably available in the Roam window. It allows you to see more of the image in one view.
You must close the Roam window (and the Reduced Roam window if you opened it) before
you can roam another page.
Shift
If you Shift‐click at a particular point in the Reduced Roam window, the view in the Roam
window scrolls to center on that point on the page.
Shift
If you Shift‐drag with the mouse (hold down Shift key, then press and hold the mouse but‐
ton), you can range over the part of the page which is visible in the Reduced Roam window.
5.6 Output to Preview

By setting the output device to Preview in the Edit Page Setup dialog box, you can preview
any jobs processed on your monitor. Using screen preview as a device gives you the same
options as screen roam. As well as navigating a preview of an image, you can display a
reduced preview window, which shows the same image reduced in size.
If you are running the RIP in one of the multiple modes and wish to preview jobs, you may
find it useful to process those documents using None, and then preview each page buffer sep‐
arately from within the Output Controller by clicking the Roam button.
Under Separations, Screening & Color, the Style drop‐down list contains all the separations
styles created for the Preview device. The choice of separations style determines the color
space and format of the output.
See “Sending output to the screen” on page 99 for further information about the Preview and
None devices.
5.7 Output to None

The None device option available in the Edit Page Setup dialog box does not produce any
printed output, but it does perform all the required processing for the job, including the pro‐
duction of page buffers in the appropriate modes. This can be used for testing and timing
jobs, and is especially useful for previewing on screen when you want to jump between
pages or overlay separations using the Output Controller.


styles created for the None device. The choice of separations style determines the color space
and format of the output.
Note: The Output Controller is only available in either of the multiple modes. You can pre‐
view a page in one of the single modes by setting the output device to Preview instead of
None.
See “Sending output to the screen” on page 99 for further information about the Preview and
None devices.
5.8 Output to TIFF

The Harlequin MultiRIP can produce TIFF (Tag Image File Format) files, which you can
choose by selecting the TIFF output device in the Edit Page Setup dialog box. Most desktop
publishing applications can import this format of file.
The Harlequin MultiRIP produces TIFF files which are compatible with TIFF 5.0, Classes B
(bilevel), G (gray scale), and R (RGB color). CMYK color separations are also supported as
defined in the published TIFF 6.0 specification, Appendix K.
Note: If a TIFF file of 4GB or more is produced the output will abort, and a “File size over‐
flow” message will appear.
styles created for the TIFF device. The choice of separations style determines the color space
and format of the output.
Note: The TIFF file is complete when it appears in the file system with the name requested by
the user, primarily to ease any subsequent, automatic processing of the file. (To make this
possible, the RIP produces, and then removes, an intermediate file with the suffix .TMP , or
the suffix .TEM if the requested name has extension .TMP .)
You can configure how the RIP produces and names TIFF files by clicking Configure Device in
the Edit Page Setup dialog box, when the selected output device is TIFF. Alternatively, if you
are running the RIP in one of the multiple modes, the device of any page buffer in the Output
Controller can be configured by clicking Configure Device in the Info dialog box of that page
buffer.

Figure 5.6 shows the TIFF Configuration dialog box.
Figure 5.6 TIFF Configuration dialog box
The options in this dialog box fall into categories—location and naming, file format, and post
processing—as described in the following subsections.
5.8.1 TIFF file location and naming options

Choose the folder in which the Harlequin MultiRIP places files by clicking the Folder button
and choosing a folder from the dialog box— open the folder in the list and then click OK. The
TIFF Configuration dialog box then shows the path to the folder that you chose.
If Path includes resolution is selected, the RIP places any TIFF files created in a sub folder of
your chosen folder with the name of that sub folder set to the resolution of the job: for exam‐
ple, 300 or 2400.
Two naming options are available; Conventional and Template-based file name generation.
Conventional file naming is much the same as previous versions. Template‐based file naming
uses various tags to generate the name. This method has previously been used in a number of
Harlequin MultiRIP plugins.
Choose the method you wish to use by selecting the option in the File name generation field.
5.8.1.1 Template-based name generation

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

Most tags are content tags, representing variables such as the date and time a job is pro‐
cessed; the other tags allow you to reject names that would be illegal in a specified operating
system.The maximum length of variables can be specified by preceding the tag name with an
integer. For example, <5jobname> truncates the job name to a maximum of five characters.
Tags that produce numeric values are truncated from left to right, whereas tags that produce
alphanumeric strings (strings containing the characters a‐z, A‐Z, and 0‐9) are truncated from
right to left. See the example below for further details.
Fixed text can be part of the file name stem or extension. For example,
stem_<3unique><sepname><dot>tif would generate a file name of the form:
stem_000Cyan.tif, in which stem_ can be any identifying text.
Try to use a file name extension that does not clash with any established convention.
Note: This file naming scheme does not provide useful file names derived from job names
that contain double‐byte characters.
The default when Template-based is selected but the template field is left blank is:
TIFF<2unique>.TIF
This means that when 100 files have been processed the RIP will stop.
Note: If you use unrecognized tags they will be maintained in the output filename.
The following tags are available and can be used in any order:
Tag Description
<colorant> The color space of the device, such as DeviceCMYK, DeviceRGB, or

PhotoInk.
<colorname> The name of the separation, such as Cyan.
<date> The date when the job is processed, in the format YYYYMMDD, unless a
truncated form is specified.
<dot> Separates the stem of the file name from the file extension, and appears
as a period character ( . ) in the file name. For example,
stem<dot>ext appears as stem.ext. The use of the <dot> tag
enables the verification of the stem and extension lengths.
<exposure> The exposure setting, a device specific integer.
<job#> The job number allocated by the RIP. Automatic numbering means that
successive jobs have incremented job numbers: 000, 001, 002, 003,
and so on.
<jobname> The page buffer name without the page number prefix and without
characters illegal to the operating system. Whitespace characters are
used, if present in the job name.
<jobname1> The page buffer name without the page number prefix, and using only
alphanumeric characters (a‐z, A‐Z, 0‐9). Whitespace characters are not
used.
<page#> The page number (allocated by the RIP), within the current job. For
example: 002.
Table 5.1 Output file name tags

Tag Description
<prefix> The page number prefix from the page buffer name, such as 1., 2., and
so on.
<prefixonly> You can use this tag to include the characters from the prefix before the
full point in the job name.
<realpage#> The page number is determined using the HqnPageCounter procset.
This is zero if the HqnPageCounter procset is not available.
<time> The time when the job is processed, in the 24‐hour format HHMMSS,
unless a truncated form is specified.
<unique> A unique sequence number used to make file names unique when
outputting files to a directory.
<xres> The horizontal resolution of the page, as specified in the Page Setup.
<yres> The vertical resolution of the page, as specified in the Page Setup.
Table 5.1 Output file name tags
The legality of an automatically generated file name is always checked against the require‐
ments of the operating system on which the RIP is running.
To enable portability of files from one operating system to another, you can also use tags to
specify the operating system for which generated file names must be suitable. The use of
these tags changes the rules by which a file name is deemed valid. The tags do not modify the
file names generated, but cause error messages if the file name is invalid.
For example, you can create the template <dos>Averylongfilename.tif, but an error is
generated. This error occurs because DOS file names require the 8.3 format for stem and
extension, which this template fails to meet by having 17 characters in its stem. Table 5.2 lists
the operating system tags.
Tag Description
<dos> Verifies that the file name is a legal file name for the MS‐DOS operating
system.
<mac> Verifies that the file name is a legal file name for the Macintosh operating
system.
<macosx> Verifies that the file name is a legal file name for the Mac OS X operating
system.
<unix> Verifies that the file name is a legal file name for the UNIX operating system.
<win32> Verifies that the file name is a legal file name for Windows operating systems.
Table 5.2 Operating system tags
Note: These operating system tags should always appear at the start of the template line.

Note: Illegal characters which would cause an error on a particular platform are removed.
The template format means that it is not currently possible to include less‐than (<) or greater‐
than (>) characters in a template due to their use as tag delimiters.
The following examples demonstrate the format of strings produced by individual tags.
Some examples also show how the tags may be used in combination to form a template. The
examples are based on these job details:
Page buffer name: 1. TestPage: Section 20‐Book 9
Date: 12th of May, 2004
Note: When creating multiple copies of a file, the same page buffer provides tag information.
If a template contains dynamic tags (such as <time>, where the value changes each time that
a page buffer file is output), then multiple copies of the file are created. If the template con‐
tains just static tags (such as <jobname>, where the job name remains constant), a single
output file is created. If there is no uniqueness in the name, because the file already exists, a
message to that effect is sent to the RIP monitor and output fails with a file creation
error.
<colorant>
This tag includes the color space of the device in the file name string.
For example, the template <colorant><dot>tif produces a file name of the form Pho-
toInk.tif for a device using a PhotoInk color space.
<colorname>
The tag <colorname> can be used to include the name of the separation in a file name,
for example: Cyan. You can include just the first letter of the separation by using the tag
<1colorname>, which truncates the separation name to its first letter. If a composite
style is used this is indicated by the string Composite. If a monochrome style is used
this is indicated by the string Gray.
<date>
The template <date><dot>tif produces the file name 20040512.tif. You can remove
the year information by using the tag <4date> to produce the file name 0512.tif.
<dos>
The use of this tag verifies that the file name is suitable for use in a DOS operating sys‐
tem. Illegal characters, such as a colon and whitespace characters which would cause
an error, are removed.
For example, the template <dos><jobname><dot>tif, would generate an illegal file
name because the job name is greater than the eight characters allowed in DOS operat‐
ing systems. Truncation can be forced by using the template
<dos><8jobname><dot>tif, which produces the file name TestPage.tif.

<dot>
This tag separates the file name stem from the file name extension and enables the veri‐
fication of their lengths. It is particularly necessary when creating file names compati‐
ble with DOS and Windows, otherwise the extension may be considered as part of the
file name.
For example, the template <dos><8jobname>.tif would cause an error because the
dot is removed as an illegal character and tif is then considered part of the file name
stem.
<job#>
You can use this tag to include the job number in the file name string. The default
length of the number is three digits, so the first file name created with this tag would be
000, unless a different length is specified. You can specify the length of the job number
by preceding the <job#> tag with an integer. For example, <5job#> creates job num‐
bers five digits long.
In multi‐page jobs use the <page#> tag as well as the <job#> tag to differentiate
between the different pages of a job.
<jobname>
This tag ensures that only legal operating system characters are used in the job name.
For example, in the RIP running under any Microsoft Windows operating system, the
template <jobname><dot>tif produces the file name TestPage Section 20-Book
9.tif. The colon character ( : ) is removed from the file name, because this is not a
valid file name character for any version of Microsoft Windows.
<jobname1>
This tag ensures that only alphanumeric characters are used in the job name.
For example, in the RIP running under a Windows operating system, the template
<jobname1><dot>tif produces the file name TestPageSection20Book9.tif. The
colon and whitespace characters are removed from the file name, because they are not
alphanumeric characters.
<mac>
The use of this tag verifies that the file name is suitable for use in a Macintosh operating
system. Illegal characters such as an asterisk, colon, and quotation marks cause an
error. The maximum length of a file name is thirty‐one characters (including the file
extension).
For example, using the template <mac><28jobname><dot>tif produces the file name
TestPage Section 20-Book 9, in which the colon has been removed.
<page#>
You can use this tag to include the page number in the file name string.

For example, the template <page#><dot>tif produces a file name of the form
001.tif. It is advisable to use this tag with the job number tag to differentiate between
the same pages of different jobs.
<prefix>
You can use this tag to include the page number prefix from the page buffer name in the
file name string.
For example, based on the page buffer name above, this tag produces the string 1.
<time>
You can use this tag to include the time a file is processed in the file name string.
For example, if printing to file at 15:39:36 (approximately 3:39 pm) this tag produces the
string 153936.
<unique>
You can use this tag to generate a unique sequence number for the page. The default
length of the number generated is four digits long, so the first number would be 0000.
The length of the number can be specified, as detailed in the example for the tag
<job#>.
When restarting the RIP, the unique numbering will attempt to restart at its initial
value, for example: 0000. However, if a file exists with that number, the next available
unique number is used.
<unix>
The use of this tag verifies that the file name is suitable for use in the UNIX operating
system. Illegal characters such as an asterisk, colon, and quotation marks cause an
error. The <dot> tag cannot be used with this tag because file names in UNIX are com‐
posed of a single string and are not considered to have separate file extensions.
For example, using the template <unix><255jobname>.tif produces the file name
TestPageSection20-Book9.tif, in which the colon and whitespace characters have
been removed.
<win32>
The use of this tag verifies that the file name is suitable for use in a Windows operating
system. Illegal characters such as an asterisk, colon, or quotation marks cause an error.
For example, the template <win32><jobname><dot>tif produces the file name Test-
Page Section 20-Book 9.tif, in which the colon has been removed.
<xres>
You can use this tag to include the horizontal resolution of the page in the file name
string.
For example, you can differentiate between pages with a resolution of 1440 x 720 dpi
and 720 x 720 dpi by using this tag. This tag produces a string such as 1440 or 720,
depending on the horizontal resolution.

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

Selecting Conventional in the File name generation text box allows you use the previously
employed method of generating file names.
In general, the RIP names each file within a folder uniquely by combining characters from
some of the following character strings:
• The page number of the job.
• A stem—fixed or variable.
• The name of the separation.
• A sequentially increasing number.
• A suffix.
If the combined length of these character strings is sufficiently long, the RIP truncates the
stem to stay within the maximum length of a file name on the computer running the RIP or
an optional tighter limit providing greater portability between different types of computers.
To impose the limit for portability, select the box Use 8.3 Filenames. This specifies a maximum
length of 8 character names with 3 character extensions: for example, TIFF3001.tif. This
limit is necessary if you wish to move the TIFF files to a PC running some older versions of
MS‐DOS or Windows.
Specify the suffix of the file name (that is, the file extension) by typing a string into the Suffix
text box. By convention, many applications expect the suffix of a TIFF file to be .tif or .TIF.
The stem of the name can be a fixed stem or a variable stem based on the jobname.
You can specify the fixed stem of the file name produced (that is, the first part of the file name)
by typing it into the Stem text box. For example: TIFF.
The RIP creates a simple file name based on the stem, a sequentially increasing number, and
the suffix. For example, for a stem of TIFF the sequence is: TIFF00.tif, TIFF01.tif,
TIFF02.tif, and so on. If any of these files already exists, the RIP creates the lowest num‐
bered file that does not clash and increases the numbers from that starting point, avoiding
any other existing files.
Alternatively, the RIP can use the job name itself as the variable stem of the file name if you
select Use jobname as stem. The job name is truncated if necessary to keep within the allowed
length of file name.
In this case, the RIP creates a file name based on the page number of the job, the job name, the
color of the separation, a number, and the suffix. For example, when separating a color job
called jobname.ps, you might see: 1jobnamepsC00.tif, 1jobnamepsM00.tif,
1jobnamepsY00.tif, 1jobnamepsK00.tif, 2jobnamepsC00.tif, 2jobnamepsM00.tif,
2jobnamepsY00.tif, 2jobnamepsK00.tif.

If a file already exists, the RIP creates the next file in the sequence.
If you do not want the page numbers to appear at the start of the file name, select the Del page
num prefix check box. In this case, the RIP creates file names such as jobnamepsC01.tif. This
option is only relevant if you select Use jobname as stem.
The Use jobname unchanged option is designed to support jobs arriving with names that
include double‐byte characters, as used in several Oriental languages and other extended
alphabets. Previously, the output file name was constructed after testing characters byte by
byte, and discarding characters that were potentially illegal in file names. This is still the safe
and strongly recommended option, but when there are illegal characters it can produce files
with unpredictable names, which may be difficult to use in complex workflows.
To retain the previous behavior, leave the check box Use jobname unchanged unselected.
To enable the new option, select the check box Use jobname unchanged. (For this option to
work, you must also select Use jobname as stem.) The result is that each TIFF file has a pre‐
dictable name but that name may be illegal because of length or characters used in the name.
It is very dangerous to use this option where the form of incoming job names is not known
before submission to the RIP.
Note to OEMS: Warning:
You must test the consequences of using this option in a controlled,
non‐production environment, and you must emphasize the risks to
your end‐users. Using this option can produce TIFF files whose names
are illegal to the operating system, especially if the RIP installation is
running in a different locale or on a different platform from the locale
and platform used to create the job. In some circumstances, these ille‐
gal names can cause the operating system to crash or cause loss of data
on disk. Global Graphics does not accept any responsibility for the
consequences of using this option.
To recap, the full path and name of a TIFF file can be as complex as the following example:
D:\RIP\TIFF_Folder\300\1jobnamepsM00.tif
In this example, 300 is the resolution of the TIFF file. The preceding text is the path to the
selected folder and the following text is the file name.
The Unique Filenames option ensures that a ## number is added to the filename, and is
selected as a default (providing the same behavior as previous versions of TIFF output). If the
Unique Filenames option is not selected, the filename does not have the unique ## number
added to it.
Shown below are examples of template‐based file name generation that give similar (but not
necessarily identical) results to the conventional name generation method.
These examples are based on the assumption that the conventional name generation fields
“stem” and “suffix” are set to TIFF and TIF respectively.
The template‐based method uses a fixed‐length uniqueness field. The template‐based
method will always fail to generate a unique name when files exist in the output folder using

every possible number (whereas the conventional method increases the number of digits in
the uniqueness number).
Template‐based and Conventional name generation comparison.
Conventional options Template-based equivalent
Use jobname as stem (on <prefix><jobname1>.TIF

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

Del page num prefix
Del page num prefix (on its TIFF.TIF
own)
See Note 1.
Use 8.3 filenames (on its TIFF.TIF

own)
See Note 1.
Use jobname unchanged TIFF.TIF

(on its own)
See Note 1.
Use jobname as stem <prefix><jobname>.TIF

Use jobname unchanged Note: Not identical—the template method strips
characters which are not allowed in file names on the
relevant platform, such as colon and slash (all platforms).
Use jobname as stem <prefix><jobname1><2unique>.TIF

Unique names or
<prefixonly><jobname1><2unique>.TIF
Note: The first example is not identical because
<prefix> includes a space.
The second example is available from v3.10r4.
Use jobname as stem <dos><prefix><3jobname1><2unique>

<dot>TIF
Use 8.3 filenames
Unique names
Use jobname as stem <dos><prefix><3jobname><2unique>

<dot>TIF
Use 8.3 filenames
Not identical.
Use jobname unchanged
See Note 2 and 3.
Unique names
Use jobname as stem <dos><6jobname1><2unique><dot>TIF

Del page num prefix See Note 2.
Use 8.3 filenames
Table 5.3 Conventional and Template-based equivalents

Conventional options Template-based equivalent
Use jobname as stem <dos><6jobname><2unique><dot>TIF

Del page num prefix See Note 2.
Use 8.3 filenames
Use jobname unchanged
Unique names
Table 5.3 Conventional and Template-based equivalents
Notes on the table:
1. The conventional name generation options always generate the name TIFF.TIF.
2. <dos> does not shorten names (which the conventional methodʹs option does), so the
tags used to make up the stem need to total eight. To allow for more characters in the
prefix, the jobname would need to use less. You must use <dot> to separate the name
and the extension when using <dos>.
3. Because <dos> strips space and full‐stop characters, <prefix> and <prefixonly>
become equivalent when <dos> is used.
5.8.1.3 Temporary file names

Temporary files may persist in the case of a RIP failure or in the unlikely occurrence of the
final file rename failing. From TIFF 4.0r0 the following temporary file names are of the
form:cccccccc.uuT. Where cccccccc is an 8‐hex‐digit string, and uu is two decimal digits.
For example:
CA7C63A7.00T
5BDDFE01.00T
5F1CA81C.00T
7B639678.00T
In some rare circumstances, the extension might be 01T or 002T instead of 00T.
5.8.2 TIFF file format options

All the remaining options in the dialog, with the exception of Anti-Aliasing and the Post Pro-
cessing section, provide different ways of storing the data in the file but do not affect the
viewed image. These different ways of storing the data may be required by the specific appli‐
cation that will read the TIFF files or may improve the portability or speed of access of the
files.
You can choose the basic internal format used for the file from the TIFF Format drop‐down
list. TIFF files can either contain the image data in a Single strip (all in one chunk) or Mul-
tiple strips (several chunks).
Use the Style drop‐down list in the Edit Page Setup dialog box to choose the color space and
interleaving style.

To produce TIFF files with reverse bit ordering, select the Reverse bit order check box. This
reverses the order of bits in a byte in the raster data of a halftoned TIFF file (monochrome), so
if the byte was 11010001 it becomes 10001011.
Select the Pad to 32 bit alignment box to make each line of the TIFF file data end on a multiple
of 32 bits. This is an efficiency setting, for monochrome output only, that may make the file
faster to read in some applications.
You can choose between Macintosh and IBM PC byte ordering from the Byte ordering drop‐
down list. This option lets you select the byte ordering to be that used by Intel (IBM PC)
machines (little endian machines), or Motorola (Macintosh) machines (big endian machines).
This is the order of bytes in a word, needed by the TIFF reader to correctly interpret the TIFF
header. Most TIFF readers can read both sorts of header.
You can choose the compression format used for the file from the Compression drop‐down
list. The choices are: None, CCITT Huffman, CCITT Group 3, CCITT Group 4, LZW, or Pack-
bits.
Note: The CCITT compression formats are only suitable for monochrome output.
Finally, for all except monochrome files, you can choose a level of anti‐aliasing in which inter‐
mediate colors are used to visually smooth boundaries. (Anti‐aliasing is most useful at low or
medium resolutions.) Select the desired option from the Anti-Aliasing drop‐down list box.
None is the fastest option but provides no anti‐aliasing. Of the other options, the higher num‐
bers provide more smoothing, but also require more time to prepare a given image.
Note: If you output any job to TIFF CMYK Composite (Pixel) with anti‐aliasing set at 8x8, the
following error will appear for the TIFF device if the resolution is greater than 300 dpi:
%%[Warning: band size too small - please increase size]%%.
5.8.3 TIFF file post processing

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

Create Window Check this box to display a command prompt window: for example, to

display any messages produced by the post‐processing command. The
command window closes at the end of the command so, to read any
messages, you may need a timed delay before the command finishes.
(A wait for a key‐press may be useful for testing but becomes unwork‐
able with many output files.)
Command The entry in this text field is a string specifying a post‐processing
application, which must be available on the computer running the RIP.
Optionally, you can supply options understood by the application, and
data such as the name of the relevant input or output files. The com‐
mand string can contain substitution codes. The RIP expands the
codes and runs the command at the end of each output file.
“Post processing substitution codes” on page 116 lists the recognized
substitution codes.
The string should normally include the file extension and the full path
name of the application file. However, you can type just the file name
if the command file has extension .EXE and is in one of the folders
specified by the PATH variable. File names passed to the application as
data are assumed to be in the folder receiving the TIFF files, unless you
type a different path name.
5.8.3.1 Post processing substitution codes

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

.
Code Meaning
%c The current separation color, represented by a string of default length
one character. Typical separation names are Cyan, Magenta,
Yellow, and Black. Examples for length one are: C, Y, M, and B.
%d The current date. In the case of the TIFF plugin, this defaults to a
length of 6 digits (YYMMDD).
For example: 26 October 1998 becomes 981026.
%8d gives YYYYMMDD.
%e The job exposure, as entered in the Page Setup dialog box. For exam‐
ple: 221.
%f The output TIFF file name, not including the full path. For example,
based on jobname and not suppressing the page number:
1ColdfacepsC05.TIF.
%g A fixed jobname using the following rules:
1. Skip over the leading nn.which the RIP pre‐pends.
2. Remove all non‐alphanumeric characters.
%j The current page buffer name, as shown in the Output
Controller/Monitor. For example: 1. Coldface.ps (C).
%n The current job number, an integer that the RIP increments each time
it processes a new job. For example: 115.
%o The full output directory path set by the Folder button (but not the
resolution, if the check box to include resolution has been checked;
nor the file name). For example: C:\S\TIFF\.
%p The current page number within the job. For example: 13.
%r The job resolution, in dots per inch. For example: 72.
%s The current job name, after removal of characters that would be ille‐
gal in a file name. For example: Coldfaceps.
%s uses the following rules:
1. Skip over the leading nn. which the RIP pre‐pends.
2. Remove all parenthetical expressions.
3. Remove everything which comes before delimiter characters ‐
: (colon), ; (semi‐colon), @ (commercial at), - (hyphen), and control
characters. Delimiters within parentheses do not count.
4. Remove all non‐alphanumeric characters.
5. If rules 1‐4 result in an empty name, start over again and just use
rule 4.
Table 5.4 Post processing substitution codes

Code Meaning
%t The current time in the format HHMMSS, using the 24 hour clock.
The default length is 6. For example, a time just after 7:30 pm would
be shown: 193211.
%x The current file name suffix. For example: TIF.
%z The output file name stem, is taken from the job name if Use job-
name as stem is selected, otherwise it will be taken from the Stem
text field.
For example: if Stem is set to TIFF, and Use jobname as stem is not
selected; %z will produce TIFF00, TIFF01, and so on for the output
files TIFF00.tif, TIFF01.tif and so on.
Table 5.4 Post processing substitution codes
5.8.3.2 Checking the Command string

The RIP reports each command and the working folder (directory) in the main window, in
the following form. Italics show which text can vary with different jobs and Page Setups.
Running post-job command
"C:\RIP\myproc.bat C:\S\TIFF\Coldfaceps.TIF" in directory C:\S\TIFF\
For a more thorough test of how the command behaves when used at the command prompt
of the operating system, select the Create window box and try creating a batch (.BAT) file with
these contents and using the name of the batch file as the application in your command
string.
echo %1 %2 %3 %4 %5 %6 %7 %8 %9
pause
Note: If you have problems with a command, test it outside the RIP by opening a command
window and running the command manually. If you think that you have used any substitu‐
tion code from which the RIP might generate an element containing characters with a special
meaning to Windows, try surrounding that code with double quotes. For example, use "%f"
in the Command field rather than just %f. If there are no special characters involved, look at
the number of substitution codes that you are using and the length of the command string
both before and after expansion of the substitution codes. The limit on the length of the
expanded command string varies with the Microsoft Windows environment but you should
have no problems with up to 125 characters in the string after expansion.
5.9 Output to PDF Raster

The PDF raster output plugin is a layered option and requires a LDK product key for it to be
enabled. See “Extras” on page 209 for more information.
The Harlequin MultiRIP can produce PDF raster format files, which you can choose by
selecting the PDFRaster output device in the Edit Page Setup dialog box.

The Harlequin MultiRIP produces PDF raster files which are compatible with various PDF/X
standards depending on the selection made in the PDF Raster Configuration dialog. PDF ras‐
ter files can be considered as a raster bitmap wrapped in PDF/X and can be opened in PDF
readers such as Jaws PDF Editor and Adobe Acrobat.
styles created for the PDFRaster device. The choice of separations style determines the color
Note: From v8.1 because DeviceMono is no longer available any page setup which previously
used this option in the Separations dialog will now not work. The RIP setups should be
changed to use Monochrome instead.
You can configure how the RIP produces and names PDF raster files by clicking Configure
Device in the Edit Page Setup dialog box, when the selected output device is PDFRaster.
Alternatively, if you are running the RIP in one of the multiple modes, the device of any page
buffer in the Output Controller can be configured by clicking Configure Device in the Info dia‐
log box of that page buffer.
The PDF raster output plugin supports up to 32 spot colors meaning that an output PDF ras‐
ter file can contain up to 36 colorants (CMYK plus 32 spots). When a PDF raster containing
spot colors is created by the RIP and then displayed in a PDF application (like Jaws PDF Cre‐
ator or Adobe Acrobat), a tint transform is used to tell those applications how to display the
colors. If, however, the PDF is passed onto a multichannel device (like the Harlequin Multi‐
RIP), which can support those colorants, they will be supported.
Note: While the plugin will create PDFs with up to 32 colorants (total), the PDF specification
defines the limit as 8 colorants, and so the plugin issues a warning when more than 8 are
requested. Once the 32 limit is reached, the plugin will refuse to process the page.
Acrobat 8 will process pages with more than 8 colorants.
Note: PDF source documents can sometimes contain pages of variable size. If present, these
variable page sizes are maintained in the output file.
Note: Do not try to re‐order pages using the PDF raster plugin in the Output Controller.
Note: If you are processing very large pages you may wish to increase the Memory for RIP set‐
ting. If the RIP runs out of memory the job will fail. For more information see “Harlequin
MultiRIP memory allocation” on page 210.
Figure 5.7 shows the PDF Raster Configuration dialog box.

Figure 5.7 PDF Raster Configuration dialog box
The options in this dialog box fall into categories—location and naming, file metadata, file
format, and post processing—as described in the following subsections.
5.9.1 PDF raster file location and naming options

Choose the folder in which the Harlequin MultiRIP places files by clicking the Folder button
and choosing a folder from the dialog box— open the folder in the list and then click OK. The
PDF Raster Configuration dialog box then shows the path to the folder that you chose.
If Add resolution to end of Path is selected, the RIP places any PDF raster files created in a sub
folder of your chosen folder with the name of that sub folder set to the resolution of the job:
for example, 300 or 2400.
Template‐based file name generation is provided which uses various tags to generate the
name.
5.9.1.1 Template-based name generation

Template‐based file name generation is used for PDF raster output, and allows you to specify
the automatic generation of an output file name using a template of fixed text and tags. When
this method is selected, the Template field is used for file name generation.

Most tags are content tags, representing variables such as the date and time a job is pro‐
cessed; the other tags allow you to reject names that would be illegal in a specified operating
system.The maximum length of variables can be specified by preceding the tag name with an
integer. For example, <5jobname> truncates the job name to a maximum of five characters.
Tags that produce numeric values are truncated from left to right, whereas tags that produce
alphanumeric strings (strings containing the characters a‐z, A‐Z, and 0‐9) are truncated from
right to left. See the example below for further details.
Fixed text can be part of the file name stem or extension. For example,
stem_<3unique><sepname><dot>tif would generate a file name of the form:
stem_000Cyan.tif, in which stem_ can be any identifying text.
Try to use a file name extension that does not clash with any established convention.
Note: This file naming scheme does not provide useful file names derived from job names
that contain double‐byte characters.
The default value for template‐based name generation is:
Raster<2unique>.pdf
This means that when 100 files have been processed the RIP will stop.
Note: If you use unrecognized tags they will be maintained in the output filename.
Note: The list of tags displayed in the PDF Raster Configuration dialog is only a useful sub‐
set. All tags are supported for PDF raster output.
Template‐based name generation for PDF raster works in exactly the same manner as for
template‐based name generation for TIFF. Therefore, for full details on all the tags available
see “Template‐based name generation” on page 105.
5.9.2 File Metadata

When either the Update PDF Creation Date or Update PDF Modification Date option is checked,
the modification date or creation date will be set to the current time, whether or not these
dates are present in the original PDF source file. If a date is present in the original source doc‐
ument and you have not selected the these option, the original date will be used in the output
file.
The Mark raster as Trapped option allows the output PDF raster to be set as trapped or not.
PDF files have a trapped flag which can be set either true or false. If set true the contents
of the PDF have been trapped in some way, either by the RIP or by using some third party
plugin. This option allows you to decide whether the output PDF raster is configured as
trapped.
If required, you can specify an Art Box or Trim Box size if values for one or the other does not
already exist. If values for Art Box and Trim Box are present in the source PDF file they will
be used no matter what values are input into this dialog.
To enter a value select either Art Box or Trim Box from the drop‐down list and then enter val‐
ues for the LLx, LLy, URx, and URy which specify the lower‐left x, lower‐left y, upper‐right x,

and upper‐right y coordinates of a rectangle. For more information on specifying these val‐
ues see the PDF Reference Sixth Edition v1.7 Section 3.8.4.
When the values have been entered check the Apply box.
Note: All boxes will be within the Media Box, and if they are not they will be clipped to the
Media Box size. Trim Box and Crop Box settings are maintained in the output file if they are
present in the source PDF.
If a PDF input file has a date within the metadata which does not conform to the PDF specifi‐
cation a warning will appear and the date in the output PDF will be changed to the current
RIP date. Warning of the following form are displayed when this occurs:
Warning: input PDF uses a modification date \"%s\" that does not conform to the
PDF specification.
or
Warning: input PDF uses a creation date \"%s\" that does not conform to the PDF
specification.
5.9.3 PDF raster file output format options

All the remaining options in the dialog, with the exception of the Post Processing section,
provide different ways of storing the data in the file but do not affect the viewed image.
You can choose the page style option from the Page style drop‐down list. This option decides
whether the output file is saved as one file per job (a 100 page job is created as a single PDF
document containing 100 pages), or one file per page (a 100 page job is created as 100 sepa‐
rate PD documents each containing one page).
Note: If you abort a page and your PDF raster configuration is set to “one file per job” (rather
than “one file per page”) your whole job and all pages therein will be aborted.
You can choose the output PDF format settings from the PDF Format drop‐down list. Cur‐
rently the options are: PDF/X 1a:2003 (PDF 1.4) and PDF 1.4.
You can choose the compression format used for the file from the Compression drop‐down
list. The choices are: None or ZIP. The compression settings only affect images.
The Level option determines the amount of compression applied to the output file. A value of
1 means “don’t compress very much” (and is quicker); a value of 9 means “compress as much
as possible” (and is slower). The default value is 6.
You can choose the rendering intent to be used for the file from the Output identifier drop‐
down list. There are various styles available. These styles cannot be changed or added to.
You can choose the output data format used for the file from the Output drop‐down list. The
choices are: ASCII or BINARY. If you are planning to transmit the output file via e‐mail,
choose ASCII, which provides an Ascii85 encoding. Otherwise, for normal use choose
BINARY.

5.9.4 PDF raster file post processing
You can use this section of the dialog box to define extra actions after the RIP has created each
PDF raster file. To do this, you type text specifying a command and its options in a way simi‐
lar to typing in a command prompt or terminal window. The command can be a simple batch
file or a complex application, provided that you can give the command all necessary options
and information on the command line; a command needing operator interaction is likely to
cause problems.
You can use such post‐processing commands to convert the file to a different format or to
send the data to a destination that is not directly supported by PDF raster output from the
RIP. There are several other possibilities, such as extracting information for use in reports,
limited only by your ability to obtain or create a suitable application and to supply informa‐
tion to it.
The controls in this section of the dialog box are:
Enable Select this check box to enable a post‐processing command, as entered
in the Command text field. Leave it unselected to disable post‐
processing.
Create Window Check this box to display a command prompt window: for example, to

display any messages produced by the post‐processing command. The
command window closes at the end of the command so, to read any
messages, you may need a timed delay before the command finishes.
(A wait for a key‐press may be useful for testing but becomes unwork‐
able with many output files.)
Command The entry in this text field is a string specifying a post‐processing
application, which must be available on the computer running the RIP.
Optionally, you can supply parameters understood by the application,
and data such as the name of the relevant input or output files. The
command string can contain substitution codes. The RIP expands the
codes and runs the command at the end of each output file.
“Post processing substitution codes” on page 116 lists the recognized
substitution codes.
The string should normally include the file extension and the full path
name of the application file. However, you can type just the file name
if the command file has extension .EXE and is in one of the folders
specified by the PATH variable. File names passed to the application as
data are assumed to be in the folder receiving the PDF raster files,
unless you type a different path name.

5.10 Sending output to a printer

You can use the Harlequin MultiRIP to produce output on a variety of different imagesetters
and printers. The options available depend on the device drivers that have been installed
with your copy of the RIP.
If any device drivers have been installed, you can select one of these drivers in the Edit Page
Setup dialog box from the Device drop‐down list. Selecting Ultre, PelBox, or HP650, for
example, sends output to the corresponding printer, provided that somebody has done any
necessary configuration to suit the way that the printer is connected and configured.
You can gain the ability to send output to many other types of device by adding other output
plugins. A simple plugin may add a single device driver, and this manual usually talks about
the device that the driver supports. Complex output plugins can support several device driv‐
ers and provide preconfigured Page Setups, screening, or color management. Such complex
plugins can require several steps during installation: hardware installation, system software
modifications, software installation in the Harlequin MultiRIP, and enabling specific devices
or RIP options by activating a new LDK product key. There is likely to be a separate installa‐
tion or operator’s manual for such plugins and, perhaps, a special installation program.
Note: It is often dangerous to attempt to re‐install or update an installed plugin in the same
copy of the Harlequin MultiRIP, because of file name mapping (described briefly on page 48)
and other issues. It is much safer to make a fresh installation of the RIP, install the new plu‐
gin, and then transfer your setting to the fresh installation. The separate Migrate program can
help you make this transfer.
Where a plugin supplies a single device type, the device type becomes ready for use as soon
as it has been installed and, if necessary, enabled with an LDK product key. Multiple device
output plugins appear first as one of the options in the Device Manager, where you can
choose which device you want to use. See “Multiple device output plugins” on page 126.
Once installed, the name of a device added with a new output plugin appears as one of the
device options in the Edit Page Setup dialog box and you can select it just like any other
device.
Note to OEMS: OEMs can create their own plugin device drivers. Details of how to do
this are available from Global Graphics. Global Graphics also supplies
a range of ready‐made device drivers for some of the more commonly
used output devices.
styles created for the current device. The choice of separations style determines the color
Note: Some output plugins allow you to select the color generation mode using the Configure
Device button. When this is the case, the Style drop‐down list contains only the separations
styles corresponding to the selected color generation mode.
For certain types of output device, a text box labeled Exposure becomes active in Edit Page
Setup. By specifying a number in the text box, you can change the exposure of the chosen
output device: this varies the power of the laser used to create the image, which in turn

makes the image lighter or darker. Refer to the documentation for your output device to see
if it has an exposure control. Choosing the correct exposure is described in Chapter 12, “Cal‐
ibration”.
Media and cassette monitoring and management facilities are available for all continuous
feed printers supported by the Harlequin MultiRIP. For details of how to use these facilities,
see Chapter 9, “Media Management”, and “Cassette management” on page 153.
5.11 ProofReady plugins

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

Each ProofReady plugin is supplied ready to use with preconfigured color management for
several types of media.
With a ProofReady plugin, the way that you apply color management is simpler than with
ColorPro because the setups are ready to use. The special color setups appear in the Proof-
Ready menu in the Output Device section of the Page Setup dialog box, each named for a par‐
ticular combination of media and resolution. Choosing one of the entries from the ProofReady
menu, gives you a default color setup that produces good results for most jobs.
When an option is selected from the ProofReady menu, the options in the Separations, Screen-
ing and Color section of the Page Setup dialog are enabled. This allows you to create and edit

ProofReady color setups or separation styles. However, non‐compatible separation styles
and color setups cannot be selected or created.
If you want to create a calibration set for your printer rather than using the reference calibra‐
tion profile, you can print an uncalibrated target and import the data using Genlin. Once you
have created a calibration set, you must choose it from the Calibration menu.
You can also expand the capabilities of a ProofReady plugin, by creating and using custom
color setups built upon the same profiles used to create the default color setups.
For more details of ProofReady plugins, see the user guide for the relevant ProofReady
plugin.
5.12 Multiple device output plugins

The Harlequin MultiRIP lets you install multiple device output plugins, which allow you to
drive a number of different devices without needing a separate output plugin for each one.
Note: Many output plugins intended for use with a range of similar output devices, such as
inkjet printers, are multiple output plugins but are supplied with preconfigured devices
ready for use in the Edit Page Setup dialog box. You should only need to use the description
given here if the installation procedure for a plugin fails to install a device of the type you
want.
This discussion uses the following terms:
Device A device is often a physical piece of equipment which produces out‐
put. It can also be a way of producing a graphics file in a format like
TIFF. A device can be selected by name from the Device drop‐down list
in the Edit Page Setup dialog box.
Device type Any particular device is of a certain type. For instance, some printers
are of type Ultre, and some are of type ExxtraSetter. Distinguishing
different device types is like distinguishing different models of com‐
puter. Some options (for example, the resolutions or media types avail‐
able) depend on the device type.
Output plugin The output plugin is the software you install into the RIP to make it
drive a particular device. It tells the RIP the name and type of the
devices it drives, as well as the address of the device (that is, where to
find the device—in terms of the computer rather than physical
location).
With ordinary output plugins, one plugin can drive only one device. If you want to install a
large number of devices, you need many different output plugins. This can make configura‐
tion of the system cumbersome.
Multiple device output plugins allow you to drive a number of different devices using just
one plugin. You can have any number of devices of a particular type.

Figure 5.8 shows you the configuration of an imaginary system using both single and multi‐
ple device drivers.
Device Driver Multiple Device

Driver
U U U E E
Device1 Device2 Device3 Device4 Device5
Ultre Devices (marked U) ExxtraSetter Devices (marked E)
Figure 5.8 The use of multiple device drivers in the Harlequin MultiRIP
Five devices are shown, driven by two output plugins. Device1 is of type Ultre, and is
driven by an ordinary output plugin.
However, the remaining four devices are all driven by one multiple device output plugin.
Two of these devices are of type Ultre, and two are of type ExxtraSetter, so this driver
must know about at least two device types—it may well know about others.
5.12.1 Installing and using multiple device plugins

Install a multiple device output plugin, just as you would for an ordinary output plugin and
as described in “Sending output to a printer” on page 124. The plugin then appears as one of
the options in the Device Manager dialog box, shown in Figure 5.9.
You create and configure devices driven from a multiple device driver using the Device Man‐
ager. To open the Device Manager click the Device Manager button, which is the icon button

under Output Device in Edit Page Setup. The Device Manager is also available from the Harle-
quin MultiRIP menu.
Figure 5.9 Device Manager dialog box
The Plugin drop‐down list shows the multiple device output plugins currently installed in
the RIP. You can install several multiple device plugins, and this drop‐down list lets you
choose between them. The devices driven by the selected plugin appear in the table listing:
each line displays the name, type, and address of one device. For instance, in Figure 5.9 the
dialog box lists devices linked to the Epsonvsd multiple device plugin.
Note: Both the name and the values entered for each device are used here for illustration
only. There are several multiple device plugins but their names and the acceptable values
vary greatly, so they are documented separately.
The Device Manager has the following uses:
• To change the configuration of a device, select its entry in the list and click Edit then
use the Device Manager Edit dialog box.
• To add a new device, click New then use the Device Manager Edit dialog box.
• To add a device that is similar to an existing device, select its entry in the list and click
Copy then use the Device Manager Edit dialog box. You must give the copy a new
name.
• To delete a device from the current multiple device driver, select it in the Device Man‐
ager and click Delete. This removes the driver immediately.
When you click the New, Edit, or Copy button, the RIP displays the Device Manager Edit dia‐
log box shown in Figure 5.10.
Figure 5.10 Device Manager Edit dialog box

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

Many devices have features which only apply to that device. For example, a certain printer
may be able to print on both sides of the paper, a feature called duplexing. Such features may
be controllable, in which case the device driver offers a dialog box unique to that driver con‐
taining, for example, a check box to turn duplexing on or off. For example, the device TIFF
can have its output file name and format configured (as shown in Figure 5.6, page 105). If the
driver does not have any configurable options, the Configure Device button is disabled.
Some output plugins allow you to set the color generation mode using the Configure Device
button. In these cases, the Style drop‐down list contains only the separations styles corre‐
sponding to the selected color generation mode. Otherwise, the choice of separations style
determines the color space and format of the output.
5.14 Separations, Screening and Color

The options under Separations, Screening & Color allow you to choose the separations style
and color setup for the current Page Setup.
Style The Style drop‐down list allows you to choose a separations style for
the currently selected device. A separations style contains information
on separations and screening (where appropriate), which you can use
in one or more Page Setups. The choice of separations style determines
the color space and format of the output.

Note: Some output plugins allow you to set the color generation mode
using the Configure Device button. In this case, the Style drop‐down list
contains only the separations styles corresponding to the selected color
generation mode.
If you change the Device, you may have to select a corresponding sepa‐
rations style for the new device before you can save the Page Setup.
Click the Separations Manager button to create or edit a separations
style.
Separations Manager
This icon button is next to the Style drop‐down list. It opens the Sepa‐
rations Manager dialog box, from which you can create or edit a sepa‐
rations style. See Chapter 13, “Color Separation” for details.
The Separations Manager is independent of the Edit Page Setup dialog
box. You can create or edit a style in the Separations Manager, even if
you do not want to use it in the current Page Setup. If you do want to
use a new or changed style for this Page Setup, select the style in the
Separations Manager and click the Select button.
Color The Color drop‐down list allows you to choose a color setup for the
currently selected device and color space. The choice of separations
style determines the color space. Click the Color Setup Manager button
to create or edit a color setup. See “Color Setup” on page 391 or the
separate manual Harlequin ColorPro User’s Guide.
Color Setup Manager

This icon button is next to the Color drop‐down list. It opens the Color
Setup Manager dialog box, from which you can create or edit a color
setup. See the separate manual Harlequin ColorPro User’s Guide.
Separations Manager
This icon button is next to the Style drop‐down list. It opens the Sepa‐
rations Manager dialog box, from which you can create or edit a sepa‐
rations style. See Chapter 13, “Color Separation” for details.
The Separations Manager is independent of the Edit Page Setup dialog
box. You can create or edit a style in the Separations Manager, even if
you do not want to use it in the current Page Setup. If you do want to
use a new or changed style for this Page Setup, select the style in the
Separations Manager and click the Select button.
TrapPro Manager
The TrapPro Manager is independent of the Edit Page Setup dialog
box, and is only available if TrapPro is enabled under Configure RIP >
Extras. You can create or edit trapping setups in the TrapPro Manager,

even if you do not want to use them in the current Page Setup. If you
do want to use a new or changed trapping setup, select the trapping
setup in the TrapPro Manager and click the Select button.
For more information see “Trapping features” on page 402.
5.15 Advanced Media Saving

Media saving is provided as an extra layered option that allows you to instruct the Harlequin
MultiRIP to automatically fit pages onto the output media in a way that makes the most effi‐
cient use of the media. For example, when imaging A4 pages they would normally be placed
one above the other on the output media. With media saving enabled, the A4 pages could be
placed side‐by‐side thus utilizing more of the media width.
5.15.1 How to activate Advanced Media Saving

To make use of the Advanced Media Saving, it must be activated with an LDK product key.
This option is especially useful with Capstan and Drum devices. For more information on
how to select the extra features supplied with the RIP see “Extras” on page 209.
Media saving is enabled for each Page Setup by clicking the Advanced Media Saving option
situated in the lower left, Cassette & Page section of the Edit Page Setup dialog box.
Figure 5.11 Advanced Media Saving option
With the Advanced Media Saving option selected, jobs processed in the RIP are automati‐
cally grouped together with other jobs according to resolution, bit depth, paper type and out‐
put device. The jobs are only output to the device when the page is full. A collection of jobs
on a page is known as a ‘flat’.
For example, you may have a 32 inch roll installed in the output device and a queue of three
A4 sized jobs waiting to be output. Instead of printing a single job along the width of the roll,
the RIP will fit all three jobs along the width of the roll—ultimately saving media.
The Media saver works by receiving page buffers from the RIP. In the pagebuffer header
there are fields specifying the media width and media height, page width and page height.
The Media saver uses the media width and media height values as the size of the flat and
page width and page height value as the size of the page.
If the device supports cassettes, the media width and media height values are defined in the
Cassette manager. If the device is a roll, media height in the page buffer is the same as the
page height and is ignored by the media saver.
If the device does not support cassettes, the media width and media height values are those
entered by the user in the Page Layout dialog box. Again the roll device rule applies.

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

The width of media used is tracked to aid the use of automatic cassette selectors.
For roll fed devices, the length of the media that needs to be exposed when outputting a flat
has always been tracked, with the assumption that the width value is constant. However,
because automatic cassette selection devices are starting to be used, it is now important for
the RIP to track the width of the media used in addition to the length.
If the width of the flat is reduced, a cassette with smaller width media can be selected leading
to a shorter exposure time and saving of media.
When enabled, the RIP Output menu contains the Advanced Media Saving option, which on
selection displays the Media Saving dialog.
Figure 5.12 Media Saving dialog box
5.15.3 The Media Saving dialog box

The Media Saving dialog box displays all the information required for you to keep track of
which jobs are being combined into flats. Jobs will only be added to a flat if the resolution, bit
depth, paper type and device are all the same—if any of these are different a new flat will be
created.

As soon as a flat is full it will be output to the device. A flat is deemed ‘full’ when it reaches
that stage where any new page of the same specification will not fit in the flat.
You can send a flat to the output device before it is completed by highlighting the flat to be
output followed by clicking the Print Flat button.
You can ensure enough space is placed around each job by specifying a value in the Margin
between pages option. The Media saver ensures that there is the same given margin between
the edges of the paper and the pages of jobs—it achieves this by absolute positioning of the
pages on the flat. Shown below is a diagram illustrating how pages are position on the flat.
Margin between
pages value
Cut mark
between flats
Figure 5.13 Margin media saving control
Note: If when using media saving you get output that is clipped, you should make the Margin
between jobs value greater than the value of the unprintable margin for the device.
For a TIFF output device (or any other device with an unlimited media width and height) the
media width and height end up being the same as the Page Size, and the size of a TIFF flat
would be the same as the first page buffer on the flat.
The TIFF media width and TIFF media height text boxes are designed for use with the TIFF out‐
put device (and any other device with unlimited width and height). The values in these fields
are used to calculate the size of the TIFF flat.
If you want to avoid the possibility of a flat never being output, because there may never be
enough page buffers of the same type, you can click the Time to wait between pages option and
enter either a number of minutes or hours. When an incomplete flat has been displayed in the
Media Saving dialog box for the defined time out period, it will automatically be output to
the selected device. When Time to wait between pages is not checked, partially filled flats will
always wait for new pages of the same specification to arrive.
You can Roam individual pages displayed in the Media Saving dialog by selecting them and
clicking the Roam button. Similarly, you can delete individual pages by selecting them and
clicking the Delete button.
When a flat is printed, the page buffers that the flat references are deleted from the disk.
Because of this, the Print Flat button is disabled when a Roam window is open.
If a flat is going to be printed because the time out period has expired and a Roam window is
open, the flat is placed in a queue and is printed as soon as all Roam windows are closed.

By default, if the device is roll fed (for example part drum or capstan), the buffered pages are
placed on the flat in one row along the width of the media. The height of the flat is ultimately
that of the tallest page placed on the flat, and the width of the flat is as specified in the Page
Layout dialog.
This default behavior can be changed in two ways.
• For part drum devices, the Fill whole drum (for part drum devices only) check box con‐
trols the behavior that defines the media height as that of the device width, allowing
multiple rows of page buffers on the flat, and as such allowing the whole of the drum
to be utilized.
• For part drum and capstan devices (that is, roll fed devices), the Track flat width (for roll
fed devices only) check box controls the width of the flat. If it is checked, the flat width
will be the width of the widest row of pages on the flat.
You may encounter problems when you are outputting to a device that specifies a minimum
media width. If a flat is submitted which defines a media width that is smaller than the
deviceʹs minimum media width, the plugin will reject the flat and display the message:
"Error - The media width is less than the minimum allowed" - and the job is
aborted.
Also note, that if you are outputting separations and the flat size is being tracked (either
width or height), it can occur that the separations will have different sizes. You are therefore
unable to Roam these separations together.
The Switch roam color to black is only enabled when the Order of pages on flat option is set to
none, that is, when more than one separation color is allowed on the same flat. When
selected, the Roam color of the resulting flat is black. This option does not apply to composite
output.
Note: You are able to change the Roam Color from the Throughput Info dialog. See “Chang‐
ing the color” on page 84 for more information.
The Order of pages on flat option provides a drop‐down list with the following options:
none Page buffers are placed on flats if they fit, regardless of color.
by separation
Each flat is dedicated to a particular separation name, therefore page
buffers with different separation names cannot appear on the same
flat. For example, cyan separations can only appear on cyan flats.
However, once allocated to its flat, a page buffer may be positioned
anywhere on that flat.
by separation, page position

Each flat is dedicated to a particular separation name, in the same way
as described in the by separation option above. The page buffers for
a given job must all be at the same position on their respective flats.
But no consideration is given to what other separations may be on

these flats. Therefore, it is not guaranteed that the group of flats that
contains all the page buffers for any one job also contains all the page
buffers for the other separations on the flat.
Note: This option will not work for preseparated jobs, because the RIP
treats each separation as a different job.
by separation, page position, job

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

position position, job No.
position 1 position 2 position 1 position 2
—, —, —, K1 K1 K4 K1 — Flat 1
C2, M2, Y2, — C2 C4 C2 — Flat 2
—, M3, Y3, — M2 M3 M2 M3 Flat 3
C4, —, Y4, K4 Y2 Y3 Y2 Y3 Flat 4
— Y4 C4 — Flat 5
— — Y4 — Flat 6
— — K4 — Flat 7
Table 5.5 Media saving—example 1

Table 5.5 shows an example where four incoming jobs are placed on flats differently accord‐
ing to the selection of either; by separation, page position or by separation, page
position, job.
With by separation, page position selected, the first incoming job contains only a black

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

position position, job No.
position 1 position 2 position 1 position 2
C1, M1, —, — C1 C3 C1 — Flat 1
—, M2, Y2, — M1 M2 M1 M2 Flat 2
C3, M3, Y3, — — Y2 — Y2 Flat 3
— M3 C3 — Flat 4
— Y3 M3 — Flat 5
— — Y3 — Flat 6
Table 5.6 Media saving—example 2
Table 5.6 shows an example where three incoming jobs are placed on flats differently accord‐
ing to the selection of either; by separation, page position or by separation, page
position, job.

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

The following example of the Media saving dialog box shows a number of flats in various
stages of construction:
Figure 5.14 Example flats
In this example there are three flats in construction: Flat 10 is destined to be output on a
Capstan device and has two jobs called Box.ps and Box1.ps using 67% of the flat. Flat 11 is
destined for output on a Drum device and has three jobs using 20% of the flat. Flat 12 is
also destined for output on a Capstan device but at a different resolution to Flat 10.
5.16 Media and time saving using optimization

The Harlequin MultiRIP provides media and time saving options in the Optimization drop‐
down list in the Processing section of the Page Setup dialog box. These options are only avail‐
able if your output device supports them. If your output device does not support these fea‐
tures, the options will not appear in the list.

The media saving described in this section is different to the Media saving option described
in “Advanced Media Saving” on page 131, and does a different job. Using the two options
together may give unpredictable results.
The Optimization drop‐down list allows you to instruct the RIP to rotate pages automatically
if doing so saves time or media. For capstan and drum type devices you can choose Media
Saving. For drum type devices you can also choose Time Saving.
If you choose Media Saving in the Optimization drop‐down list, the RIP rotates the image if it
calculates that media can be saved by doing so. You should ensure that the media width is
correctly set within the Cassette Manager to make this option work effectively. (See Chapter
9, “Media Management”.) If the current device is a drum recorder, you can choose Time
Saving, which rotates the page in whichever direction takes the least time to output.
Note: Some applications, such as QuarkXPress, generate a page size for the job which is
dependent on the media width set in the application. Media saving often cannot work when
processing jobs generated by these applications. To avoid this problem, make the media
width in the application the same as the width of the page being created (including any crop
marks which are to be printed).
5.16.1 Other options that save media

Selecting the Trim page check box in the Effects section causes the RIP to trim any white space
off the top and bottom of each page.
When printing an image which does not contain a PageSize definition (such as an EPS), and
also which is smaller than the currently configured page size, the Trim Page feature will trim
the page size to that of the image size. For example, printing an A5 image to a Page Setup
which has A3 defined as the Page Size would normally result in a roll output device printing
onto media A3 in size with an A5 image on it. With Trim Page selected, a roll output device
will produce media A5 in size with an A5 image on it. This example illustrates that the
amount of media used is considerably reduced.
Note: Trim page will trim to the full size of the image whether or not that image contains
white space.
Note: If you are sending output to a device fed with fixed size sheets, such as a typical laser
printer, using Trim page does not save media and is very likely to alter the registration
between pages: for example, when the content of those pages has a variable outline or bound‐
ing box.
Several features listed in the Enable Feature drop‐down list of the Edit Page Setup dialog box
instruct the RIP to use media as economically as possible. In general, these features pack
pages together so that, for example, more than one page is imaged side by side in the length
of media that would otherwise be used by one page. See “Features” on page 151 for a fuller
description.

5.17 Default page size
Normally a job sets its own page size and overrides the default page size. However, in some
cases (such as when using the Proof Fonts command), the RIP uses the default page size.
You can specify the default page size by clicking Page layout (in the Edit Page Setup dialog
box) to display the Page Layout dialog box. You can specify either a standard page size by
name, or the absolute page width and height.
If you do not want to use a standard page size using Page size, specify your preferred values
in the Page width and Page height text boxes. Sizes can be in inches, millimeters, picas, or
points, depending on the current selection in the Select units drop‐down list to the right of
the Page width box. When you have specified a nonstandard size, the RIP displays Other in
the Paper size drop‐down list.
5.18 Margins
You can specify margins for a job by clicking Page layout to display the Page Layout dialog
box. This dialog box varies slightly, depending on the type of device. The example in
Figure 5.15 is for a sheet fed device.
You can set the margins by typing values into the appropriate text boxes. Any margins you
specify are added to values set within the job.
Choose the units to use from the Select units drop‐down list. When you specify the left mar‐
gin, the right margin is calculated automatically, based on the total width of the media and
the size of the image. If you wish, you can specify a negative value for any margin. For exam‐
ple a ‐1.0 inch left margin would clip 1 inch off the left hand side of the page.
Figure 5.15 A typical Page Layout dialog box
You can center the page on the media by selecting the relevant option. Note that the page is
always centered if you choose this option, even if the job itself explicitly sets the page width.

If you are using one of the multiple modes, the Page Layout dialog box is also available from
the Info dialog box. This dialog box is displayed when you click Info in the Output Controller
(see “Operations on buffered pages” on page 82). When chosen from the Output Controller,
the page layout options are specific to the selected page or, optionally, to all pages in the same
job. When chosen from the Edit Page Setup dialog box, the options are applied to all jobs sub‐
sequently interpreted with that setup.
The output device dimensions are built into the driver for the current device, and cannot be
changed. You can set the media width in the Cassette Manager. For details of how to use the
Cassette Manager and other media management facilities, see Chapter 9, “Media Manage‐
ment”.
5.19 Printing effects

The Effects options in the Edit Page Setup dialog box allow you to produce output using
assorted effects.
The dialog box displays a representation of a page (near the Effects label), in which the letters
AB are written. You can either click the Rotate, Negative, and Mirrorprint options to select the
effects, or you can click the Effects page to cycle through all the possible combinations of
effects.
The Effects page changes as you select any of the options, illustrating the effects of using the
selected combination.
The Rotate drop‐down list allows you to select 90, 180, and
270 degree rotations. The image itself remains unchanged. If
the job was already set to rotate in the opposite direction, the
two rotations cancel, giving non‐rotated output. Similarly, if
the job rotates in the same direction, the two rotations add.
If Negative is selected, the page produced is in negative. If the
job was already in negative (that is, a negative image is
defined in the page description), the two negatives cancel
each other out, giving positive output.
Using this option may affect the proper choice of calibration
set—see Chapter 12, “Calibration”.
If Mirrorprint is selected, the RIP produces a mirrored image
which is reflected about the vertical axis. However, if the job
being sent was already reflected, selecting the Mirrorprint
option cancels this out, giving a non‐mirrored image.

The Harlequin MultiRIP includes a Control Strip check box in
the Effects panel of the Page Setup dialog box.
For more information see “Control strip” below.
5.20 Control strip

If you select this check box, a control strip is added to your job, based on the area available on
the output medium. This is particularly helpful when creating proofs, because the control
strip indicates the settings used for the job and allows you to analyze the print quality.
Note: The control strip is not suitable for use when outputting to platesetters.
The control strip includes:
• Logos identifying the RIP as a Harlequin MultiRIP, including a Global Graphics Soft‐
ware (GGS) logo.
Note to OEMs: The GGS logo may be replaced with that of the OEM partner through
whom the RIP was sold. (See Technote Hqn054 for more information).
• A color bar for both visual and colorimetric analysis of the print quality.
• A text slugline carrying data about the job file itself and the print configuration.
The color bar printed on cut‐sheet media may be constructed using one, two or four lines of
color patches, depending on the space available. It may include the following groups of
patches:
• Step wedges, containing different numbers of patches at different tint values. These
may contain CMYK or spot colors.
Note to OEMs: Although not used in the configuration as shipped, the step wedges
may also be set to include all of the colorants rendered on the proofer.
• Graduated linear tints.
• Progressives (secondary and tertiary colors built from Cyan, Magenta and Yellow).
• Neutral patches comparing CMY combinations with plain Black, and using values
from a variety of standardized printing conditions, such as SWOP and ISO 12647‐2.
• ChipCheck —a patent‐pending approach that allows the color accuracy of the proof to
™
be tested quickly and cheaply without requiring the use of a colorimeter.
• PDF/X status, showing whether the job being printed is PDF/X compliant or not, and
whether it claims to be.
• Orientation—showing the orientation of the page, and whether or not it is saved in
negative in the original document.

• Feed direction—showing how the output was fed through the printer, as an aid to
resolve some kinds of print artifacts.
A sample control strip is shown below:
Harlequin Logo
Page orientation
Job name
Paper feed
Registration
Paper measurement Job style
Page number
Job file name
ChipCheck ™
File modification date and time
Output device
Print date and time
Resolution
Process step
wedges Page setup name
Color setup name
Screening
Anti-alias factor
Progressives
RIP version
Global Graphics
Software Logo
Serial number
5.20.1 Control strip elements

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

5.20.1.1 Harlequin At Heart logo
Figure 5.16 Harlequin at Heart logo
The Harlequin at Heart logo is always part of a control strip and is located at the left end of
the strip.
5.20.1.2 Orientation icon

Figure 5.17 Orientation icon
The orientation icon indicates the orientation of the job, that is, whether the job has been
rotated and so on. It also shows as black on white if the incoming job was negative and forced
to positive by the RIP.
5.20.1.3 Paper feed icon
Figure 5.18 Paper feed icon
The paper feed icon indicates the direction in which the paper is fed through the printer.
5.20.1.4 Registration icon
Figure 5.19 Registration icon
The registration icon allows you to check for any misregistration errors.

5.20.1.5 Paper measurement icon
Figure 5.20 Paper measurement icon
The paper measurement icon allows you to take a paper white reading for the purposes of
calibrating your measurement device.
5.20.1.6 PDF/X validation icon
Figure 5.21 PDF/X validation icon
When processing a PDF file the PDF/X validation icon will be displayed. If the file claims to
be a specific PDF/X version, the RIP will validate that claim during interpretation. The
claimed conformance level will be displayed above the PDF/X validation icon, and the char‐
acterized printing condition for which it was prepared will be displayed below it.
If the file is a valid PDF/X file the icon to the right will be a tick, otherwise a cross will be
shown.
A PDF file that does not claim to be PDF/X compliant will show Baseline PDF on the green
background.
Files that claim to be PDF/X conformance levels that are not explicitly supported by the RIP
will not be validated, and will show a question mark in the black box to the right.This also
applies to files that claim to comply with a conformance level which are not fully validated in
the current Page Setup. For example, PDF/X files will not be validated if the option in the
Accept Type(s) menu of the PDF Options dialog box has been set to Any PDF <= 1.4 as
basic PDF, for instance.
™
5.20.1.7 ChipCheck strip
Figure 5.22 ChipCheck strip

™

ChipCheck is designed to allow very rapid and easy validation that a proofer has been cor‐
™
rectly configured without requiring the use of instruments. It will identify whether an error
has been introduced by, for example, the wrong media selection in the RIP interface, or
whether the required calibration has not been performed. It can also quickly check whether a
stored proof has aged enough to alter the colors significantly.
To read the strip, compare chips from a valid Pantone Coated swatch book with the patches
in the color bar under appropriately controlled lighting (typically D50).
For even faster and easier checking of proofs, build a strip of Pantone chips in the correct
order to compare with the patches.
5.20.1.8 Process step wedges
Figure 5.23 Process step wedges
The process step wedges allow you to measure the process colors at various increments. The
increments used depend on the space available.
5.20.1.9 Progressives strip
Figure 5.24 Progressives strip
The progressives strip allow you to measure color combinations. Each patch has a label
above it indicating the colors used in the patch, for example, CM is a patch containing Cyan
and Magenta. The percentage of each color varies, according to the space available. For exam‐
ple, the first six patches in the strip in Figure 5.24 contain 100% of each named color, and the
last six patches contain 50% of each named color.
5.20.1.10 Neutrals strip
Figure 5.25 Neutrals strip
The neutrals strip allows you to test the neutral grays produced by your job settings. The
neutral patches compare CMY combinations with plain Black, and use values from a variety

of standardized printing conditions, such as SWOP and ISO 12647‐2. The appearance of the
neutrals strip varies depending on the space available.
Combined with ChipCheck (see “ChipCheck™ strip” on page 144), this provides a very
rapid method of checking the configuration of the proofing device. If the CMY combinations
do not match the K tints you may have selected the wrong media in the RIP, or you may need
to recalibrate the printer.
5.20.1.11 Company logo
Figure 5.26 Company logo
The company logo always appears on the control strip and represents the distributor of the
Harlequin MultiRIP.
Note to OEMs: The GGS logo may be replaced with that of the OEM partner through
whom the RIP was sold. (See Technote Hqn054 for more information).
5.20.1.12 Job name icon
Figure 5.27 Job name icon
The job name icon precedes the job name.
5.20.1.13 Job style icon
Figure 5.28 Job style icon
The job style icons indicate the separations, screening and color Style used for the job, as
specified in the Page Setup.
The first icon in Figure 5.28 indicates a composite color job; the second icon indicates an
unrecombined, preseparated job, and the third icon indicates a recombined, preseparated job
(monochrome jobs will be marked as composite)

5.20.1.14 Page number icon
Figure 5.29 Page number icon
The page number icon precedes the page number. Note that the page number is the page
number within the current file. If for example, you have printed to the PostScript language
from your design application and chosen to print just pages 7 and 8, then they will be
labelled as pages 1 and 2 on the proofs.
5.20.1.15 Job file name icon
Figure 5.30 Job file name icon
The job file name icon precedes the job file name.
5.20.1.16 File modification date icon
Figure 5.31 File modification date icon
The file modification date icon precedes the date and time at which the file was last modified.
The file modification date will only be shown if it is recorded in the file.
Note: The brackets and slashes within the control strip delimit different parts of the strip. The
date in the first set of brackets is the file modification date (if available), and the date in the
second set of brackets is the print date.
5.20.1.17 Print date icon
Figure 5.32 Print date icon
The print date icon precedes the print date and time.

Note: The brackets and slashes within the control strip delimit different parts of the strip. The
date in the first set of brackets is the file modification date (if available), and the date in the
second set of brackets is the print date.
5.20.1.18 Scale icon
Figure 5.33 Scale icon
The scale icon precedes details of the scale factor, for example, 50.0%.
5.20.1.19 Clipped icon
Figure 5.34 Clipped icon
The clipped icon is a warning that not all of the ʹpageʹ of the job may be shown. This may be
due to the fact that the non‐printing margins of the output device have not been accounted
for. See “Margins file” on page 150 for more details.
5.20.1.20 File creator icon
Figure 5.35 File creator icon
The file creator icon precedes the name of the person and/or machine that created the or PDF
file. This information is only displayed if it is recorded in the file.
5.20.1.21 Output device icon
Figure 5.36 Output device icon
The output device icon precedes the name of the output device, for example, TIFF.

5.20.1.22 Page Setup name icon
Figure 5.37 Page Setup name icon
The Page Setup name icon precedes the Page Setup name.
5.20.1.23 Color setup name icon
Figure 5.38 Color setup name icon
The color setup name icon precedes the name of the color setup. If the default color setup is
being used, then the text (No Color Management) is displayed.
5.20.1.24 Screening icon
Figure 5.39 Screening icon
The screening icon precedes details of the type of screening used, for example, HDS Fine.
5.20.1.25 Resolution icon
Figure 5.40 Resolution icon
The resolution icon precedes the resolution details, for example, 300.0 dpi.

5.20.1.26 Anti-alias factor icon
Figure 5.41 Anti-alias icon
The anti‐alias icon precedes the details of the anti‐alias factor, for example, 3x3. The Anti-
Aliasing option is available in the Configuration dialog box of various plugins, such as the
TIFF plugin.
5.20.1.27 Serial number icon
Figure 5.42 Serial number icon
The serial number icon precedes the Harlequin MultiRIP serial number details. This allows
you to identify the Harlequin MultiRIP that produced the proof.
5.20.2 Configuration
5.20.2.1 Page image positioning

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

In some cases, the following warning may be displayed in the RIP Monitor window:
%%[ WARNING: Control Strip: no margins file found, output may be clipped ]%%
If necessary, speak to your plugin supplier for further details on margins files.
5.21 Scaling the image

You may not always want to print your job at its original size. The horizontal and vertical
scaling boxes in the Edit Page Setup dialog box allow you to print out any job at a specified
scale. This changes the page size.

All scales are expressed as a percentage of the original size. Thus, to print out a copy of a job
at half the linear size, specify 50 in both the horizontal and vertical scaling text boxes. To print
it out at twice the size, specify 200.
You can specify different horizontal and vertical scales if you wish. Note that the aspect ratio
of the image changes unless the values in the horizontal and vertical scaling boxes are the
same.
Screen ruling is not affected by the scale at which a job is output.
5.22 Features
You may sometimes want to apply a special effect to your jobs that is not otherwise available
from the Edit Page Setup dialog box. You can do this in the Harlequin MultiRIP by using
features. These are both powerful and easy to use.
For instance, you can use a feature to perform a simple page imposition that prints two pages
side by side (and at reduced‐scale if required) on one normal sized page to reduce media con‐
sumption when in the draft stages of document production. Another feature scans PostScript
language jobs for the use of spot colors and reports the colors on screen before you print.
You can use features by choosing one from a drop‐down list, without knowing how they
work, but with a little knowledge you can add new features. A Harlequin MultiRIP feature is
a fragment of PostScript language code which is executed just before a job is run. The frag‐
ment specifies the changes to be made to the interpretation of that job, but is completely inde‐
pendent of it.
5.22.1 Using features

Several page features are supplied with the RIP, ready for immediate use. To use one of these
features, select the Enable Feature check box and select a feature from the drop‐down list.
Make any other settings you wish and save the Page Setup. The feature is applied to all jobs
using that Page Setup until you clear the check box.
Many of the features enable you to save media by packing pages on large format devices, or
to get more information about jobs and any errors arising from jobs. In addition, one feature
(Image replacement) enables substitution of high resolution images for PostScript language
jobs, using Open Prepress Interface (OPI) and Desktop Color Separation (DCS) schemes.
Note: The use of Harlequin VariData (HVD) and OPI is not a supported combination.
The page features currently supplied and supported are:
Error Handler (Long and Short)
Error messages generated by the RIP are generally fairly concise.
These page features make the RIP generate longer and shorter (but
longer than normal) error messages.

Image Replacement
This will load both OPI and DCS image replacement code. Please note
that there is an issue when using image replacement with DCS files.
When a Monochrome color separation setup is employed, only the
information from the Black DCS separation is used in the final gray‐
scale image.
List Spot Colors
This lists to the system monitor / console the names of all the spot col‐
ors accessible in the current job. Also loads the level 1 separator so all
level 1 spot colors are also displayed.
For maximum performance, when using this page feature, set the reso‐
lution to the lowest possible value that is supported by the output
device.
Print info on error
Use this to add additional information related to PostScript language
errors to the output, and to image the page interpreted so far.
Print page on error
Use this file as a page feature (or a boot option in HqnOEM) to print par‐
tial pages when a PostScript language error other than interrupt or
timeout occurs.
Install Annotation
You can if you wish use your own custom annotation files. This is done
using this page feature which, when activated via the Page Setup dia‐
log, allows you to print an EPS file (EPS only), to install that file as a
new annotation.It is recommended that the EPS file is wide and low. It
will be centered on the selected raster edge. For more information see
“Annotations” on page 292.
Use Filename as Jobname
The Harlequin MultiRIP provides a page feature that allows users to
request that an incoming file name be used for the job name. This page
feature is better than any previously supplied code. It is therefore
highly recommended that this page feature is used rather than any
previous code offerings.
Note: Each page feature is a simple text file and contains a similar description, sometimes
with more detail, as a comment.
5.22.2 Adding other features

The Enable Feature list provides a number of commonly useful features, but there are other
supplied examples that you can add to the list and a PostScript language programmer can
create many more. One of the supplied examples (Draft) prints the word Draft on each page.

Another one (Pack Drum) saves film by packing images on a drum recorder in the way that
Fill Film does on a sheet‐fed device and Pack Capstan does on a capstan recorder. Finally,
PGB hot folder enables you to resubmit page buffers to the version of the RIP that pro‐
duced them.
Note: All page features in the Examples folder are supplied as an illustration of what is pos‐
sible with the Harlequin MultiRIP. The page features are believed to work as described but
they are not supported as a part of the Harlequin MultiRIP. Page features that appear in the
Enable Feature list are supported but are documented only in the PostScript language files.
A feature appears in the Enable Feature list only if there is a corresponding PostScript lan‐
guage file in the Page Features folder in the SW folder where you have installed the RIP. The
name of the feature in the dialog box is the same as the file name.
All the other supplied examples are files in an Examples folder in the Page Features folder.
There is also a file called Read Me that describes the example features and how to create oth‐
ers. To make an example feature available, copy the file from Examples into the enclosing
Page Features folder and display the Edit Page Setup dialog box.
Similarly, to remove a feature, move it from the Page Features folder into the Examples
folder.
You can add other, new, features by creating appropriate PostScript language files and plac‐
ing them in the Page Features folder.
Note to OEMS: Extensions to the PostScript language have been created which OEMs
may want to use when writing their own features. Contact Global
Graphics for the Extensions manual.
5.23 Cassette management

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

The Page Setup Options dialog box, shown in Figure 5.43, provides several options that affect
the way the RIP processes jobs. Display this dialog box by clicking the Options button in the
Edit Page Setup dialog box.
Several options provide compatibility with jobs using PostScript LanguageLevel 2 or
LanguageLevel 1. Other options deal with more general fault conditions or are convenience
features. (Click the Extras button in this dialog box to see options specific to job‐creating

applications: see “Page Setup Option Extras” on page 158 for details.) This section describes
each option in the dialog box.
Figure 5.43 Page Setup Options dialog box
5.24.1 PostScript language compatibility level

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

Prep files are libraries of PostScript language routines that can be downloaded into a RIP and
used whenever necessary. Many LaserWriter drivers require certain libraries to be loaded
before they can be used. See “Automatic prep loading” on page 210, for details.
If the box for this option is selected and a prep file chosen from the drop‐down list, the cho‐
sen prep file is run at the start of every job that is interpreted with the relevant Page Setup.
By default, this option is not selected.

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

This option enables Level 1 PostScript patterns defined as halftone screens to be processed
more quickly, but at a lower resolution than normal. You should not use this option if you
require high quality images, since the option makes the output of any user defined patterns
have a more grainy texture than normal at resolutions above 300 dpi.
5.24.5 Emulate old imagemask behavior

This option is used to overcome a now rarely seen bug in a previous version of the Adobe
interpreter. The effects of this bug may still be present in some older files of PostScript lan‐
guage code.
By selecting the Emulate old imagemask behavior check box, you can print these old jobs cor‐
rectly.
Consider the case where a page of PostScript
language code contains a negative image
mask. If the page is itself printed in negative,
the image mask appears normal, as illus‐
trated on the left.
In older jobs, negative image masks are still
printed in negative, producing the error illus‐
trated on the left. This is because the Post‐
Script language code in the job is attempting
to rectify a bug that is no longer present.

5.24.6 Add showpage at end of job if necessary

Certain PostScript language file formats, such as EPS, EPSF, or EPSI (all forms of encapsu‐
lated PostScript), do not necessarily include a showpage operator at the end of the job. To
print these files directly from a RIP, a showpage may need to be added. If this option is
selected, the RIP automatically appends a showpage to jobs when necessary.
Note: If a job containing a PostScript language error is aborted, any partially complete page is
processed and output.
Note: With Simple Imposition used in your Page Setup the Add Showpage at end of job if nec-
essary option is not required. EPS files will print correctly.
Note: If you process an EPS file that contains known errors it will output when using both
Add Showpage at end of job if necessary and a page feature that uses imposition. If either the
Add Showpage at end of job if necessary or page feature is turned off the page will correctly
error.
5.24.7 Abort if calibration on, and the selected cal set does not match job
If you require job calibration, select this option to prevent the RIP printing jobs with an inap‐
propriate calibration set. The calibration set is specified in the Page Setup. See Chapter 12,
“Calibration” for details.
5.24.8 Abort the job if any fonts are missing

Select this option to ensure that a job is aborted if any font it uses is not available. If you leave
this option unselected, the RIP attempts to use a suitable replacement for any missing font.
You are able to specify Default fonts in the SW/Config/FontSubstitution file. See “Font
substitution” on page 314 for more details.
5.24.9 Enable font emulation

If a font is missing from a job, and is not available in the RIP, you can select this option to sub‐
stitute the missing font with suitable facsimile text based on the characteristics of the missing
font in terms of style, spacing, height and width. In this way, a suitable readable font with
similar characteristics of the target font is used in place of a missing font.
Font emulation is often acceptable when digital printing, and can be preferable to the file not
being produced at all.
For more information see “Font Emulation” on page 316.

5.24.10 Preserve monochrome and preseparated jobs
Select this option only if it is important to emulate the behavior of a traditional separating
workflow when a monochrome or preseparated job is submitted to the RIP using a Page
Setup that is intended for automatic separation of composite color jobs.
When this check box is enabled you will generate CMYK separated output when mono‐
chrome or preseparated files are input to a CMYK page setup.
Selecting this option ensures that the RIP generates correctly labeled separations. Select this
option to make monochrome jobs produce a single black separation, and to make presepa‐
rated color jobs produce correctly labeled separations.(Even though correctly labeled, the
separations may also be blank.)
Note: You can avoid blank separations by selecting Not Blank in the Print column of the Edit
Style dialog box, as described in “Producing separations” on page 385. That option is slightly
different because if it is used alone on preseparated jobs in a separating workflow then the
resultant separation may have the wrong label: for example, a preseparated job for CMYK
may produce only four K (black) separations. It can be useful to use both options together.
Warning: When Simple Imposition is being used, the Print option must be set to Yes if you
wish to see color patches on either the proofing or the plate colorbars. Using the Not Blank
option will omit color patches for that color.
5.24.11 Number of copies to print

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

With the introduction of PostScript LanguageLevel 3 and PDF version 1.3, it is possible to
construct vignettes using Shaded Fills. There are a number of controls available to impact the
quality of these Shaded Fills and one which is particularly important is the smoothness set‐
ting.
This option essentially controls the number of steps used to produce a vignette. Some appli‐
cations set smoothness to a value which will not produce good results on some devices
(Adobe Acrobat sets a value of 50). In this case, vignettes are constructed in a way which
reveals noticeable banding. Typically, the creating application can be set to use a more sensi‐
ble default value, however this can be difficult to implement for all creators of PDF files. For
this reason the Minimum shaded fill levels option is available.
This option allows you to set sensible override values.
Minimum shaded fill levels sets a limit which controls the minimum number of steps that can
be used in constructing a vignette. This is important in ensuring vignettes do not have band‐
ing.

The default Minimum shaded fill levels value is Auto which optimizes the value to suit the cur‐

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

The Page Setup Option Extras dialog box, shown in Figure 5.44, enables you to alter the way
the RIP processes jobs produced by specific applications. The topics include color manage‐
ment, font substitution, and vignettes in spot colors.
Note: The treatment of embedded color management and spot color vignettes is the same
whether the job submitted to the RIP is a file produced directly by the named application, or
a file produced by a page make‐up application and referencing or containing a file from the
named application. There are differences in what is possible with different file formats from
some applications, as noted for each option. Typically, an EPS file is handled better than a
PostScript language file printed directly from the named application.
Display this dialog box by clicking the Extras button in the Page Setup Options dialog box.
This section describes each option in the dialog box.
Figure 5.44 Page Setup Option Extras dialog box

5.25.1 Adobe Photoshop features
These options control handling of features found in jobs from Adobe Photoshop.
Note: The Honor ‘PostScript Color Management’ check box has been removed. The option
is now called Override color management in job and is part of the Input Document Controls
within the Color Setup Manager. See “Color Setup” on page 391 for more details.
To make fullest use of jobs containing device‐independent color definitions, enable a
color option in the Configure RIP Extras dialog box.
Separate spot color duotones, tritones & quadtones to spot color plates...
This option enables the interception of Photoshop duotones, tritones,
and quadtones when encountered in EPS files. Select this box if you
want to separate spot color duotones, tritones, and quadtones to spot
color separations.
For this option to take effect, select a RIP separations style that creates
separations and that enables the relevant spot color separations. The
separations style must either specify a separation for each spot color or
have (Other colors in job) set to Yes. See “Producing separa‐
tions” on page 385 for details.
Note: This option is available only when the PostScript Language com-
patibility level option is set to 3. It is only relevant for Photoshop ver‐
sions 2.5 through 4; Photoshop version 5 does this automatically if
imaged in LanguageLevel 3.
For more information see “Duotones, tritones, and quadtones” on
page 19
By default, this option is selected.
Note to OEMs: Photoshop images saved to EPS always include the input profile from
Photoshop, which a job may not want to actually have applied when
color managing. For details on overcoming this, see Appendix C of the
Extensions manual.
5.25.2 Adobe Illustrator features

These options control handling of features found in jobs from Adobe Illustrator.
Don’t let files silently substitute Courier for missing fonts

Illustrator 7 checks for font availability and replaces any unavailable
fonts with Courier. This means that changing the default font or select‐
ing the Abort the job if any fonts are missing option in the RIP would
have no effect.

If you select this option, the RIP ignores the font substitution in the
Illustrator PostScript language code. You can then change the default
font or select the Abort the job if any fonts are missing option. This
options applies to both PostScript language and EPS files from Illustra‐
tor.
Separate spot color vignettes to the spot color plate...

For both Illustrator 6 and 7 files: if you select this option, the RIP places
the spot color vignettes on the appropriate spot color separations, if
available.
There are limitations: all vignettes appear in process separations when
the job submitted to the RIP is a PostScript language file printed
directly from Illustrator; and vignettes from a spot color to a process
color appear in process separations even when the job is in EPS format.
For this option to take effect, select a RIP separations style that creates
separations and that enables the relevant spot color separations. The
separations style must either specify a separation for each spot color or
have (Other colors in job) set to Yes. See “Producing separa‐
tions” on page 385 for details.
For Illustrator 6 files: if you do not select this option, the RIP honors the
information in the job and places spot color vignettes on the process
color separations rather than the spot color separations.
For Illustrator 7 files: if you do not select this option, the result depends
on the separations style and on the information in the job.
If the separations style generates a separation for a particular spot
color, the RIP places a vignette in that spot color on the spot color sep‐
aration.
However, if (Other colors in job) is set to Yes the RIP will gener‐
ate a separation for a spot color if it encounters a flat tint in that color,
but not if it encounters a vignette in that color. Once the spot color sep‐
aration exists, the RIP will add a vignette in that color to the separa‐
tion. If the spot color separation does not already exist, the RIP places
the spot color vignette on the process color separations.
patibility level option is set to 3.

5.25.3 QuarkXPress features
This option controls handling of features found in jobs from QuarkXPress.
Separate spot color vignettes to the spot color plate...

The PostScript language code generated by QuarkXPress places spot
color vignettes on the process color separations rather than the spot
color separations.
If you select this option, the RIP places the spot color vignettes on the
appropriate spot color separations, if available. (This option applies
fully to PostScript language files printed from QuarkXPress.) For this
option to take effect, select a RIP separations style that creates separa‐
tions and that enables the relevant spot color separations. The separa‐
tions style must either specify a separation for each spot color or have
(Other colors in job) set to Yes. See “Producing separations” on
patibility level option is set to 3.
Replace XPress graduated fills with smooth shading

Select this check box to replace graduated fills produced by QuarkX‐
Press with LanguageLevel 3 smooth shading (shaded fills). Shaded
fills generally produce better visual quality and may be faster to gener‐
ate. You can use this selection if you are using the TrapPro trapping
option. This is because TrapPro can handle shaded fills.
Note: This option is available only when the PostScript Language
compatibility level option is set to 3.
5.26 PDF Options

This button displays the PDF Options dialog box, in which you can set the options for print‐
ing PDF files. Using these options you can, for example, print a range of pages rather than the
whole file or specify which versions of PDF file to accept. You can also supply a user pass‐
word, to enable the RIP to print password‐encrypted files.
5.27 Calibration
The Harlequin MultiRIP can apply one or more calibration sets to a job. If you are printing to
a direct output device, the Page Setup can include a calibration for the output device and a
tone curve calibration.
If you are preparing a job for a printing press, the Page Setup can include an imagesetter cal‐
ibration, a tone curve calibration, and calibrations for the intended and actual presses. If the
Page Setup uses an ColorPro color setup, the intended press calibration is disabled.

Calibration sets are created for a particular device and color space. You can only select a cali‐
bration set for the currently selected device and color space. The choice of separations style
determines the color space. Note that, while an imagesetter is not a multi‐color device, you
can create a calibration curve for each color in the separations style, to take account of the dif‐
ferent screen angles likely to be used for the colors.
To create or edit a calibration set, click the Calibration Manager button, which is the icon but‐
ton in the Calibration & Dot Gain section of the Edit Page Setup dialog box. See Chapter 12,
“Calibration”, for more information.
5.27.1 Device calibration

The Calibration drop‐down list contains a list of all calibration sets for the currently selected
device and color space. Select (None) for no device calibration.
Typically, you select a calibration set that has been prepared for the resolution, screen fre‐
quency, dot shape, positive/negative setting, and exposure of the Page Setup that you are
editing. The dot shape and screening details are set in the separations style.
Some output plugins—for example, ProofReady plugins—are supplied with reference cali‐
bration profiles, typically named in this form: (Media_name Resolution), where
Media_name and Resolution represent values suitable for the output device. These profiles
appear in the list of calibration sets and you can use these profiles in the same way as any
other calibration set. The additional feature of these profiles is that selecting a reference cali‐
bration profile, or a calibration set that you have based upon one, is enough to apply a
default color management setup provided that you have enabled an color management
option. See the manual for the relevant output plugin or the Harlequin ColorPro User’s Guide
for details.
5.27.2 Press calibration

The Actual Press drop‐down list contains a list of all calibration sets created for the Printing
Press device in the current color space. Select (None) for no press calibration. There is
default entry supplied for (SWOP (CGATS TR001)), and there may be others.
Note: Some of the press calibration sets may be derived from profiles when you are using
ColorPro. See the Harlequin ColorPro User’s Guide for details. You can add other entries, as
described in Chapter 12, “Calibration”.
5.27.3 Use of a different printing press

If you are not using ColorPro, you can retarget a job from its intended printing press to
another printing press, using the Intended Press option.
This is a complex topic in the general case, discussed more fully with reference to calibration
in “Press calibration” on page 339.
In summary, the overall effect of press calibration in the output path is to first apply any pri‐
mary calibration (for example, as required for an imagesetter), to remove compensation for
the gain of the Intended Press, and then to compensate for the gain of the Actual Press.

The Intended Press calibration is not available when ColorPro is enabled. Instead, several
options are provided for processing color data ahead of the transfer to press. These options
include emulating the output of one press on another type of press. For details, see the sepa‐
rate Harlequin ColorPro User’s Guide. The calibration set specified in Actual Press is always
used.
The Intended Press drop‐down list contains a list of all calibration sets created for the Print-
ing Press device in the current color space. If you have a scanned image that was not aimed
at a specific press, select (None) for no intended press calibration. There is a default entry
supplied for (SWOP (CGATS TR001)), and there may be others.
Note: Some of the press calibration sets may be derived from profiles when you are using
ColorPro. See the Harlequin ColorPro User’s Guide for details. You can add other entries, as
described in Chapter 12, “Calibration”.
5.27.4 Tone curves

Tone Curves allow you to make another set of color adjustments, in addition to the device
calibration and the press calibration. The Tone Curves drop‐down list contains a list of all cal‐
ibration sets created for the Tone Curves device in the current color space. Select None for no
tone curves calibration.
See “Tone curves” on page 339 for more details.
5.28 XPS Options

This button displays the XPS Options dialog box, in which you can set the options for print‐
ing XPS files.
Figure 5.45 XPS Options dialog box
Honor PrintTicket page range

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

Print all pages

Leave this check box selected to print all the pages in the XPS Docu‐
ment. If you wish to print only a subset of the pages from an XPS Doc‐
ument, deselect this check box and enter the desired pages in the Pages
field.
Reselect this check box when you have finished printing the subset of
pages. This enables the printing of all pages from other XPS Docu‐
ments. (You do not need to delete the entry in the Pages field.)
Page(s)
Enter numbers for the page or pages that you wish to print. You can
enter individual page numbers or ranges, separating each number or
range with a comma ( , ) character.
To enter a page range, enter the numbers of the first and last pages in
the range, using a hyphen to separate them: for example, 7-16. If you
wish to print all pages from a particular page to the end of the job,
enter a range starting with that particular page and ending with a
number that you know to be higher than the last page in the PDF job:
for example, 47-10000.
You can combine individual page numbers and ranges: for example,
1,2,7-16,23,24.
Pages may be repeated, for example [27, 27, 27] will print three copies
of page 27.
Pages may be listed out of sequence, for example [154, 27, 170].
Page size
This enables the RIP to act on page size settings configured in the Page
Setup dialog or XPS Document’s PrintTicket. The default setting is to
use the Page Setup FixedPage width and height. Alternatively, the
BleedBox or ContentBox settings can be selected. You can override
the Page Setup values by selecting the PrintTicket PageMediaSize
setting.
Blend color space

Selects the blend color space from sRGB, scRGB, the Device blend color
space or uses the XPS Document’s PrintTicket PageBlendColorSpace
setting. All colors are converted to the selected blend space before
compositing or gradient blending. If your RIP is outputting an RGB
device select sRGB. If your RIP is outputting to a CMYK device select
Device.
5.28.1 PrintTickets
The PrintTickets attached to an XPS Document help to define the various printing options
such as the Print quality and Paper size. Also, other options such as the Output method and

what to do with Digital Signatures can be selected. Many applications will attach a Print‐
Ticket to the XPS Document when it is printed.
The following PrintTickets are supported by the RIP if they are present within an XPS
Document:
• DocumentPageRanges
• PageBlendColorSpace
• PageMediaSize
• PageResolution
The way that the RIP handles the DocumentPageRanges, PageBlendColorSpace and Page-
MediaSize PrintTicket keys depends on the settings of the XPS Options dialog. See “XPS
Options” on page 163 for more information. By default, all PrintTicket settings are ignored,
but these three keys can be honoured if you choose to do so.
The only other PrintTicket setting which might get honoured is PageResolution. This will
only happen when the Override resolution in job option is not checked in the Page Setup
dialog. See “Setting the resolution” on page 96 for more information.


6
Screening
This chapter describes halftone screening in monochrome and color work, and the different
types of screening offered by the RIP. You use the screening options in the RIP in combina‐
tion with the options that control color separations, to create a combined color separations
style.
The RIP does not restrict the concept of color separation to producing separated output.
When processing any job, the RIP creates a separation for each process colorant and also,
where appropriate, for spot colorants. The output format determines whether the separations
are printed together as a composite, or separated. By configuring these separations you can
control the printing of individual colorants in the job. Although there is only one separation
in the monochrome color space, the RIP provides the same options for configuring that sepa‐
ration.
Separations information is saved together with screening information in a separations style,
which can be used in several Page Setups. You can keep a number of separations styles that
you use regularly, for example to define different screening options.
6.1 Managing separations styles

Separations styles are created and managed in the Separations Manager, as shown in
Figure 6.1. You can open the Separations Manager by clicking the Separations Manager icon
button next to the Style drop‐down list in the Edit Page Setup dialog box, or by choosing the
Color > Separations Manager command.

6 Screening
6.2 Separations Manager dialog box
Figure 6.1 Separations Manager dialog box
The Separations Manager displays a list of all existing separations styles for the current
device, showing the name of each separations style, the corresponding color space, and the
output format.
From the Separations Manager you can create separations styles, and edit, copy, or delete
existing separations styles. This chapter describes how to set the screening options for an
existing separations style. For details about creating separations styles, see Chapter 13,
“Color Separation”.
Select a separations style from the list and click Edit. The Edit Style dialog box appears. If the
output format of the separations style supports screening, the Edit Style dialog box contains
screening options, as shown in Figure 6.2. For example, if you choose a separation style with
an output format of halftone separations, the Edit Style dialog box contains screening
options.
The screening options do not appear if the output plugin for the selected output device does
not support screening. This usually means that the output device supports continuous tone
(contone) output or that the device accepts contone data and performs its own screening. For
devices that can be configured to support either contone or screened output, the screening
options in the Edit Style dialog box do not appear when you select a contone separations
style, unless you are using external screening.
Some proofing output plugins list two entries (for Device in the Edit Page Setup dialog box)
for each model of printer that the plugin supports. One entry is for a device that uses the
screening options in the RIP, which appear in the Edit Style dialog box for that device. The
second device performs its own screening, and does not have screening options in the Edit
Style dialog box.

6.3 Edit Style dialog box
The Edit Style dialog box (shown in Figure 6.2) appears when you select a separations style
and click Edit in the Separations Manager.
Figure 6.2 Edit Style dialog box with screening options
The screening options in the Edit Style dialog box include some familiar to anyone who has
used screening and some that are specific to the Harlequin MultiRIP.
• “Halftoning” on page 170, is a quick introduction to concepts if you are unfamiliar
with screening and halftoning.
• “Screen angles” on page 175, “Dot shapes” on page 176, and “Halftone frequency” on
page 179, explain how to use three basic screening functions.
• “Screening options and number of gray levels” on page 180 describes an area where
the Harlequin MultiRIP technology provides some unconventional and valuable func‐
tionality.
• “Edit Style dialog box” on page 383 describes the options available for color separa‐
tions and spot colors.
• “The EskoPNDSN PDF extension” on page 359 provide details on the use of the Ignore
proprietary selection keys and Abort if proprietary selection value is unknown options.
The remaining sections in this chapter describe more subtle controls and some optional fea‐
tures of the Harlequin MultiRIP.

6 Screening
6.4 Halftoning
Halftoning is the process of approximating gray levels or color shades with a pattern of dots.
In many halftoning systems, the dots can have only one color value but can vary in size to
alter the ratio of dot color to background color. The simplest use of this technique is approxi‐
mating gray levels with a pattern of black dots against a white background, as illustrated in
Figure 6.3.
Here, the size of the dots varies to represent different shades of gray. You see an area of small
dots as a light gray, while an area of larger dots (each nearly filling its allowed space in the
pattern of dots) is seen as dark gray. More strictly, it is not the size of the dots but the resul‐
tant ratio of black area to white area that represents the gray value.
Figure 6.3 An example of halftoning
Color shades are approximated with three patterns of dots, each in a primary color—cyan,
magenta, and yellow—used with or without a fourth pattern of black dots. (This description
of halftoning assumes three patterns—in fact, the fourth pattern of black dots is almost
always used, for technical reasons that do not affect the principles of halftoning.)
Within each color separation, the size of the dots (in relation to their background) is propor‐
tional to the amount of the primary color in the composite shade. When the separations are
combined, typically by overprinting in registration, they create the illusion of shades of color.
The cyan, magenta, and yellow dots cannot be distinguished when viewed from a distance—
instead, the pattern of color dots appears to be an area of a shade of color.
6.4.1 Dots, halftone cells, and screens

The dots that this section has discussed are the visible part of halftoning and most halftoning
can be described in terms of patterns of these dots. The industry‐standard terms used to

describe the organization of these dots into manageable structures are halftone cells and
screens.
Each dot is considered to occupy a halftone cell. (Figure 6.4 shows two groups of four halftone
cells.) Every halftone cell is used to represent a gray level or color intensity. A dot can have
any area in the range 0% of the area of the halftone cell (a completely white cell) through
100% of the area of the halftone cell (a completely black cell). Dots of intermediate areas cre‐
ate the illusion of gray levels. The number of pixels in the halftone cell defines how many
intermediate areas of dot are possible and, in most systems, this defines the number of repro‐
ducible grays.
Cell spacing
(related to screen
frequency)
Figure 6.4 Halftone cells, screen frequency, and dot shapes
A screen is an invisible grid that is superimposed on the image—each square in the grid is a
halftone cell. For a particular dot shape, the important characteristics of a screen are its spa‐
tial resolution, referred to as screen frequency, and the screen angle (as shown in Figure 6.5).
Screen frequency
is the number of halftone cells per inch or centimeter. The correspond‐
ing units are lines per inch (lpi), lines per centimeter (lpcm), or lines
per millimeter (lpmm). For example, a screen frequency of 100 lpi
means halftone cells spaced every hundredth of an inch.
Screen angle is the angle between one side of the halftone cell and an axis on the
output device (not a fixed axis on the page): the reference axis is usu‐
ally the direction of the slow scan. The screen angle becomes impor‐
tant when you are combining the separate patterns of dots used for
color reproduction. The most important consideration is the angular
separation of the different screens, not their absolute angles relative to
the device axes.

6 Screening
Note: For most screens, you can use the box Rotate screens according to

page rotation in the Edit Style dialog box to maintain screen angles rel‐
ative to the page axes. This may help you diagnose the cause of prob‐
lems with patterning in the output.

0
Screen angle
× ×
90 270
×
180
Figure 6.5 Halftone cells and screen angle
6.4.2 Dot shape

The choice of the shape of each dot that is generated in a halftoned image is essential to the
quality of the eventual image. Figure 6.4 shows circular and elliptical dots, but dots can have
other shapes and need not even form a connected shape within the halftone cell. Indeed,
there are screens where the black pixels are distributed (dispersed) around the halftone cell
without being joined into one dot. The way in which pixels are produced physically makes it
difficult to manage dispersed pixels, though Harlequin Dispersed Screening (HDS) exploits
this effectively to produce a less prominent pattern in the output.
There are two common ways of producing dot shapes: spot function screens and threshold
screens. Both kinds of halftone work by telling the RIP which pixel within a screen cell to
mark next to obtain the next darker gray level.
The Harlequin MultiRIP supports all the screen types defined by The PostScript Language Ref‐
®
erence Manual (2nd Ed) and the non‐proprietary types added in The PostScript® Language Ref‐
erence (3rd Edition). This means support for HalftoneType values of 1 through 6, 10, and 16.
Note: Screen Names files created with the Eclipse Release or later RIPs are incompatible with
previous versions. That is, you cannot transfer a Screen Names file from pre Eclipse Release
RIPs to the Harlequin MultiRIP.
6.4.3 Spot function screens

Spot functions describe the dot shape using a mathematical function which, given the posi‐
tion of a pixel within a halftone cell, produces a number which says where in the sequence of
pixels that pixel should be marked. This technique is very flexible, because it allows a single
function to define a halftone cell at any size or angle.

In the Harlequin MultiRIP the common dot shapes are provided by spot function screens.
This means that all the screening options in the Edit Style dialog box are available, including
the benefits of using Harlequin Precision Screening (HPS).
6.4.4 Threshold screens

As an alternative to a spot function screen, a threshold screen describes a halftone to the
Harlequin MultiRIP by providing the order in which to mark pixels explicitly in a table. The
table has as many entries as there are pixels in the halftone cell.
A consequence of this is that a threshold screen is always defined in terms of a fixed cell size
in pixels, whereas a spot function can be applied to arbitrary sizes of screen dot. This means
that the screen cell for a spot function will occupy more pixels, but the same physical area on
the output, if either the resolution is increased or the frequency (number of halftone cells per
device independent unit distance) decreased, but a threshold screen will get physically
smaller and its frequency increase if the resolution is increased.
A further consequence is that HPS and other techniques which vary the actual pixels of a
screen cell cannot be applied to threshold screens. On the other hand, threshold screens can
be controlled very precisely, pixel for pixel, and are therefore suitable for describing Fre‐
quency Modulated (FM) screens if the cell is large enough. While threshold screens can be
used to describe conventional “clumped” dots, they are less flexible because of their resolu‐
tion dependence and absence of rotation to a specified angle (at least in their simplest form).
Neither kind of screen is suitable for describing non‐tessellating screening techniques, such
as error diffusion.
The PostScript language offers several variations on threshold screens, which allow greater
or lesser control over the sizes of the tables involved and the tessellation of the tiles (equiva‐
lent to the “angle”) in a spot function.
There are no threshold screens in the standard set supplied with the RIP but it is possible to
use threshold screens embedded in a job, or installed in the RIP by your supplier.
6.4.4.1 Using threshold screens

In the Edit Style dialog box, when you have selected a threshold screen in the Dot shape list
and Override dot shape in job is selected, the following options are not available:
• Frequency
• Override frequency in job
• Angles (for all process and spot colors)
• Override angles in job
• Use Harlequin Precision Screening
• Rotate screens according to page rotation
Note: If you clear the Override dot shape in job check box, these options are enabled, so that

you can override some parameters of spot function screens supplied in the job.

6 Screening
For more details of these options, see Section 6.5 through Section 6.7, and Section 6.10.
6.4.5 Halftone options

The Harlequin MultiRIP provides a number of options to control halftone generation. Using
them appropriately can improve the quality of your image, depending on the output device,
media, and resolution used. You can also override any screening parameters that might be
specified within the page description itself.
These are the three main features that are affected by the halftone strategy you choose:
• The shape of the dots created. See “Dot shapes” on page 176, for the relevant controls.
• The frequency and angle of the dot pattern created. See “Halftone frequency” on page
179, for the relevant controls.
• The accuracy of the screens generated. There is no general way of controlling accuracy.
One way of getting good accuracy is to use Harlequin Precision Screening (HPS),
described in “Harlequin Precision Screening” on page 185.
6.4.6 Dot gain

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

If you do not have a reasonable grounding in halftoning systems then you may find the fol‐
lowing books helpful. This is by no means an exhaustive list and you can probably find alter‐
natives in a good book store or technical library.
Real World Scanning and Halftones (David Blatner & Steve Roth, Pub: Peachpit Press, Inc.,
ISBN: 1‐56609‐093‐8)
If you ignore the fact that the authors are very insistent that the PostScript language can
only produce 256 gray levels, then this is an excellent introductory text for PostScript
halftoning.
PostScript™ Screening: Adobe Accurate Screens (Peter Fink, Pub: Adobe Press, ISBN: 0–672–
48544–3)
A very good introduction to digital halftoning, which then continues into discussion of
process work and advanced screening techniques. Some of the book is specific to
Adobe Accurate Screens™, but many of the concepts are common to HPS as well. This
book also has an interesting section on factors affecting device calibration and other
causes of poor film and press output.

An Introduction to Digital Color Prepress (AGFA Corporation)
This booklet was produced to sell Agfa imagesetters, but many of the ideas discussed
are common to all digital halftoning systems.
Electronic Color Separation (Dr. R.K. Molla, Pub: R.K. Printing and Publishing, ISBN: 0–
9620453–0–6)
This book refers to analog color scanners and does not discuss digital halftoning. The
example scanning systems are somewhat dated, but the halftone concept has not
changed since the book was written.
6.5 Screen angles

The Harlequin MultiRIP offers you complete control of screen angles for both process and
spot colors. There are a number of reasons for choosing screen angles carefully:
• A long‐established reason for choosing the screening angles (and frequencies) of color
separations has been to pick a set of values that minimize inaccuracies in the screens
and consequent moiré patterning when they are superimposed.
This reason is becoming less important as the accuracy of screen generation increases.
For example, the RIP includes Harlequin Precision Screening (HPS), a technology that
provides more accurate screening and reduces moiré without unduly limiting the choice
of screen angle and frequency. See “Harlequin Precision Screening” on page 185 for
details.
• You may wish to override a set of angles requested in a job. This is especially useful if
the job has requested a set of angles that optimize the output quality for a particular
output device, such as a laser printer, but that may diminish the quality on other
devices, such as an imagesetter.
• You may want consistency: for example, on all pages of a single publication when the
jobs come from different sources. Enforcing settings in the RIP is the simplest way of
getting such consistency.
A good choice of angles for general use with color separations in offset litho work is a set in
which the colors are separated by 30°, for example: 15°, 75°, 0°, and 45° respectively for
CMYK (and related sets using these angles plus or minus multiples of 90°). For use with
elliptical dots, a separation of 60° is recommended, leading to angles of 15°, 75°, 0°, and 135°
for CMYK.
Note: The angles shown in the Edit Style dialog box (shown in Figure 6.2, page 169) always
take effect for jobs that contain no screening requests. If the job attempts to set screening, you
must select the Override angles in job check box if you want to use these values.
6.5.1 Changing angles for separations

The list of separations shows all colorants (including the standard process colors and any
spot colors) and their screen angles.

6 Screening
The boxes below the list of separations allow you to control the printing of process color sep‐
arations, and change the screen angles.
Note: The ink types are decided using the Ink Set Manager which is only available when one
of the TrapPro options is enabled. See the documentation supplied with TrapPro for more
information.
If the chosen output format supports additional colorants, you can also control the printing
of spot color separations. Any spot color not explicitly listed is controlled by the (Other
colors in job) settings. With the default settings, if a job calls for spot colors not named in
the list of separations, the RIP converts those spot colors to the appropriate combination of
process colors.
To change the settings for a particular colorant, select the colorant from the list and edit the
values in the boxes below. To change the screen angle, type the new value in the Angle text
box. For details of the other options, see “Edit Style dialog box” on page 383.
Note: The Angle column and text box are both blank when the selected Dot shape does not
have a controllable angle. Typically, this is because the dot shape belongs to a threshold
screen (which does not have a conventional angle) or because the screening is being done in
an output plugin or hardware device.
Each colorant has its own screening angle, which allows you to avoid moiré problems when a
job has several spot colors used in duotone combinations with each other or with the stan‐
dard process colors.
The angles shown in the Edit Style dialog box always take effect for jobs that contain no
screening requests. If the job attempts to set screening, you must select the Override angles in
job check box if you want to use the values shown in this dialog box.
6.6 Dot shapes

Manipulating the dot shape generated can greatly influence the amount of dot gain in an
image.
The Harlequin MultiRIP offers a variety of dot shapes; your choice between them might
depend on the output device, resolution and media used, and the type of image. Dot shapes
are controlled from the Dot shape drop‐down list, which is one of the screening options in the
Edit Style dialog box.
Depending on the output device that you choose, you may see different entries in the Dot
shape list. Output plugins can modify the contents of this list, either to add screens suitable
for the output device or to remove the names of inappropriate dot shapes.
Note: The PostScript language allows you to specify an arbitrary dot shape by defining a spot
function. This offers great flexibility but there are some possible problems as outlined in the
The PostScript Language Reference Manual (2nd Ed). One probable consequence of having a
®
spot function defined in the PostScript language is slower rendering of jobs using that spot
function: it is almost always preferable to use a dot shape provided by a RIP in place of one
implemented in the PostScript language. The RIP includes efficient implementations of many
commonly used dot shapes to offer both speed and choice.

Note to OEMS: The term “dot shape” is intended to cover the combined concepts of
spot function and halftone dictionary specifying a complete screen. It
is possible for new dot shapes to be added. Contact Global Graphics or
see the Extensions manual for details.
Jobs often specify their own dot shape. To force the RIP to use your chosen dot shape instead,
select the Override dot shape in job check box.
A Euclidean dot‐shape strategy produces better saturated grays at gray values above 50%,
especially at finer (higher) screen frequencies. Euclidean strategies increase the fill of halftone
cells from the corners, instead of the centers, when the gray value exceeds 50%. That is, when
the gray value is less than 50%, the dots are black, the background is white, and the dot size
increases as the gray value increases; when the gray value reaches 50%, the dots become
white, the background becomes black, and dot size decreases as the gray value increases.
6.6.1 Common dot shapes

Sections 6.6.1.1 through 6.6.1.4 describe a number of commonly used dot shapes.
6.6.1.1 Round
This is a commonly used dot shape, but dot gain can be a problem in the shadow areas, since
the white diamond at the center of four adjoining circles can easily become filled with black
as the dot size grows. However, round dots give a smooth appearance in the highlights and
middle tones.
To use round dots, choose Round from the Dot shape drop‐down list.
6.6.1.2 Round Euclidean

This dot shape reduces dot gain in the shadow areas and is good for general‐purpose use. (It
is common in newspaper production, for example.) To use round Euclidean dots, choose
Euclidean from the Dot shape drop‐down list.

6 Screening
6.6.1.3 Elliptical Euclidean

This dot shape is used to avoid a fairly sharp transition at around 50% that can occur with the
round Euclidean dot shape with some imagesetters. To use it, choose EllipticalP from the
Dot shape drop‐down list. This is an excellent dot shape for general use.
A variant of EllipticalP is Elliptical1.
Note: The CMYK screen angles used for all elliptical dot shapes must be 60 degrees apart,
instead of the normal 30 degrees. This is because of the asymmetry of the elliptical dot.
6.6.1.4 HDS, HMS, and HCS

Global Graphics has developed a number of special screening strategies to provide better
quality, control, and performance than standard forms of screening. These are not supplied
with the Harlequin MultiRIP by default, but may be purchased separately. For details of Har‐
lequin Dispersed Screening (HDS), Harlequin Micro Screening (HMS) and Harlequin Chain
Screening (HCS), see “Harlequin Screening Library” on page 191 describing the Harlequin
Screening Library.
6.6.2 Other dot shapes

The dot shapes in this section are mostly used only for special effects or purposes; for general
purpose use, the shapes in “Common dot shapes” on page 177 tend to be better.
6.6.2.1 Elliptical
Elliptical dots generally produce a smoother transition than round dots, because the ellipses
initially intersect only along one axis, though this can produce a lined effect. To use an ellipti‐
cal dot shape, choose Elliptical1, Elliptical2, EllipticalQ1, or EllipticalQ2 from
the Dot shape drop‐down list.
Note: As mentioned for Elliptical Euclidean, the screen angles used for all elliptical dot
shapes must be 60 degrees apart, instead of the normal 30 degrees. This is because of the
asymmetry of the elliptical dot.

6.6.2.2 Square
Square dots are rarely used, except for particular effects. Images produced with square dots
tend to have dot gain problems, particularly in the shadow areas. To use the square dot
shape, choose Square2 from the Dot shape drop‐down list.
6.6.2.3 Square Euclidean

Another form of square dot shape. To use square Euclidean dots, choose Square1 from the
Dot shape drop‐down list.
6.6.2.4 Rhomboid
This dot shape is very similar to the square Euclidean shape, but generally gives a somewhat
smoother result. You should consider using it instead of the square dot shape. To use this dot
shape, choose Rhomboid from the Dot shape drop‐down list.
6.6.2.5 Line
Line‐shaped dots are generally used only to produce special effects, since there tends to be a
lot of dot gain. To use the line dot shape, choose Line or Line90 from the Dot shape drop‐
down list.
6.7 Halftone frequency

Another way to improve the quality of halftoning is to increase the halftone frequency, the den‐
sity with which the image is covered by halftone cells. Increasing the frequency is rather like
increasing the resolution of an image: more dots are produced and each dot is smaller. How‐

6 Screening
ever, the more you increase the frequency, the fewer gray levels you can print. “Screening
options and number of gray levels” on page 180, discusses how many gray levels you can
obtain and how many are required for various types of graphic elements. See also “Control‐
ling extra grays in HPS” on page 185, on the extra grays feature available when using Harle‐
quin Precision Screening (HPS).
6.7.1 Changing the halftone frequencies

In the Edit Style dialog box there is a list of halftone frequencies: one for each device resolu‐
tion, or for a range of resolutions. The list of available resolutions depends on the chosen out‐
put device. The RIP uses the frequency that corresponds to the resolution selected in the Edit
Page Setup dialog box. The controls below the list allow you to change the frequency for the
selected row, and to change the frequency and resolution units.
To change the halftone frequency for a particular resolution, or range of resolutions, select
the row in the list and type the desired frequency into the text box below. You can change the
units for the resolution to dots per inch (dpi), dots per centimeter (dpcm), or dots per milli‐
meter (dpmm). You can change the units for the frequency to lines per inch (lpi), lines per
centimeter (lpcm), or lines per millimeter (lpmm).
Sometimes the job itself specifies a screen frequency to use when rendering. If this is the case,
the halftone frequency you specify in the Edit Style dialog box is ignored. To force the RIP to
use your screen frequency instead, select the Override frequency in job check box. Always con‐
sider selecting this box if you use HPS. (See “Harlequin Precision Screening” on page 185.)
6.8 Screening options and number of gray levels

It is an occasional requirement to know, and possibly control, the number of gray levels pro‐
duced on a rendered page.
6.8.1 How many gray levels can you see?

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

Conventional screens can produce a maximum number of gray levels linked to the resolution
of the output device and the screening frequency.

If you do not enable extra grays you get as many gray levels as the number of laser spots in a
halftone cell (plus one for all spots off—that is, white). This number is given by the expres‐
sion:
resolution  2
 ---------------------------------------- +1
 screen frequency
Thus at 100 lines per inch (lpi) and 2540 dots per inch (dpi) you get 646 gray levels …
2
 2540
------------ + 1 = 646
 100 
… but at 175 lpi and 1270 dpi you get only 53 gray levels:
2
 1270
------------ + 1 = 53
 175 
If you switch on Generate extra gray levels in the Edit Style dialog box then you get as many
gray levels as you define with the Limit number of distinct gray levels drop‐down list. It is a
feature of HPS that the number of levels can exceed the maximum defined in this expression.
Some RIP screening options do not follow this expression:
• Harlequin Precision Screening (HPS) is able to produce more gray levels than pre‐
dicted by the conventional expression.
• HDS does not have a conventional frequency to apply in the expression—though it is
possible to establish a rough correspondence between each HDS setting and a conven‐
tional screen of a particular frequency at a particular resolution.
6.8.3 How many gray levels do you need?

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

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

6 Screening
6.8.3.2 Contone scans

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

It is in these areas that the requirement for extra gray levels really shows. To avoid confusion,
the word vignettes is used here to cover both graduated tints and blends.
The minimum number of gray levels required is 256, but some long vignettes, or those over a
relatively short range of tints, may require more. The rule of thumb is that no single step in a
vignette should be more than 0.03 inches (0.75 mm) wide.
Thus a vignette from 20% to 70% tint that is 6 inches long requires at least 400 gray levels:
100 6
----------------------  ---------- = 400
 70 – 20  0.03
This rule varies with the screen frequency that you are using, with the particular tint range
(because steps are most obvious in dark graduations), with the hardness of the dots pro‐
duced by the output device and with the size of the difference in gray levels between steps,
but it serves very well as a basic starting point. Because of the variation with the size of the

difference in gray levels between steps it is very unlikely that you should ever require more
than 1024 gray levels, and in many instances 512 or 256 levels are sufficient.
If you are producing blends in applications such as Adobe Illustrator® or FreeHand® (for‐
merly from Aldus, now Macromedia) then you should make sure that you create blends with
enough steps—the RIP cannot add more steps into the blend. You may also need to switch on
extra grays and use Harlequin Precision Screening with its ability to exceed the conventional
limit of gray levels in order to display all the requested gray levels.
Graduated tints from many older applications do not produce more than 256 gray levels:
• Some applications always produce 256 grays for a 0 to 100% graduation. Examples are
FreeHand and QuarkXPress® (version 3.11 and later) when printing to a PostScript
LanguageLevel 2 compatible device.
• Some always produce 256 gray levels in a single blend, even a short one such as 10% to
30%. An example is QuarkXPress version 3.1.
• Some calculate the number of gray levels which the current resolution and screen fre‐
quency could produce on a RIP that does not support extra gray level functionality
and use that. Examples are FreeHand and QuarkXPress (version 3.11 and later) when
printing to a PostScript LanguageLevel 1 compatible device.
In the first two cases it may be worth switching on extra gray levels in the RIP if you are
using a low resolution or a fine (high frequency) screen. In the last case you gain no benefit
by switching on extra grays.
6.8.4 Gray level controls

There are two screening options in the Edit Style dialog box shown in Figure 6.2, page 169,
that affect the number of gray levels.
These options are applicable to any screen, especially HDS, to limit the number of available
gray levels. (For HPS only, the number of levels can also be increased to more than the natu‐
ral number of levels for the screen.)
Limit number of distinct gray levels
When you have selected the accompanying check box Generate extra gray levels,
described next, you can choose an entry from list to control the number of gray levels
that the RIP produces. There are several different cases.
With this list enabled:
• When using HPS, the RIP produces the exact number of gray levels set here.
• When not using HPS, the RIP treats the value chosen here as an absolute upper
limit and uses the natural value of the screen or this limit, whichever is lower.

6 Screening
This list is disabled when Generate extra gray levels is not selected. With this list dis‐

abled:
• When using HPS, the RIP produces the number of gray levels required to attain the
specified accuracy of screening, as set in the HPS Options dialog box, shown in
Figure 6.6, page 186.
• When not using HPS, the RIP produces the natural number of gray levels for the
screen. (For HDS, the natural number can be very large and using HDS unlimited
can have a performance penalty.)
Generate extra gray levels
There are two possible reasons for selecting this box:
• With all Harlequin MultiRIP screening options, it enables the use of the Limit
number of distinct gray levels to restrict the number of gray levels produced on the
output page.
• With HPS only, it enables the use of more screening levels than needed to get the
required accuracy of screen angle and frequency. Generating a large number of
screening levels can reduce undesired patterning, even if the number of levels actu‐
ally used is restricted by the value chosen for Limit number of distinct gray levels. See
“Controlling extra grays in HPS” on page 185 for the control of extra screening
levels in HPS.
6.9 Job settings and Harlequin MultiRIP settings

The details of how you can choose settings for dot shape, frequency, and angle are given in,
respectively, “Dot shapes” on page 176, “Halftone frequency” on page 179, and “Screen
angles” on page 175. These sections also describe how to override any conflicting settings
made in a job.
The following summary of what happens when the Harlequin MultiRIP processes a job may
be useful.
The RIP determines the screen or screens it will use for a job using the values in the Edit Style
dialog box, and the color of the pages being processed:
• Monochrome jobs use the gray settings.
• The color of pages in preseparated jobs is deduced by a variety of means, as described
in “Automatic detection of color separations” on page 198.
Note: Some jobs which have preseparated spot color pages do not contain any informa‐
tion about the name of the spot color they represent. In these circumstances, the RIP
uses the screening angle that corresponds to the (Other colors in job) entry.
• Colors of pages are determined from settings in the Edit Style dialog box.
When a job supplies any screens of its own (using the setscreen, setcolorscreen, or
sethalftone operators) then if the override check boxes in the Edit Style dialog box are all
cleared, the RIP uses the frequency, angle, and dot shape of the supplied screen until the job
provides another screen or cancels any screens it has supplied.

However, if the Override frequency in job check box is selected in the Edit Style dialog box the
RIP continues to use the frequency given in the dialog box instead of the one supplied by the
job. Similarly, if Override dot shape in job is selected, the RIP ignores the dot shape supplied by
the job and uses the one given in the dialog box instead, and if Override angles in job is
selected, the RIP ignores any angles given by the job in favor of those in the dialog box.
If all three boxes are selected, all screens given by the job are effectively ignored.
If you are using HPS, the frequency and angle values are also subject to slight adjustment to
achieve accurate screening. See “Using the HPS controls” on page 186 for details of how to
limit any adjustment.
Note: HDS screens do not have a conventional screening frequency or angle and ignore the
frequency and angle settings. HCS uses a fixed set of angles, so it also ignores the angle set‐
ting.
6.10 Harlequin Precision Screening

When placing color separations on top of one another, the angles and frequencies at which
those separations are produced should be calculated very accurately so as to reduce moiré
patterns. Historically, this required the use of specially selected screens that minimize the
patterning effect.
Harlequin Precision Screening (HPS) is a color screening technology that ensures high‐qual‐
ity reproduction with any screening option in the RIP (defined using a spot function). You
can enable HPS for a separations style by selecting the Use Harlequin Precision Screening
check box in the Edit Style dialog box. Once enabled, HPS is a property of the Page Setup
which uses this separations style, and the RIP uses HPS for all pages printed with that Page
Setup.
HPS allows you to select any screen frequency and to use the usual CMYK screen angles of
0°, 15°, 45°, and 75° (plus multiples of 90°). To reduce moiré patterning, HPS uses an adaptive
screening technique that can adjust each halftone dot so that it is placed within one half pixel
of its ideal location.
HPS also allows you to choose how rosettes are formed in the image, and to generate extra
gray levels, allowing the use of higher screen frequencies than the resolution would normally
allow.
The default HPS settings supplied with the RIP have been carefully chosen to provide good
output on most, if not all, output devices. We strongly recommend that you test output using
the default settings (in the HPS Options dialog box) before adjusting anything at all. The
information in “Possible problems with output” on page 189, is intended to help in adjusting
values if you think that it is necessary.
6.10.1 Controlling extra grays in HPS

The ability to generate extra gray levels is a very powerful feature of HPS. It allows you to
use more gray levels in your job than are normally available with conventional screening.
This has particular benefits in eliminating stepping in vignettes and avoiding posterizing.

6 Screening
“Gray level controls” on page 183 describes the use of the gray level controls in the Edit Style
dialog box, including the effect of switching on or off HPS.
There is one extra option within HPS.
The extra option, Limit screen levels, in the HPS Options dialog box allows you to separate
pattern‐reduction adjustments from extra gray generation—set the Limit screen levels value
to a high value and Limit number of distinct gray levels, in the Edit Style dialog box, to the
number of gray levels that you actually require. If you see patterning on individual films, try
increasing the Limit screen levels value: if you believe that there is a shortage of memory, then
reduce the value.
6.10.2 Using the HPS controls
Figure 6.6 Harlequin Precision Screening Options dialog box
“Job settings and Harlequin MultiRIP settings” on page 184 describes how the RIP arrives at
a set of screening values for a job.
When using HPS, for each screen in a job, the RIP calculates the best set of screen angles and
frequencies to use for the set requested. The process starts with the requested frequency—the
frequency set in the job or, when Override frequency in job is selected, the value in the Edit
Style dialog box. The Edit Style dialog box contains a list of halftone frequencies: one for each
device resolution. The requested frequency is the one that corresponds to the resolution
selected in the Edit Page Setup dialog box.
Some requested frequencies may require a lot of memory or make it difficult to achieve the
desired angle accuracy, while a nearby frequency does not have these problems. If there is a
problem with the requested frequency, the RIP can select one of these nearby frequencies as
the deviated frequency.
The Maximum frequency deviation specifies the greatest deviation from the requested fre‐
quency that is allowed. The RIP selects the individual frequencies for the Cyan, Magenta, and
Black screens such that they are within the specified Frequency accuracy away from the devi‐
ated frequency.
The angle is snapped to the nearest 7.5 if you select Snap angles to nearest 7.5 degrees.

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

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

Increasing the value in the Maximum frequency deviation box gives the RIP more freedom in
finding an optimal screen set and can reduce patterning or moiré, at the expense of possibly
giving final output at a screen frequency further from that originally requested. A value of
between 5% and 10% is normally acceptable.
Increasing the Angle accuracy or Frequency accuracy settings (that is, increasing allowable
variations from the deviated frequency and angle) also gives the RIP more freedom in select‐
ing a screen, and may reduce patterning on individual films, but this may also increase the
likelihood of moiré effects between plates. If you are using HPS to produce extra grays on
mono or non‐overlapping spot color work then you can safely increase these numbers and
may obtain slightly better output. If you are producing process separated work then you
should probably not change the default numbers.
If Abort job if accuracy not achieved is selected and it is not possible to determine a screening
set within the angle accuracy or frequency accuracy requested, then the RIP cancels the job
currently being output.
6.10.2.3 Enable HPS 2.0

Select the Enable HPS 2.0 box to use features added to HPS. These features can improve the
quality of output when using the Generate extra gray levels option. Flat tints and vignettes are

6 Screening
smoother, particularly in highlights and shadows, because the mottling effects which can be
caused by generating the extra gray levels are reduced. (Even without HPS 2.0, these effects
are unlikely to be significant until the ratio of resolution to screen frequency is less than 12:
for example, you might see mottling with a resolution of 1270 dpi and a screen frequency of
150 lpi, where the ratio is about 8.5.)
6.10.2.4 Generate clear centered rosettes
Figure 6.7 Clear-centered and spot-centered rosettes
Generate clear centered rosettes is one of the few controls which you might expect to change

in the HPS Options dialog box. When color separations are combined, the dots form one of
two rosette patterns as shown in Figure 6.7. Clear‐centered rosettes are less likely than spot‐
centered rosettes to show a significant color shift if separations are printed slightly out of reg‐
ister, but the output produced is normally less saturated, lighter, and has a more noticeable
rosette structure. In general, output at high frequencies, or where the output may be run on
presses with poor registration, should use clear‐centered rosettes, while output at low screen
frequencies or on well registered devices (including most color printers) should use spot‐cen‐
tered rosettes.
If you find that you are not getting consistent clear‐centered or spot‐centered rosettes across
the full width of a page: try varying the requested frequency slightly; or increase Maximum
frequency deviation, to allow the RIP to find a screen set with better angle and frequency accu‐
racies.
6.10.2.5 Optimize for angle set

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

6.10.3 Possible problems with output
There are two main kinds of problem to avoid with HPS output:
• Patterning on individual films.
• Patterning caused by the interaction of two or more films from separated output (often
called moiré).
In addition there are practical considerations. You usually want your output to be produced
as rapidly as possible, and you do not want to have to install excessively large amounts of
RAM in the computer running the RIP.
The following subsections describe how to address these problems.
6.10.3.1 Patterning on individual screens

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

Many people make the mistake of placing four process separated films on top of each other
on a light table, and being horrified by the moiré displayed. Moiré is always visible if you view
all four plates in this way. If you want a quick assessment of the moiré on a final print job,
view just the Cyan, Magenta, and Black films. Adding the Yellow film as well can be useful in
assessing variations in the marginal moiré added by the Yellow plate, but should not be
included in your standard viewing.

6 Screening
Eliminate two other sources of moiré before attempting to tune HPS:
• If you are using a dot shape which is not symmetrical when rotated in 90 steps (that
is, virtually all dot shapes apart from square and round) then all the screen angles used
for cyan, magenta and black plates may need to be 60apart rather than the traditional
30 apart. Yellow should then be at 30 from two of the screens. Suggested angles are
15, 75, 0, and 135 for cyan, magenta, yellow, and black respectively. Whether you
need to follow this suggestion or not depends on the content of the image (because flat
tints in certain colors show moiré most clearly) and on how extreme the asymmetry of
the dot shape is.
• Many older process separating applications (and newer ones using PPDs, PDFs, and so
on to optimize for older imagers) include individual screen frequencies and angles for
the four process colors which are designed to optimize output on older PostScript lan‐
guage compatible RIPs that are not capable of producing halftone screens at accurate
angles and frequencies. Using these frequencies and angles means that the output
from the RIP with HPS is no better than without HPS, and indeed may be far more
prone to moiré.
The best route is to switch off such features in the sending application if possible, or to
set up a PPD (or other configuration file) which uses the same screen frequency for all
separations, and a standard set of angles: for example, 0, 15, 45, and 75.
If modifying the input file is not possible then, in the HPS Options dialog box, select
Snap angles to nearest 7.5 degrees and, in the Edit Style dialog box, select Override fre-
quency in job. You cannot use this second method if you want several different screen
frequencies on a page: for example, for special effects.
6.10.4 HPS and pattern screens

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

The first time a RIP installation uses a particular HPS screen, the RIP must generate it. This
can take a few minutes. However, HPS screen sets are cached to disk, which means that there
is very little performance difference from using HPS if the RIP has a large enough memory
allocation (and apart from the first time that a particular screen set is used, which is when the

RIP builds the disk cache). There may be some performance increase when using screen
caches generated during previous jobs.
The RIP caches screen sets with PostScript defined spot functions as well as those with recog‐
nized functions. These spot functions are not processed quite as rapidly as the built‐in func‐
tions the first time that they are used but when previously cached screens are used there is no
difference in performance between built‐in screen functions and spot functions supplied in
PostScript.
High performance screening with HPS in the RIP requires a reasonably large amount of
RAM. As a guide, you should assume that extra memory in the range 8 through 12 MiB RAM
is required to use HPS effectively.
If messages are produced in the Harlequin MultiRIP window saying that insufficient mem‐
ory is available and that performance is being affected then you should increase the amount
of RAM available to the RIP to obtain significant speed increases.
If you are not using extra grays then increasing the freedom of HPS to select from a wider
range of screen sets by increasing the Maximum frequency deviation, Angle accuracy, or Fre-
quency accuracy settings reduces the memory requirement. If extra grays are switched on,
you can also reduce memory usage by using lower values for Limit number of distinct gray lev-
els and Limit screen levels.
Ensure that the Optimize for angle set value defined in the HPS Options dialog box is correct

for the angles that you are using. If the value is set incorrectly then processing a job may
require significantly more memory.
If you are imposing several separations onto one output film, the relative positions of the
plates which do not use 0 and 45 degree angles (usually Cyan and Magenta) can make signif‐
icant differences to memory requirements and rendering times. If at all possible, ensure that
these two plates do not occur side by side: that is, avoid the case where a single fast scan line
on the final film can pass through both a Cyan plate and a Magenta plate. If all four CMYK
separations are to be produced on a single film then the best default configuration is a two by
two square with Cyan and Magenta in diagonally opposite corners, because film rotation
cannot then cause these plates to appear on the same scan line.
Note to OEMs: There are a small number of additional system and user parameters
that may be set through PostScript language jobs (either at RIP start‐up
or in additional page features). For details, see the Extensions manual,
which contains full descriptions of all Harlequin MultiRIP extensions
to the PostScript language.
6.11 Harlequin Screening Library

Several other screen sets can be supplied for use in the Harlequin MultiRIP. They comprise
the Harlequin Screening Library (HSL).
The code to handle all of the screen sets is present in all shipped copies of the RIP, but indi‐
vidual screen sets must be enabled using an LDK product key. Each product key is tied to
both a specific screening style and to the serial number of the RIP for which the option is

6 Screening
required. Please contact your supplier for details of pricing on each screen set or bundle of
sets (and other layered options).
Note to OEMs: The PostScript language operator serialnumber returns the
Harlequin MultiRIP serial number. There is an additional routine
called checksum in statusdict which may be used to calculate a
checksum for the serial number. (The checksum procedure requires an
integer argument on the operand stack and replaces it with the check‐
sum for that integer.)
While the RIP is starting up, it reports the serial number and its checksum (a check to reveal
errors in copying the digits of the serial number) in the Harlequin MultiRIP window. This
example report is for a fictitious serial number:
Serial number: 1234-56
Note to OEMs: The dot shape for HSL screens returned by currentscreen or cur-
renthalftone is a valid PostScript spot function, to the extent that
PostScript language code which uses common techniques for changing
screen frequency by calling currentscreen followed by setscreen
does reinstate the same screen set after that code as before. This is a
dummy spot function, however, and is not a true description of the way
in which the screen is generated.
6.11.1 Switching on HSL

Order a new LDK product key and activate your RIP using that key.
There is one entry in the list within the Configure RIP Extras dialog box for each of the HSL
screen sets. (There is a second entry for HDS, titled HDS‐Light: this entry provides a limited
use of HDS, restricted to lower resolution output devices such as proofing printers.)
There may also be entries which refer to options in other areas of the RIP: for example,
ColorPro for the Harlequin MultiRIP color management system. These entries are described
elsewhere in this manual: see “Extras” on page 209 for a summary of other entries.
The word Yes after a name indicates that the screen set or option is enabled.
6.11.2 Selecting an HSL screen set

Once enabled, each screen set adds one or more entries to the Dot shape drop‐down list in the
Edit Style dialog box. Select the entry for the screen you want to use.
Note: You can select a screen set in the Edit Style dialog box so long as the RIP has activated
an LDK product key for that screen set.
6.11.3 Harlequin Chain Screening (HCS)

Harlequin Chain Screening uses a long ratio elliptical dot. When used for process color sepa‐
rations the angles used are 60° apart, rather than the more common 30° apart used for most

offset litho work. This gives an overall triangular pattern and produces a very fine rosette
structure. The angles used are ‐45°, 45°, ‐15°, and ‐75° for yellow, magenta, cyan, and black
respectively.
When used at high frequencies, this screening set is extremely good at holding detail in con‐
tinuous tone areas (for example, scanned images), but can suffer from worse object moiré
than, for example, Euclidean dots if the subject of the image contains fine patterns.
HCS is also very good at creating smooth, flat looking tints in process color work even at low
screen rulings, although you must take care at the edges of such tints, where patterns can
occur unless the tints are bounded: for example, edged with a black rule.
For HCS screens, the RIP uses the screen frequency entered into the Edit Style dialog box, but
ignores the entered angle. Instead, the RIP selects an angle automatically based on the color
separation being processed, from the set (‐45°, 45°, ‐15°, and ‐75°).
We recommend that you turn on Harlequin Precision Screening while using HCS—at higher
frequencies, also use the extra grays functionality of HPS.
6.11.4 Harlequin Dispersed Screening (HDS)

Harlequin Dispersed Screening is the Harlequin MultiRIP Frequency Modulation (FM)
screening technology. The main advantages of using HDS are that it produces no moiré, it has
better definition than conventional screening, and registration is less critical. HDS also has a
visually pleasing screen structure and is generally more printable than other FM screens.
Finally, it should be noted that HDS is intended for use with a wide range of printing pro‐
cesses.
Instead of using a fixed shaped dot structure, HDS uses irregular clusters of pixels to form an
irregular HDS dot. The distribution of these dots or clusters through the screen is what gives
HDS its characteristics.
Five varieties of HDS are supplied with HSL, called HDS Super Fine, HDS Fine, HDS
Medium, HDS Coarse, and HDS Super Coarse. (There are also closely related HDS screens
for use with output devices supporting the alternative process color systems discussed in
“Alternative process color systems” on page 364. For example, you may see Hex HDS Super
F as well as HDS Super F in the Dot shape menu of the Edit Style dialog box.)
Warning: Do not use Hex HDS Super F or other screens whose names start with Hex when

your output device is operating in a conventional (CMYK or RGB) output space. Several out‐
put plugins remove the names of inappropriate dot shapes from the Dot shape list to help
prevent mistaken choices.
These varieties differ in the size and distribution of the HDS dots (clusters) used to create
tints. The selection of which to use should be based on the physical characteristics of the
imagesetter being used, together with details of the plate making, press, ink, paper, and press
environment.

6 Screening
In general, the higher the quality of the entire printing process the smaller the HDS dot that
can be used. The finer HDS screens are best used with high quality imagesetters capable of
holding single laser spots. The coarser HDS screens are best selected on presses which cannot
hold very fine detail, such as high speed web‐offset presses. The physical size of the HDS dot
created with each of these options varies both with the imagesetter laser spot size, and with
the resolution at which it is driven. HDS Super Coarse (HDS Super C) is designed to be suit‐
able for use in newsprint applications on imagesetters at mid‐range resolutions, that is 1000
through 1600 dots per inch (dpi). HDS Super Fine (HDS Super F) is designed for output
devices where final copy is produced directly: for example, laser or inkjet printers.
HDS Super Fine:
HDS Fine:
HDS Medium:
HDS Coarse:
HDS Super Coarse:
Below is a table with the spot sizes in microns for the different HDS models and different
output resolutions for 20% HDS screen.
Imagesetter/platesetter 1016 1200 1800 2400 3600

resolutions dpi
HDS Super Fine 1x1 pixel 25 21 14 11 7
HDS Fine 2x1 pixels 35 30 20 15 10
HDS Medium 2x2 pixels 50 42 28 21 14
HDS Coarse 2x3 pixels 61 51 34 26 17
Table 6.1 Spot sizes in microns of a 20% HDS screen

Imagesetter/platesetter 1016 1200 1800 2400 3600
resolutions dpi
HDS Super Coarse 4x4 pixels 100 84 56 42 28
Table 6.1 Spot sizes in microns of a 20% HDS screen
Both the frequency and the angle supplied in the Edit Style dialog box are ignored when
using HDS screens, except for calibration.
As with any high definition screening technology, accurate calibration is important for good
quality output using HDS, and it may be necessary to create several calibration sets for use
with different presses or different paper stocks on a given press. In most circumstances how‐
ever, a single calibration set is sufficient and you should therefore specify a range of frequen‐
cies likely to cover any line frequency which might be set in the screening dialog boxes or
requested by a PostScript language job. The HDS screens are symmetric, that is, you may use
a single calibration set for both positive and negative output.
Though HDS screens do not have the same lines per inch (lpi) characteristic as conventional
screening the following rough comparisons may be useful. If we take the case of an imageset‐
ter working at 1524 dpi with a relatively small dot size (less than 20 m), then HDS Coarse
has a dot gain on film only slightly higher than a conventional 150 lpi screen in the midtones,
and holds up better than the conventional screen in the highlights and the shadows. HDS
Medium has a similar correspondence to a 200 lpi screen at 1524 dpi. Finally, HDS Fine has
characteristics similar to a 300 lpi screen, and needs similar careful handling to obtain good
results. It should be noted that the lpi correspondence changes more or less in proportion to
changes in the imagesetter resolution. For example, a rough correspondence to a 100 lpi
screen is given by HDS Coarse at 1016 dpi, though if the final press has high dot gain this
still has to be taken into account in the calibration.
As can be seen from the above comparison with conventional screening, many people using
HDS screens may become aware of the issues required to print very fine detail on film for the
first time. The following hints and suggestions are useful when working with HDS screens,
particularly HDS Fine, and also apply to conventional and other screens at very high line fre‐
quencies. These hints are not a definitive guide, but do provide a starting point for producing
good HDS output.
Consider every stage of the process, including:
• While scanning, choose an appropriate unsharp masking setting. You may need to use
unsharp masking settings different from those used for conventionally screened out‐
put.
• When producing film positives, try using different laser spot sizes. We have found that
the best results are produced if a relatively small laser spot size is used in conjunction
with exposures sufficient to give solids with densities in the range 3.5 through 4.0.
However, this may not be applicable to every imagesetter.

6 Screening
• When making plates and proofs, take great care to ensure that the film is clean and
dust free and make any other adjustments that help to ensure intimate contact between
the film and the proof or plate medium. For example, increase the vacuum pump‐
down time from, say, 20 seconds to 60 seconds or more.
• When printing on a press with relatively high dot gain, consider compensating for this
gain. On such presses, particularly on web‐offset, you may have to make an adjust‐
ment for the higher dot gain in the highlights and midtones due to the finer detail in
the screen. Various schemes are possible and have been used for this; one approach is
to calibrate the screen for the press directly, but be aware that images are normally
scanned with a modest press compensation already in place and take this into account.
HDS screens have no angle as such, but are rotationally isotropic (they have the same charac‐
teristics in every direction). Even though the screen angle is ignored, different patterns are
used for each process separation. This does not depend on the screen angle originally
selected, but uses the automatic color separation detection, described in “Automatic detec‐
tion of color separations” on page 198.
The screen caches used by HDS mean that HDS output is produced at virtually identical
rates to that using other screening systems within the RIP. The caches are reasonably large,
although not significantly greater than those used for many combinations of screen fre‐
quency, resolution, and angle. Do not select very large values for Limit screen levels in the
HPS Options dialog box, unless you have very large amounts of RAM available to your copy
of the RIP.
Unlike HPS, HCS, or HMS, the screen caches used by HDS cannot be created by the RIP if
they are not present when a screen is selected. Each of the variants of HDS requires cache
files to be installed into the Screens subfolder of the SW folder. These are saved in folders
named in the pattern HDS-<set>-gen, where <set> is replaced by particular values. The
<set> part of the name is a for super fine, b for fine, c for medium, d for coarse, or e for
super coarse. Each folder has subfolders, named: A, Ai, B, Bi, C, D, Default, E, and F. These
folders allow for up to six independent output colorants, including light and dark versions of
two inks, and spot colors. For example, with a conventional four‐color device, the mapping is
that Cyan uses A, Magenta uses B, Yellow uses C, and Black uses D. Installer applications sup‐
plied by Global Graphics for use with the RIP automatically install all appropriate cache files.
The RIP ignores the value set for Rotate screens according to page rotation (in the Edit Style
dialog box) when screening with HDS.
Compression of page buffers is less efficient with HDS than other screening techniques. (It is
a general rule of compression that increased randomness in data reduces the amount by
which it can be compressed.) You can expect compressed page buffers to be larger when
using HDS, and disk performance to become marginally more important to total throughput.
It is usually possible to maintain or improve throughput with the same output quality, by
exploiting the ability to process jobs at lower resolution.
HDS screens cannot be used if the horizontal and vertical output resolutions selected are not
equal.

From HMR v11.0r1, if you are editing a halftone (screened) style and using Harlequin Dis‐
persed Screening (HDS) or a threshold screen such as HXM along with additional spot col‐
ors, the selection of an equivalent angle for each named spot color is provided.
You must select the spot color in the dialog and check Enable screens for spot colors.
You can now, for example, specify that “Pantone Reflex Blue” should use the “Cyan” angle,
and “My Red” should use the “Magenta” angle. You cannot enter a specific angle for each
spot color but you can select either Cyan, Magenta, Yellow, Black or Default from the drop‐
down menu. The default value is as Default.
If (Other colors in job) is set to Yes or Not Blank, spot colors that are not specified by you in the
dialog are printed using the Default screen.
This only applies to Threshold and HDS screens. That is, it does not apply to Core Module
screens. If a modular screen is selected for a spot color, the RIP ignores the selection.
6.11.4.1 Using HDS screens with non-square resolutions

When using HDS screens with non‐square resolutions the Rotate screens according to page
rotation option must not be selected as part of the page setup. If this is attempted with a
v9.0rx RIP, the RIP generates an ioerror/Offending Command: setscreen. With HMR 10.0.x
the error generated is:
%%[ Error: configurationerror; OffendingCommand: pagedevice; Info: Can't rotate
threshold screen anisotropically ]%%.
To work around this; open the Separations Manager for your page setup with the HDS screen
selected. The selected HDS screen is displayed. Change the selection to another non‐HDS dot
shape, for example, “Round”. In the lower part of the dialog Rotate screens according to page
rotation is displayed. De‐select that option then re‐select the required HDS screen and save
the separation style. The RIP is now able to output the selected HDS screen with a non‐
square resolution.
6.11.5 Harlequin Micro Screening (HMS)

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

6 Screening
HMS Elliptical1:
If you have been limiting the screen frequencies that you use because you cannot be certain of
holding the small highlight and shadow dots with finer screens then HMS should allow you
to output at significantly higher frequencies. However, it does not assist you if you need to
limit your screen frequencies because of press registration problems.
HMS may be used to extend the length of print runs in situations where this is normally lim‐
ited by drop‐out increasing as the print run progresses.
HMS acts on both the screen frequency and angle as defined in the Edit Style dialog box in
the RIP.
Careful calibration can improve output quality when using HMS. The Euclidean variant of
HMS is symmetrical, but you should normally produce separate calibration sets for positive
and negative output of the Elliptical HMS form.
6.11.6 Troubleshooting HSL

An undefinedresult error from setscreen, setcolorscreen, or sethalftone is probably
due to one of the following:
• An attempt has been made to use a screen set which has not been enabled.
• An attempt has been made to use an HDS screen when HDS has been correctly
enabled, but one or more of the appropriate HDS screen caches is not present.
6.12 Automatic detection of color separations

There are several procedures in process separated work where the RIP must know which
color is being interpreted:
• Using HCS and HDS correctly.
• Overriding screen angles.
• Recombining preseparated jobs.
• Warning of an attempt to separate a preseparated job.
Identifying the color in auto‐separated jobs is simple, but all versions of the RIP supporting
HSL are also capable of detecting which color is being interpreted in preseparated PostScript
from a very wide variety of applications.
While the detection methods used have a very high success rate they are not guaranteed to
function with all PostScript language files generated by applications. See “Other options” on
page 387 for details about the Recombine preseparated jobs option.

7
Configuring the RIP
Chapter 3 through Chapter 6 describe how you can use the Harlequin MultiRIP to configure
the appearance of any page of output sent to a printer or the screen.
This chapter shows how you can also configure the way in which the RIP works, allowing
you to get the best performance from the RIP working with your particular computer, net‐
work, and output devices; together with system software and any other applications running
on the computer.
You have control over a variety of settings, including the following:
• The folders in which certain files are placed by the RIP.
• The page buffer mode that the RIP uses.
• The use of buffers in memory.
• Job timeouts.
• Memory allocation.
All of the options described here are available from the Configure RIP dialog box or subsid‐
iary dialog boxes.
You can also reset the RIP to its factory settings, as described in “Resetting the Harlequin
MultiRIP to default values” on page 213, or choose a different language to be used in dialog
boxes, menus, and messages, as described in “Choosing the user interface language” on page
213.
7.1 Configure RIP dialog box

The Configure RIP dialog box is displayed when you choose Configure RIP from the Harlequin
MultiRIP menu or type Ctrl+R. (If there is an Input Queue menu, you must stop the input

7 Configuring the RIP
queues before you can choose Configure RIP: choose Stop Input Queue from the Input Queue

menu.)
Figure 7.1 Configure RIP dialog box
Section 7.2 through Section 7.7 describe the use of items in this dialog box. “Extras” on page

209 describes the use of the dialog box displayed when you click the Extras button. The
Options button leads to another subsidiary dialog box: described in “Control of page buffer‐
ing modes” on page 201; and from “Specifying prep files” on page 210 through to “Disable
sounds” on page 212.
7.2 How the Harlequin MultiRIP controls files

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

This folder is used as general disk workspace. If there is not enough RAM available, the RIP
will create temporary files in this folder to use as workspace. This might occur if you are pro‐
cessing jobs that contain very large images.
By default, the workspace folder is called WorkSpace, and is found in the SW folder. You can
specify another location for the workspace by clicking the Change button in the Configure
RIP dialog box and specifying a folder of your choice.
The amount of disk space required for workspace will vary a lot from job to job. It is worth
remembering that jobs containing large images scanned at high resolution will often produce
very large workspace files, amounting even to many mebibytes. Simple jobs, however, may
require none at all.

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

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

You can choose which mode to run the RIP in by selecting one of the items in the Page buffer-
ing drop‐down list of the Configure RIP dialog box.
7.3.2 Using a printer that can stop / start

Some background information may help you understand this feature. Several output devices
supported by the RIP require a continuous high‐speed flow of data when they are imaging
while others can stop and restart (stop / start) when there is a pause in incoming data, with lit‐
tle or no effect on the produced image. In many of the printers supported by the Harlequin
MultiRIP, stopping has no bad effect and may pass unreported. However, in many imageset‐
ters, stopping can produce some visible difference in the produced image so these imageset‐
ters report to the RIP the fact that they have stopped / started.

Normally when outputting, if the printer reports a stop / start, the page will not be output.
However, when using Single, Multiple, or Multiple Parallel mode, the RIP will always make
page buffers on disk, and if your system is configured with a sufficiently fast disk, the printer
will never stop / start. If the disk may not be fast enough, then you can set the Allow
stop / start option in the Configure RIP Options dialog box to allow the page to output.
When using Single (if required) mode, if the printer runs so fast that it catches up with the
data being supplied by the RIP, the RIP will create a page buffer containing the data for the
current page.The RIP will then reprint that page before carrying on with the next page.
However, if your printer can stop / start, you have two options:
• Allow a page buffer to be created and output again. If the page buffer still cannot be
output fast enough to keep up with the printer, the job will be aborted.
• Stop the printer until enough image has been processed, and then start the printer
again.
You can choose which of these should be done from the Configure RIP Options dialog box, as
shown in Figure 7.2. Display this dialog box by clicking on the Options button on the main
Configure RIP dialog box.
Figure 7.2 Configure RIP Options dialog box
• If you select the box labeled Allow stop / start, the second option will be used. If the box

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

7.3.3 Compressing page buffers
The box labeled Compress page buffer in the Configure RIP dialog box controls whether or
not page buffers are compressed as they are created. By default, page buffers will be com‐
pressed. The advantages of this are:
• It saves disk space—the compressed page buffers are smaller.
• It is likely to be fast—the computer running the RIP is likely to be able to produce
image data faster than the disk can receive it. Writing smaller files to disk for com‐
pressed buffers will save time.
• It reduces the possibility of banding in printers that require a very high data rate.
Compressed page buffers allow the RIP to send data to the printer more quickly and
prevent banding in the output.
The data rate of a printer is the speed at which it accepts data for printing. Many printers
require a data rate in the range 1 through 2 MiB per second. On some platforms, this is only
possible with compressed page buffers.
For some combinations of processor speed, disk capacity, and disk speed, you may wish to
limit the use of compression. You can do this using the Minimum compression ratio option in
the Configure RIP Options dialog box, as described in “Minimum compression ratio” on
page 203.
There are very few cases where you will always want to use uncompressed page buffers. If
you do want this choice, clear the Compress page buffer box.
7.3.4 Minimum compression ratio

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

Job timeout allows you to control when the RIP will stop trying to process a job. This is useful
for various reasons:
• It can protect against infinite loops in PostScript language code. If there is an infinite
loop in a job, it will never finish processing. Using a timeout ensures that, after a set
period of time, the RIP will stop processing such jobs.

• By altering the timeouts available in the RIP, you can to some extent prevent loss of
productivity by timing out complex, but correct, jobs before they consume too much
machine time. (Subsequently, you can rerun such jobs under operator control and
supervision: for example, with more resources temporarily devoted to the RIP.)
• Because nowadays jobs are much more complex with increasingly more pages a value
of zero can be used for Job timeout which results in an infinite timeout, that is jobs will
never timeout.
7.5 Threads and parallel processing

Parallel processing is enabled in all RIPs running on a suitable hardware platform.
7.5.1 Using multi-threading

Multi‐threading is enabled using a LDK product key allowing a particular number of
threads, and is designed to improve performance. It allows the RIP to take advantage of
hyperthreading and multi‐core CPU architectures as well as multiple processors.
To use more than one thread an LDK product key must be activated.
Having activated an LDK product key you can then increase the Limit and Max active threads
values from 1. Best results are seen when Limit is set slightly higher than Max active threads;
values of 5 and 3 may be used respectively, for example. However, Max active threads could
temporarily be decreased to allow processing of a problem job. In addition, even if you had
an “unlimited” product key you may choose to set Limit to 8 (for example), so that the core
RIP does not use too many threads.
Note: The RIP must be restarted after changing Limit for the new value to take effect.
7.5.2 Harlequin Parallel Pages—(Interpreter/renderer/pipelining)

Harlequin MultiRIP supports the interpretation of one page of a job while the previous page
of the same job is being composited and/or rendered in one or more separate threads.
Harlequin Parallel Pages works in combination with multi‐threaded compositing and multi‐
™
threaded rendering (MTR).
Harlequin Parallel Pages is applied to jobs submitted in all PDLs supported by the RIP.
The use of Harlequin Parallel Pages is protected with an LDK product key.
The number of parallel pages is set in the Configure RIP dialog, and you can set a maximum
value of 5. Higher numbers of parallel pages will require more RAM to be allocated to the
RIP to store display lists and resources such as images and fonts. Testing has indicated that
the greatest step gain is achieved by increasing the number of parallel pages from 1 to 2. Each
further increase provides less benefit than the previous one.

7.5.2.1 Band memory per thread
The Band memory per thread option in the Configure RIP Options dialog allows you to assign
a specific amount of memory to each renderer. This defaults to 2 MiB per renderer, is set in an
ExtraStart file called SetMaxBandMemory, and can be overridden using HqnOEM.
You should increase the band memory size, using the Band memory per thread option, when
core halftone modules are installed. That is, when the screening is done in OEM code as a
plugin.
7.5.3 Network buffer size

This buffer lets the RIP read data from the input source before actually needing to process it.
Having this ability has two advantages:
• It increases throughput.
• The application that is sending the data to the RIP becomes free sooner.
7.5.4 Increasing throughput

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

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

7.6 Harlequin VariData

The advent of variable data jobs means that many parts of a printing job will remain constant
with small parts, such as text, being changed for each print. Thus, time savings can be made
by processing the constant areas only once, especially if the constant area is a large graphic.
This is the idea behind the Harlequin VariData (HVD) feature. The RIP detects constant
™
areas within a PDF file, retains them and then re‐uses them as necessary.
Any PDF file with pages that share raster elements and have marks which change from page
to page should be accelerated by this optimization in the RIP. The RIP scans the PDF for such
pages, RIPs the shared raster elements once, and then retains them for use on subsequent
pages with the same page elements.
HVD can cache any number of rasters per page in external mode, and one in internal mode
and build the final raster from these parts. In addition, it can cope with situations of an
imposed flat where several images and text layers are placed on top of each other.
Note: HVD supports pre‐imposed PDFs only: the Harlequin MultiRIP’s own imposition is
incompatible with HVD.
Note: The use of HVD and OPI is not a supported combination.
HVD (internal and external mode) is supported in the Harlequin MultiRIP.
HVD internal mode (iHVD) is where the combination of cached and uncached elements to
form the final page raster is performed within the RIP.
In HVD external mode (eHVD), cached and uncached elements are provided to the OEM’s
own code outside the RIP, along with metadata defining how to reassemble these elements
into final pages.
Note: By design, iHVD is more restricted in which marks it can and cannot cache. Hence, the
results of eHVD and iHVD scans may produce different results.
HVD external mode is provided for those customers who have their own method of stitching
together the resulting rasters, for example, using hardware acceleration. GGSL do not pro‐
vide any support for these external raster stitching features. If you do not have your own ras‐
ter‐stitching technology you should use HVD internal mode instead.
7.6.1 How to activate Harlequin VariData ™
HVD internal and external mode require an LDK product key for the option to be activated.
7.6.2 HVD internal mode

From v10.1 the HVD internal mode optimization can be activated by a check box on the Page
Setup > PDF Options dialog.
For more information on the check box control see “Use Harlequin VariData check box” on
page 249.

Note to OEMS: For more information on how to control HVD External mode, Position
independent HVD and Auto mode see Chapter 14 of the Extensions
manual.
7.6.3 Important notes for using HVD

Please note the following points:
• When the Recombine feature of the RIP is used, HVD is disabled and a warning mes‐
sage is displayed:
%%[ Warning: Recombine enabled - disabling Harlequin VariData ]%%
• When the TrapPro feature of the RIP is used, HVD is disabled and a warning message
is displayed:
%%[ Warning: TrapPro enabled - disabling Harlequin VariData ]%%
• When RLE output is used, HVD is disabled and a warning message is displayed
%%[ Warning: RLE output enabled - disabling Harlequin VariData ]%%.
• Some jobs, including some variable‐data jobs, do not gain enough performance
increase from this optimization to be worthwhile. Typically, jobs which fall into this
category are those which have short interpretation times and long rendering times—
which usually means the output format is a large one like CMYK composite at a high
resolution.
• HVD is not compatible with the use of any in‐RIP imposition code, such as Simple
Imposition, that places multiple pages on a sheet, repositions the pages or adds
marginalia.
• HVD internal mode uses a very large amount of memory, which gets larger as the bit‐
depth, page size and number of colorants rises, as well as the number of rasters
retained. Therefore, using PCs of a lower specification will cause VM errors. This
cannot be reproduced on all PCs.
• By not using subset fonts or by using the same subset fonts on every page you may get
faster output with HVD enabled.
• No element of RIP configuration (such as pagedevice), which has any effect on the
RIP’s output may be modified during an invocation of pdfexec or pdfexecid.
7.7 Printer buffer size

The printer buffer is used to store processed raster data that is ready to be sent to the printer.
When outputting, data is always placed in the printer buffer before being copied out to the
printer as required. In most cases, if the printer is not continuously fed data, one of the fol‐
lowing may happen:
• Banding (gaps) may appear in the output.
• Pages may be aborted (for example, in a laser printer).

• The printer may stop / start.
This is known as data underrun.
To avoid data underrun, the RIP must ensure that the printer buffer never becomes empty.
However at any given time, you cannot guarantee that the RIP is sending data to the buffer—
it may be processing the next page of data if you are running in Multiple (Parallel) mode, or
there may be other applications running that the RIP has to wait for. If the printer buffer
empties and you get data underrun, try making the printer buffer larger.
For example, assume you are sending output to a fast 900 KiB/second printer, while using
another application at the same time, and that application does a screen update that takes 3
seconds (during which time the RIP is locked out). In that time, the printer could consume
3  900 = 2700 KiB (2.7 MiB) of data. To prevent data underrun, you must ensure that you
have a printer buffer at least this big.
In practice, a printer buffer in the range 4 MiB through 12 MiB is usually adequate. This total
includes any buffering memory on interface cards or in the output device, but if there is such
memory it needs separate installation or configuration. From the memory that the RIP con‐
trols, it allocates a minimum of 20 MiB buffer space by default.
To find the best setting for your system, try starting with the default buffer size, and if you
have problems with data underrun, increase the buffer size until the problem goes away. If
this fails, you may need a faster disk or more memory. The ability to roam large or multiple
page buffers is related to the printer buffer size.
To change the size of the printer buffer, enter the number of mebibytes (MiB) you require in
the text box labeled Printer buffer in the Configure RIP dialog box. If there is not enough
memory for the requested printer buffer, its size will be reduced automatically.
The figure you enter is the minimum amount of memory that the RIP will use for buffering
output. Sometimes, especially in Single (if required) mode, the RIP will use a much larger
amount of memory.
Note: The amount of printer buffer memory needed varies according to job and device reso‐
lution, output device speed, computer speed, disk speed, and so on. Experiment with a larger
buffer if necessary.

7.8 Extras
The Configure RIP Extras dialog box displays the various options activated by your LDK
product key as shown in the dialog below.
For information on how to activate your RIP and add layered options with an LDK product
key see the document entitled “LDK Security for Harlequin MultiRIP”.
Figure 7.3 Configure RIP Extras dialog
The other entries in the list can include:
• ColorPro, the color management options within the Harlequin MultiRIP. Harlequin
ColorPro is described in the separate Harlequin ColorPro User’s Guide.
• TrapPro the trapping options within the RIP. See the separate TrapPro User Manual for
full details.
• HDLT, Harlequin display list technology.
Note to OEMS: Enabling HDLT has no immediate effect on the RIP menus and dialog
boxes, but provides access to extra functionality for software written
by OEMs.
• PostScript, for PostScript language input.
• PDF, for PDF input.
• XPS, for XPS input.
• Simple imposition. See Chapter 10, “Simple Imposition” for full details.
• Media Saving for the Media saving facilities.
• Simple Imposition for the Simple imposition facilities.
• Max active threads limit for a particular number of threads.
• Harlequin Parallel Pages which allows the interpretation of one page of a job

while the previous page of the same job is being composited and/or rendered in one or
more separate threads.

• HVD, for Harlequin VariData technology (internal and external mode).
• Raster, for the option of producing PDF raster output.
There may also be entries for plugins that require a an LDK product key. These entries can be
the result of:
• Plugins that require a product key for each device type that they provide.
• Multiple device plugins that require a product key but group several device types so
that they can be enabled with a single key.
You will receive appropriate instructions and access to LDK product keys when receiving
these plugins.
7.9 Specifying prep files

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

This is a built‐in mechanism that, if the option is selected, automatically loads the correct
prep file whenever it is needed. This can save a lot of time for applications printing over net‐
works, especially when these applications require different prep files. For example, different
prep files are used by different LaserWriter drivers on different machines by different appli‐
cations.
Automatic prep loading is selected by default.
7.9.2 Startup prep

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

The options in the Configure RIP Options dialog box, allow you to specify the memory allo‐
cation for the RIP, see“Configure RIP Options dialog box” on page 202.
If the Memory for RIP option is not selected, the RIP is allocated all the available physical
memory, less the amount specified in the Minimum memory left for system field.

If you want to reduce the amount of memory allocated to the RIP, select the Memory for RIP
option and enter the value in the text box.
You can only enter a Memory for RIP value of 33 MiB or more, anything less will display a
“value out of range...” message. Similarly, entering a value less than the default value of 48
MiB will display a warning message.
The RIP is allocated this amount of memory, less the amount specified in the Minimum mem-
ory left for system field.
As a default, the value in the Minimum memory left for system field is generated dynamically

depending on the amount of memory detected on the machine.
The Minimum memory left for system field lets you reduce the allocation for the RIP so that
memory is left for the operating system and any other running applications. If this value is
too small, the operating system will start paging, which will degrade performance.
Note: If the Minimum memory left for system value is higher than the Memory for RIP setting,
the following warning is issued:
"Warning: The combination of "Minimum memory left for system" and "Memory for
Rip" settings will force the Rip to run with x KiB of memory. This can result
in unexpected behaviour. Please consult the "Harlequin RIP memory allocation"
section of the documentation."
where x is a number.
If a particular job is so large that it cannot all be fitted into memory at once, the RIP starts to
paint partial page buffers to disk. To try and avoid this, you can allocate extra temporary
memory for the RIP, using the Memory reserve for RIP option. This option allows the RIP to
use additional physical and virtual memory while completing the job.
Note: If you allocate a large amount of extra temporary memory, the operating system may
start paging. Paging would slow the system down more than painting partial page buffers to
disk. We recommend that you allocate less than 4 MiB of extra temporary memory.
There are some instances when the RIP cannot paint partial page buffers to disk: for example,
when recombining preseparated jobs or using TrapPro. The RIP cannot complete the job if it
does not have enough memory. In such circumstances, as a last resort, you may select the
Allow use of all available memory option. The RIP will use all the available physical and virtual
memory to try and complete the job.
Using all the available memory may severely degrade the performance of the system as a
whole, not just the RIP, possibly causing the operating system to become unresponsive until
the job has finished. For this reason the use of the Allow use of all available memory option
should not be taken lightly.
Note to OEMs: Some output devices need data at a particular rate. If you are generat‐
ing output for such a device, you should set the Memory Reserve for RIP
to 0 and make sure that Allow use of all available memory is not selected.
From the total memory allocated to it at startup, the RIP allocates the printer and network
buffers. All memory not used for these buffers is used by the RIP for processing jobs.

The final allocations used are reported in the Harlequin MultiRIP window when the RIP
starts up.
If there is insufficient memory to allocate the buffers requested, the RIP tries the following
methods of automatic recovery, in the order shown:
• Reducing the network buffer to a minimum of 64 KiB.
• Reducing the printer buffer to a minimum of 512 KiB.
If there is still not enough memory to give the RIP at least 4096 KiB, the RIP will display a
warning and quit.
The amount of RAM used by the RIP is controlled by the Windows XP (or later) Operating
Systems, which are designed to be adaptive. It increases the memory allocation of long‐run‐
ning applications that use large amounts of memory. On the other hand, the RIP allocates as
much Virtual Memory as is needed when large jobs are processed, and on completion of the
job returns that memory to the pool. Thus the value of VM would be high when a large job is
running and low on completion. When examining your systemʹs memory allocations it is
more useful to look at the inter‐job minimum of committed VM rather than the size of RAM.
7.10.1 Memory statistics

To display the current memory statistics select Harlequin MultiRIP > Memory Statistics. Infor‐
mation in the following format is displayed in the Harlequin MultiRIP window:
Total Memory Available: 3 GiB (3616668 KiB)
Memory Left For System - Requested: 245 MiB (250873 KiB), Got: 245 MiB (250873 KiB)
Network Buffer - Requested: 64 KiB, Got: 64 KiB
Printer Buffer - Requested: 20 MiB (20480 KiB), Got: 20 MiB (20480 KiB)
Memory available for RIP: 2 GiB (1887104 KiB)
7.11 Minimum free disk space

The Harlequin MultiRIP allows you to ensure that it leaves free a minimum amount of disk
space, which is good practice and allows for use by other applications. Specifying this
reserved disk space is important for use with the two RIP modes—Multiple and Multiple
(Parallel)—that can produce multiple buffers, where it ensures that the disk is not completely
filled up with an unlimited number of page buffers.
The default value of the Disk space left for system option is 5120 MiB. You may want to
increase it to reserve disk space for other applications running on the same machine, such as
spooling programs. A reasonable value should be near the size of the largest files regularly
created or copied on the relevant disk.
7.12 Disable sounds

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

7.13 Resetting the Harlequin MultiRIP to default values
If you decide that you want to revert to the default values that the RIP is supplied with, open
a command (DOS) window in the folder holding the RIP application and type this:
C:\PATH>HARLQN.exe -RESET
Note: In the command line, change HARLQN.exe to the exact name of the application that you
are using.
A dialog box appears, asking if you wish to return to the factory defaults.
• Click Yes if you wish to reset any part of the current configuration.
• Click No if you wish to keep all of the current configuration. (the RIP starts up nor‐
mally.)
If you click Yes, the RIP displays several dialog boxes that allow you to reset specific parts of
the configuration, one after the other. For each dialog box, click the Yes button to reset all the
configuration information described in that dialog box. Click No to keep that part of your
configuration.
The RIP allows you to reset most parts of the configuration in this manner, including Page
Setups, RIP configuration, media management information, and window positions.
After the last dialog box, the RIP starts up normally.
7.14 Choosing the user interface language

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

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

7.14.2 Procedure
To check which languages are available or to switch to another available language, choose the
Harlequin MultiRIP > Language menu option. The Select User Interface Language dialog box
appears, as shown in Figure 7.4.
Figure 7.4 Select User Interface Language dialog box
The dialog box shows you which languages are available in a multi‐column list. A language
is available for immediate use if the entries after its name or code (in the Language column)
are all Present or Yes.
The columns have these meanings:
• The Messages and Resources columns show if parts of the RIP localization are present.
• The Locale column shows if the operating system supports the language.
• The Enabled column shows if the RIP localization is enabled, when the entry is Yes; or
disabled, when the entry is No.
Click Cancel if you do not wish to make a change.
You can activate the RIP an enable a language with a new LDK product key if the only thing
making that language unavailable is a No entry in the Enabled column.
To use an enabled language, select your chosen language and click OK. The RIP displays a
dialog box asking if you wish to confirm your choice and quit the RIP. Click Yes if you are
sure, and then click OK to dismiss the second confirmation dialog box.
When you restart the RIP, you should see that it is using your chosen user interface language.
Note: You may still see a small number of options in lists or messages appearing in English or
another language. This is normal. For example, the Feature and Calibration lists in the Edit
Page Setup dialog box display the names of files, which remain unchanged as the user inter‐
face language changes. Similarly, the Harlequin window displays messages if they are pro‐
duced directly by PostScript language jobs and, if needed, some very rare and technical error
messages.

8
Configuring Input
This chapter describes the different ways in which the Harlequin MultiRIP can accept its
input, and how to configure the RIP to use each type of input. Chapter 5, “Configuring Out‐
put Formats”, describes the different ways in which you can control output from the RIP,
using Page Setups.
There are several ways of providing input to the Harlequin MultiRIP:
• Using one or more managed inputs, as described in “Input management” on page 216,
and the following sections. This is the preferred method for routine use because, in
general, the managed inputs allow users on many machines to submit jobs to the RIP.
• Using the Print File menu command, as described in “Using the Print File command”
on page 236. This command allows a user on the machine running the RIP to print all
of the job types possible on that installation of the RIP. You can use Print File while
managed inputs are active.
• Entering PostScript language code interactively by typing at a prompt on the machine,
as described in “Entering PostScript language code by hand” on page 256. You must
disable other inputs for the duration of your interactive sessions in order to do this.
When you use managed inputs or the Print File menu command, you can print several types
of job. The available types depend on the details of your installation of the RIP. Some types
have associated settings in Page Setups, may require enabling with your an LDK product key,
or require other care in use. The possible types, with references to full descriptions of their
use, are:
• PostScript language files (PS) and Encapsulated PostScript files (EPS), both described
in “Printing PostScript language files” on page 237.
• Portable Document Format (PDF) files, described in “Printing PDF files” on page 237.
• XML Paper Specification files (XPS) files, described in “Printing XPS Documents” on
page 251.
• JPEG and JFIF files, described in “Printing JPEG and JFIF files” on page 252.
• TIFF 6.0 files, described in “Printing TIFF 6.0 files” on page 252.
• Harlequin MultiRIP page buffer files, described in “Printing page buffer files” on page
254.

8 Configuring Input
8.1 Input management

In the same way that the RIP uses output plugins to provide output sources, it uses input
plugins to provide input sources.
Global Graphics and OEM programmers can create input plugins, each of which may be
used as one of the following:
• Input to the RIP, for example, as a source of jobs. (When installed, these plugins are
obvious parts of the RIP: the description of these plugins and their configuration forms
the bulk of this chapter.)
• A PostScript language device on which you can open a file and read or write from a
PostScript language job. (This is not seen by the end user.)
• A filter to manipulate data. (This is not seen by the end user.)
• A source of asynchronous actions. (Most of these actions are small, specialized tasks
and not directly related to output of a user job. For example, one such action enables
the RIP to provide a list of installed fonts while busy with a job for output.)
There are a number of input plugins supplied with the RIP, each providing users with the
ability to submit jobs. “Managing input plugins” on page 217 describes the way in which you
can manage these plugins and the inputs they provide. The supplied inputs are:
• NT Pipe. This provides a named pipe allowing high speed communication with an
application such as an Open Prepress Interface (OPI) server.
See “Using the NT Pipe input” on page 221 for more details.
• Spool Folder. This lets you specify multiple independent folders into which users or
applications can place jobs to be printed. The RIP checks for the presence of files in
these folders and prints each one automatically.
See “Using the Spool Folder input folder” on page 224 for more details.
• Socket plugin. This allows input to arrive over a network, which can contain different
types of computer, using a TCP/IP socket.
• Asynchronous socket plugin
This is similar to the socket plugin but is only suitable for a limited number of jobs. Typ‐
ically, these are small jobs performing control or monitoring functions, rather than
imaging.
• Asynchronous socket quit plugin
This is similar to the asynchronous socket plugin but has the single purpose of causing
the RIP to quit. It does not receive any jobs.
See “Using the Print File command” on page 236 for more details.

Each of these plugins can be thought of as analogous to a multiple device output plugin,
except that they provide inputs, rather than outputs.
Note to OEMS: With the off‐the‐shelf version of the Harlequin MultiRIP, OEMs can
add their own input plugins. This means that interfaces to source
devices can be written independently of the RIP.
8.2 Plugin installation

When you install the Harlequin MultiRIP the following input plugins are installed as
standard; SocketInput, SocketInputAsync, SocketInputQuit and SpoolFolder.
The NT Pipe plugin can be installed with the supplied plugin installer. This input plugin
allows Open Prepress Interface (OPI) servers or other applications to supply data to the
Harlequin MultiRIP via named pipes.
8.3 Managing input plugins

You control input plugins using the Input Controller. Before creating new inputs or changing
existing ones, check that you have an appropriate Page Setup to associate with each input.
(While creating Page Setups, you can keep the Input Controller displayed, but not the subsid‐
iary dialog boxes.)
Display the Input Controller dialog box by choosing the Harlequin MultiRIP > Input Controller
menu option, or clicking the tool bar button. Figure 8.1 shows the Input Controller dialog
box.
Figure 8.1 Input Controller window
The Input Controller is similar to the Device Manager, described in Section 5.12, “Multiple
device output plugins”. The main list shows the input sources currently available. Each input
source can be turned on or off individually using the buttons—the state is displayed in the
Status column.

8 Configuring Input
Each row in the list represents one particular source, and contains:
• The Name for the input source. This is used to identify the source within the RIP. It may
also be used by the input plugin itself.
• The Type of input. This determines which input plugin the RIP uses.
• The Page Setup. This is the Page Setup used by all jobs arriving through this source.
• The Enabled state. This should be On to make the source available when you start the
RIP or start inputs.
• The Status. This can be Stopped, Idle, or Busy.
An input is stopped either because all inputs are stopped, because you have disabled
this input in the Input Controller (using Off ), or because of a problem when trying to
start that input. An idle input is ready to receive a job but none is arriving. A busy input
is actually receiving a job.
You can also choose to see the same information about items that are not controllable from
the Input Controller. The check box below the list gives you this ability:
Show protected channels

Select this box if you wish to see, but not control, the status of protected
channels. This box is grayed out if there are no protected channels.
Protected channels are channels that have been created outside the
Input Controller—possibly by executing PostScript language com‐
mands in configuration files that the RIP used when starting up—and
marked as being outside routine user control. Typically, a protected
channel is not an input source for imaging jobs: instead, it performs
one of the other functions described in “Input management” on page
216.
Below the list of sources are several buttons that allow you to perform the various actions
described in sections 8.3.2 through 8.3.7.
When you have finished making changes in the Input Controller, you can keep it visible as a
way of monitoring which inputs are submitting jobs or close it using the Harlequin MultiRIP >
Input Controller menu option or the tool bar button.
8.3.1 Turning on the input system

To start receiving jobs from the configured and enabled inputs, choose Start Inputs from the
Harlequin MultiRIP menu, or type Ctrl+I. When you do this, there is a delay of a few seconds as
the various defined input sources are initialized, and then the RIP starts to accept jobs from
those sources.
The status area of the tool bar shows the searching for input symbol (a torch or flashlight
shining on an arrow).

A new menu appears in the menu bar, called Input Queue. This menu has these options:
• Kill Current Job. This causes the job currently processing to be aborted. It may take a
few seconds.
• Stop Input Queue. This turns off the input system when the job currently processing has
finished.
• Abort Input Queue. This aborts the job currently processing and then turns off the input
system.
8.3.2 Adding a new input source to the list

You can create many different input sources for each input plugin. For example, you could
create several spool folder input sources and a number of socket input sources.
To add a new input source to the list:
1. Click the New button in the Input Controller. The RIP displays an Input Channel Edit
dialog box, similar to that shown in Figure 8.2, allowing you to fill in the details for this
source.
Figure 8.2 Input Channel Edit dialog box
2. Type a name for the plugin device in the Name text box.
The name is used to identify the source within the RIP. It may also be used by the input
plugin itself.
3. Choose the plugin type from the Type drop‐down list.
4. Choose a saved Page Setup from the Page Setup drop‐down list: the RIP applies this
Page Setup to each job arriving at the source.
5. If the plugin is to be initially turned on, select the Enabled check box.
6. Click the Configure button to display an input plugin Configuration dialog box, allow‐
ing you to specify details relevant to the plugin you have chosen.
The Configuration dialog box varies according to the type of plugin chosen. It is used to
give details about how the input is to be handled, and to set up any hardware associ‐
ated with the source. See “Input management” on page 216 for a list of input types and
page references to their configuration and use.
7. When you have specified all the details for the new source, click OK.

8 Configuring Input
8.3.3 Copying an input plugin

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

To edit the details for an existing input source, do one of the following:
• Select the entry in the Input Controller and click the Edit button.
• Double‐click the entry in the Input Controller.
The RIP displays an Input Channel Edit dialog box, allowing you to edit the details for the
selected plugin. For full details of using this dialog box, see “Adding a new input source to
the list” on page 219.
8.3.5 Configuring an input plugin

Configuring an input means giving details about how the input is to be handled, and setting
up any hardware or software associated with the source.
To configure an existing input plugin, select it in the Input Controller and click Edit. The RIP
displays the Input Channel Edit dialog box. Click Configure to see the Configuration dialog
box for the selected input. See “Input management” on page 216 for a list of input types and
page references to their configuration and use.
8.3.6 Deleting an input source

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

To enable an input source, select it in the Input Controller and click the On button. To disable
a source, select it and click the Off button. Using these buttons has the same effect as selecting
or clearing the Enabled check box in the relevant Input Channel Edit dialog box.
When the selected input source is enabled then the On button is disabled, and when it is not
enabled then the Off button is disabled.
You can select several input sources and then turn them on or off together.

When an input plugin is enabled, the RIP automatically publishes it when starting input
queues, meaning that the input plugin can be used to send jobs to the RIP.
To make enabled inputs active, choose Harlequin MultiRIP > Start Inputs or click the tool bar
button that has a picture of a green arrow and traffic light. (See Section 8.3.1, “Turning on the
input system”.)
To stop all enabled inputs, choose Harlequin MultiRIP > Start Inputs again or click the tool bar
button that has a picture of a red arrow and traffic light.
8.4 Using the NT Pipe input

A number of third party applications, most notably Open Prepress Interface (OPI) servers,
are able to communicate with PostScript language compatible RIPs running under Microsoft
Windows using named pipes. A named pipe is an interprocess communication method that
allows two Windows applications to exchange large amounts of data very efficiently.
Note: In a typical OPI workflow, high resolution images are stored on the OPI server
machine, are included into print jobs, and are transferred over the network to output devices.
This operation frees workstations from moving large image files, but large files must still
travel from the OPI server to the RIP.
The NT Pipe input plugin for the RIP allows OPI servers or other applications to supply data
to the RIP via named pipes.
There are two possible cases:
• The RIP and a suitable application can share a single multiprocessor machine, and use
a named pipe to communicate. This allows the other application to deliver jobs to the
RIP at much faster speeds than it can deliver jobs to a networked printer (provided by
the Harlequin MultiRIP).
• With a single processor machine or an application that cannot share a multiprocessor
machine, the RIP and the other application must run on separate Windows systems
connected through a network. Even in this case, using named pipes can deliver good
performance.
8.4.1 Installing the plugin

To use the RIP named pipe support, you need a plugin file in the SW\Inputs folder. The file
name is different for different kinds of processor:
• For 32‐bit Windows the plugin file is called ntpipe.i32. For 64‐bit Windows the
plugin file is called ntpipe.i64.
Quit the RIP if it is running. If the plugin has been supplied with an installation program, use
that and follow the instructions. If you have no installation program, drag the appropriate
plugin file into the SW\Inputs folder.

8 Configuring Input
8.4.2 Creating an NT Pipe input

When you have an installed plugin file, start the RIP and follow this procedure:
1. Click New in the Input Controller. The RIP displays the Input Channel Edit dialog box.
Choose NT Pipe from the Type drop‐down list.
2. Give the input a suitable name and select a Page Setup. Select the Enabled box.
Note: The name you choose forms the last part of a longer network name for the pipe.
We suggest that you choose a name that uses letters and numerals only (a ‐ z and 0 ‐ 9)
and that is a convenient length: do not include punctuation, space characters, or the
wildcard characters ( ? and * ).
3. Open the Configure dialog to discover what the Pipe prefix is set to. usually there is no
need to change this, except when configuring multiple RIPs on the same network.
4. You may need to open the Configure dialog to discover what the ʺPipe Prefixʺ is set to,
though there is usually no need to change it, except, perhaps, when configuring multi‐
ple RIPs on the same network. You can click OK to close the Input Channel Edit dialog
box.
You can now read “Connecting an application to the Harlequin MultiRIP” on page 223 to see
how to connect an application to this pipe. If you have difficulty, or know that you need to
change the default configuration, read “Configuring the named pipe” on page 222.
8.4.3 Configuring the named pipe

The Configuration dialog box allows you to change another part of the name for the pipe and
to allow more than one connection to the same named pipe.
When configuring a front‐end or server application to send data to the RIP using named
pipes you must enter the full name of the pipe. The format for the name is:
\\<machine>\pipe\<pipe prefix>\<name>
To get an actual name, replace <machine> with the name of the computer running the RIP,
replace <pipe prefix> with the name entered in the Named Pipe Plugin dialog box, and
replace <name> with the name you entered in the Input Channel Edit dialog box.
If the RIP is running on a Windows system named BRICK, and the channel has been defined
in the RIP with the name Fred, the pipe name would be:
\\BRICK\pipe\ScriptWorks\Channel\Fred
Note: If the sending application is running on the same machine as the RIP, the correct format
is:
\\.\pipe\HQRIP\Fred
This format can be used to set a pipe as a printer port, when using NT Pipe as a replacement
for the obsolete NTPrint plugin. A Windows printer configured in this manner can be shared
with all other computers on its network, as described in “Connecting an application to the
Harlequin MultiRIP” on page 223.

Figure 8.3 Named Pipe Plugin dialog box
Pipe Prefix If you wish to use a different scheme for pipe names you can change

the prefix by clicking on the Configure button in the Input Channel Edit
dialog box. The RIP displays the Named Pipe Plugin dialog box.
For example, entering RIP in the Pipe Prefix field would make the full
pipe name:
\\BRICK\pipe\RIP\Fred
Pipe instances Windows allows a named pipe to have a number of instances. This

means that, for each pipe of a given name, Windows allows more than
one client (application) to open the pipe at any one time. The RIP plu‐
gin can then service the clients in sequence, one at a time.
Some clients, for example Color Central from Imation Publishing Soft‐
ware (formerly Luminous Technology), always expect to be able to
connect to a named pipe. For this reason you should normally create at
least two pipe instances. This allows the client software to reconnect to
the pipe, in order to send the next job, while the RIP finishes process‐
ing the previous job.
If you wish to change the number of pipe instances from the default
value of two you can do so in the Named Pipe Plugin configuration
dialog box, as shown in Figure 8.3 above.
8.4.4 Connecting an application to the Harlequin MultiRIP

Several applications include support for named pipe output. This is a general discussion:
refer to the manual for your application for details.
Once the RIP has been configured to accept named pipe input, you must configure the other
application to use a named pipe for communication with the RIP.
Typically, you do this:
1. Add a new Local printer to which the application can send data.
2. Select named pipe as the method of communicating with the printer.

8 Configuring Input
The local printer connects via a new Local Port which should have a name of:
\\<machineName>\pipe\<pipe prefix>\<name>
3. Identify the particular named pipe to use, giving a name that matches one you have cre‐
ated in the RIP. The general form of the name is:
\\.\pipe\HQRIP\Fred
For example, when the machine is called BRICK, the pipe prefix is the default Script-
Works\Channel, and the name (as entered in the Input Channel Edit dialog box) is
Fred, then the full pipe name is:
\\BRICK\pipe\ScriptWorks\Channel\Fred
A period ( . ) can serve as a shortcut for the name of your local machine. If the supply‐
ing application and the RIP are on the same computer, the pipe name could be:
\\.\pipe\ScriptWorks\Channel\Fred
4. Give whatever other information the application requires, and complete the procedure
that makes the printer available for use with the application.
If you have multiple copies of the RIP, or have published multiple NT Pipe input channels
from a single installation of the RIP, you can repeat the same sequence for each channel.
8.5 Using the Spool Folder input folder

A spool folder input source regularly scans a specified disk folder (directory), and processes
any PostScript language files (and other suitable files) that are placed there. Normally these
files are deleted after successful processing. The spool folder can be on a network file server,
or the local machine. Users create files from their applications. These applications can create
the files directly in the spool folder, or can create them elsewhere (for example, on the local
system) for later transfer into the spool folder.
The RIP can process some or all of the following file types using a spool folder: PostScript
language (PS), Encapsulated PostScript (EPS), Portable Document Format (PDF), TIFF 6.0,
JPEG and JFIF files. With some preparation you can also process page buffers from a similar
version of the Harlequin MultiRIP. The available options depend on your installation and
configuration of the RIP.
The RIP ignores types of files that it cannot print, and any files that you exclude intentionally
by configuring the spool folder input.
You can exclude files based on their names. You may want to exclude files that resemble real
jobs, but that actually contain accounting or housekeeping information for the software that
delivers files into the spool folder. You may also want to exclude, or at least delay, real jobs
with particular origins or qualities. All this is possible so long as the file names have a recog‐
nizable prefix.
You specify which folder the RIP uses in the input plugin Configure dialog box, available
from the Input Controller. By default, this folder is called Spool and exists in the SW folder. If

needed, you can create several spooled inputs, each with its own folder, Page Setup, and
exclusion list.
When you specify a folder accessed over a network, make sure that the folder automatically
becomes available to the computer running the RIP when that computer is restarted.
Because files are normally deleted as soon as they are printed, it is important to ensure that
the RIP has permission to delete files in the spool folder, particularly if the spool folder is on
a network file server. See Appendix A, Troubleshooting, for more details.
The files in the spool folders are processed in the order in which they arrive. However, if
there are jobs already in a folder when the RIP is started, or if a very large number of files
have been queued, the RIP determines the order of those jobs by the date stamps on the files.
Note: Spool folder input does not work with setups using PostScript LanguageLevel 1 com‐
patibility mode.
8.5.1 Spool input issues

The way the Spool input plugin detects whether a job has failed can be disturbed by the use
of page features such as Error Handler - Long and Error Handler - Short. In such
cases, even though the RIP monitor may indicate that the job has failed, the Spool plugin may
treat the file as Completed instead.
The same issue may apply to custom error handling code.
If your workflow relies upon the correct error action taking place, you should avoid the use
of error‐handlers and instead diagnose such problems using different Page Setups.
Closing the spool input channel while files are still open can prevent the plugin moving or
deleting those files.
8.5.2 Configuring a Spool Folder input source

To create and configure a new Spool folder source:
2. Choose SpoolFolder from the Type drop‐down list. Give the input a suitable name and
select a Page Setup. Select the Enabled box.
3. Click the Configure button. The Spool Folder Configuration dialog box appears.
Make the settings you wish, and click OK. Click OK again to close the Input Channel Edit dia‐
log box. The spool folder input becomes active, now or when you next start inputs. When the
spool folder becomes active, the RIP reports the number of exclusions, that is the number of
prefixes that it will ignore. See the description of the Filenames prefix list option on page 228

8 Configuring Input
for details.
Figure 8.4 Spool Folder Configuration dialog box
This dialog box contains the following control items:
Spool Folder The current spool folder is shown in the text field alongside this but‐

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

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

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

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

The value in the text box specifies how often the RIP checks the Spool
folder for new files to be printed.
Time to wait for file to stabilize <n> seconds

The value in the text box specifies the number of seconds that the
Spool folder waits for the size of an arriving file to remain the same
before assuming that it has been fully written and is therefore ready to
be printed.
Complete Folder If a file successfully prints, the RIP moves it to the location specified in

the text field alongside this button unless the Delete files on completion
box is checked. Click the Complete Folder button to change this location
using the standard file browsing dialog box.
Delete files on completion

Select this box if you want the RIP to delete files that the Spool folder
succeeds in printing. Otherwise the RIP moves these files to the Com‐
plete Folder.
Error Folder If a file fails to print, the RIP moves it to the error folder specified

unless the Delete files on error box is selected. If a file prints success‐
fully, the RIP moves it to the Complete folder specified unless the
Delete files on completion box is selected.

8 Configuring Input
Delete files on error

Select this box if you want the RIP to delete files that the Spool folder
fails to print. Leave this box clear if you want failed files to be moved
to the Error Folder. Note that a file is treated as an error if you abort it
while it is being processed.
Move/Delete All Files
With this option selected the spool plugin will either move to the error
folder, or delete any file which it does not recognize (such as badly
formed PDF documents). The files are moved or deleted depending on
the state of the Delete files on error check box.
Warning: If you decide to use this option and you inadvertently
choose to point the spool folder at a directory containing important
files (such as C:\windows... or your SW folder), you will remove all
files therein, resulting in either a non‐functional computer or non‐
functional applications. The plugin deletes or moves all the files it can‐
not handle.
Move/Delete Valid Files
This option replicates a previous behavior of the spool folder plugin.
In this case, if a file is encountered which the spool plugin does not
recognize it will leave the file in the spool folder and ignore it. Valid
files which cause an error will be treated according to the setting of the
Delete files on error check box.
List of Prefixes
This text field specifies files to ignore when they arrive in the spool
folder, if you have also selected the Do not process filenames with the
following prefixes box. The specification is based on the first part or pre‐
fix of the file names.
Prefixes are case sensitive and separated by a comma.
For example, if you type in the prefix ab, the RIP ignores all the arriv‐
ing files whose names begin with ab. Examples of files that the
Harlequin MultiRIP would ignore for this prefix are abacus.pdf,
abandon.ps, and ab123. (The RIP would not ignore ABALONE.PS,
123ab.pdf, or _absence.) Ignoring means that the RIP does not pro‐
cess the files and allows the files to remain in the spool folder until
removed by a user or other software.
Note: If you remove or disable a prefix while the spool folder is still
active, the RIP processes any files previously excluded by that prefix
but still present in the spool folder.
You can enter several prefixes. Separate multiple prefixes by commas
without surrounding spaces. (If you add spaces after a comma, the RIP
treats the spaces as part of the following string.) Each prefix can
include alphanumeric characters, the underscore character, the period
character, and spaces.

For example, this is a valid list of three prefixes: aaab_c,BAC,4.4
Do not process filenames with the following prefixes

Select this box to make the prefix list active. Leave this box empty to
disable the prefix list without deleting the list of prefixes.
8.6 Using the Socket input plugin

A socket is a hardware‐independent method of communicating across a network. The RIP
Socket plugin supports TCP/IP on Ethernet for job transfer between any combination of
machines running the UNIX and Windows operating systems.
The RIP Socket plugin also supports a smaller set of features on Power Macintosh computers
(but not 680x0 based Macintosh computers). This smaller set of features is supported
between any combination of Power Macintosh computers and machines running the UNIX
or appropriate Microsoft Windows operating systems.
The benefits of using network sockets are:
• Transfer of jobs between different types of machines occurs at network speeds—typi‐
cally much higher than those achieved with serial links.
• One server machine (the one running the Harlequin MultiRIP) can receive input from
as many sending machines as can connect to the network. (The RIP must finish one job
before starting another, including jobs from other types of input plugin.)
• All sending machines are configured in the same way.
• Given an existing network, there is no requirement for extra hardware or shared file
systems.
• A program or user on the sending machine can be informed of the job status as the job
progresses.
There are some potential, minor, difficulties with socket input:
• It requires a small amount of central network management, or user access to configura‐
tion files, on the sending and receiving machines. This management or user access is
required only when setting up the links, not for routine use.
• In general, the socket input plugin accepts only PostScript language and PDF input,
sent with a basic TCP/IP stream protocol. This protocol is simple to generate but pro‐
hibits the direct use of any extra protocol such as that used by the UNIX lp program.
(The Xinet PapConnect protocol is an option if there is no Macintosh computer
involved.)
Note: Most machines running sockets can support several independent types of communica‐
tion and there is usually ongoing communication for processes including mail, printing, and
file transfer. The different types of communications are kept separate by assigning each to a
different port, usually identified by number. Port numbers below 1024 are listed in a services
database and have registered uses and protocols that enable computers at local and remote
sites to communicate according to published standards. Some numbers above 1024 also have

8 Configuring Input
agreed uses, but most are available for use in a way specific to a single site, as allocated by the
local network manager or system administrator.
8.6.1 Requirements
All machines need to support TCP/IP over Ethernet and to be linked by a network. This is the
only requirement for machines running the UNIX, Mac OS X, and Windows operating sys‐
tems.
8.6.2 Configuration preliminaries

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

To configure the machine running the RIP, you must know:
• The port on which the socket plugin is to listen for input.
Optionally, you may need to know:
• A second port, if you wish to return the standard output to the sending application
and that application requires a separate port.
• Any protocol in use by the sending application. The options supported by the
Harlequin MultiRIP are basic TCP/IP socket stream or Xinet PapConnect.
In general, you can ask your network administrator to allocate a port (or ports) and give you
the number(s) or name(s) to enter in the RIP. Using a name rather than a number allows the
flexibility of changing only the services database if it becomes necessary to start using
another port.
If you have no network administrator, you may need to look at the services database yourself
in order to find ports that are available for use. In the UNIX operating system, the services
database is the file:
/etc/services
Under Windows XP and Windows 2000, the position of the services database can vary

between different installations of the operating system. The administrator can choose where
to install the operating system (with the chosen location recorded in the environment vari‐
able %Systemroot%) and the services database is stored in a fixed relationship to this loca‐

tion. For example, if the operating system is installed in \winnt then the services database is
the file:
\winnt\system32\drivers\etc\services
On Macintosh computers, there is no services database. (This means that you must choose
ports using TCP by number on a Macintosh, but you may be able to inspect the services data‐
base on a computer of another type if you are operating on a mixed network.)
Warning: Where used, the services database is an important part of a networked operating
system. Make a copy of the services database file before editing it in any way.
8.6.2.2 Sending machines

To configure the machines sending jobs to the RIP, you must know:
• The network address (IP address or hostname) of the machine running the Harlequin
MultiRIP.
• The port on which the machine running the RIP is listening for input.
Optionally, you may need to know:
• A second port, used to return the standard output to the sending application. (The RIP
can return this information on the server port: a second port is only needed if the send‐
ing application requires a separate port.)
Your network manager should be able to supply these details.
All other settings are dependent on the software used to send the jobs, and must be compati‐
ble with those you have made in the Socket Configuration dialog box. For example, you may
need to configure the sending software to receive the PostScript language status messages.
We recommend that you configure each sending application to close its sending socket con‐
nection at the end of each job, and pause before reopening it to send another job. The reasons
are:
• You can configure the RIP to receive input on more than one socket input—for exam‐
ple, to allow the use of different Page Setups. (Each socket must use a different
address.) Closing the connection allows the RIP to check for pending jobs on other
input channels.
• Certain jobs may require that the server socket is closed before the RIP can start ren‐
dering. If the socket is not closed, rendering starts when the next job starts to arrive,
which could result in a significant delay.
8.6.3 Configuring a Socket input plugin

To configure a new socket input, click New in the Input Controller. The RIP displays the Input
Channel Edit dialog box. Choose a name and Page Setup as normal, then choose

8 Configuring Input
SocketInput from the Type pop‐up menu drop‐down list. Click the Configure button. The
Socket Configuration dialog box appears, as shown in Figure 8.5.
Figure 8.5 Socket Configuration dialog box
You must make settings for the server (input) socket. The other (output and protocol) settings
are optional but interrelated: you may need to make more than one choice to have a valid
combination of settings.
8.6.3.1 Server socket details

On some the RIP platforms, the Socket type control allows you to choose from TCP by num-
ber, TCP by name, and Local. The only option available on all platforms is TCP by number.
The TCP by number and TCP by name options both offer full network access. The options are

equivalent in that both identify a numbered port. The only difference is that if you give a
name, the name is used to look up the number in the services database, a file which links
numbers with names.
A Local socket works only with the UNIX operating system and only on the host machine:
that is, where the sending application and the Harlequin MultiRIP both operate on the same
machine. It is provided only for compatibility with older systems.
Server Socket type

Choose TCP by number or TCP by name for use across a network
(including from the host machine), and enter the corresponding port
name or number in the Address box.
Under the UNIX operating system, you can also choose Local but do
so only where absolutely required by the sending application and
enter a socket file name in the Address box.
Address There are up to three possible entries in this box, depending on the
choice made for Socket type, which itself may be limited by the plat‐
forms on which the RIP and the sending applications operate.

When Socket Type is TCP by number, enter the number of the port.
The socket plugin listens on the chosen port.
When Socket Type is TCP by name, enter the name of the service.
The socket plugin gets the port number by looking up the name in the
services database (/etc/services or an equivalent file), and listens
on the chosen port.
When Socket Type is Local, the socket communication is made by
using a socket‐style file on the file‐system. Enter the file name in the
Address field.
8.6.3.2 Bi-directional communications and protocol

These check boxes allow you to specify if and how the Harlequin MultiRIP should return
information to the application sending a job.
Bi-directional comms
Select this box when you wish the RIP to pass responses back to the
sending application. The RIP passes these responses: on the server
socket when Use Separate Output Socket is not selected; or on the out‐
put socket when Use Separate Output Socket is selected (in which case,
you must also configure the Output Socket Details).
Use Separate Output Socket

Select this box to use a separate output socket for responses from the
RIP to the sending application. You must use a separate output socket
if the sending application(s) cannot accept responses on the channel
used to send jobs.
This box is irrelevant if Bi-directional comms is not selected.
Note: When this option is selected and a port with the same address is
used, a Duplicate Socket Address: already in use error mes‐
sage will appear and the input will not start.
Use Xinet protocol

Do not select this option unless you know that all the sending
machines are using the Xinet PapConnect protocol. In particular, Clas‐
sic Macintosh computers cannot use PapConnect. Also, we recom‐
mend that you use this option only for downloading fonts; for general
use, leaving this box unselected gives faster transfer rates.
8.6.3.3 Output socket details

These details are only relevant when you have selected the Use Separate Output Socket box
and the Bi-directional comms box.
Choose these values in the same way as for the server socket, described in “Server socket
details” on page 232. You must choose a different Address from the one chosen for the Server

8 Configuring Input
socket. It is convenient but not essential to use the same socket type to make it obvious
whether or not the addresses are different. For example, choose numbered addresses that dif‐
fer by 1.
Note: The sending application can continue to listen on the RIP output socket after it has
closed its sending socket. (“Sending machines” on page 231 explained why it is advisable to
close the sending socket—the one connected to the RIP Server socket.)
8.7 Using the Asynchronous Socket plugin

The asynchronous socket input is not for use as a source of routine jobs. It is a special case of
the socket plugin, designed to run jobs immediately—regardless of what the RIP is already
doing. This input provides a way of controlling and monitoring the RIP without using menus
and dialog boxes.
These jobs are restricted in what they can do if jobs from other inputs are to have the
intended result. To prevent unintended interaction with a running job, each job submitted to
the asynchronous socket input should start by performing a save and end with a restore.
Also, the job should not use any painting operators or otherwise alter the graphics state.
Permissible tasks—those that do not interfere with other jobs at the interpretation stage—
include querying the availability of fonts and manipulating page buffers in the throughput
system.
The one exception where interference with another job is allowed, and necessary, is that it is
possible to kill the currently running job.
8.7.1 Creating an asynchronous socket input

It is possible to create an asynchronous socket input in the Input Controller, and subse‐
quently edit or delete it.
Note: The expected way of creating an asynchronous socket input is by including PostScript
language statements in the files that the RIP executes when starting up. An asynchronous
socket input created this way is likely to be a protected channel, optionally viewable in the
Input Controller but not editable.
To create and configure an asynchronous socket input:
2. Choose SocketInputAsync from the Type drop‐down list. Give the input a suitable
name and select a Page Setup. Select the Enabled box.
3. Click the Configure button. The Socket Configuration dialog box appears. Make the set‐
tings you wish, and click OK. (See “Configuring a Socket input plugin” on page 231 for
details.)
4. Click OK again to close the Input Channel Edit dialog box. The asynchronous socket
input becomes active, as you click OK or when you next start inputs.

All other aspects of its use and configuration are as described in “Using the Socket input plu‐
gin” on page 229.
8.7.2 Sample job

This example shows how a short PostScript language job can kill the current job.
% This code kills the currently running job.
//errordict /setinterrupt get exec
8.8 Using the Asynchronous Socket Quit plugin

The SocketInputQuit type is a special case of the asynchronous socket input, with the sin‐
gle purpose of causing the RIP to quit. Connecting to a socket of this type makes the RIP quit
without the need to send a PostScript language job containing the appropriate commands.
To create an input of this type, follow the procedure for the asynchronous socket, described
in “Creating an asynchronous socket input” on page 234, but choose SocketInputQuit in
the Type drop‐down list.
You can select any Page Setup for use with this input. There is no need to specify a return
channel.
8.9 Using more than one method

The RIP can use any combination of the above input types and listen on all active inputs.
When several inputs want to send data, only one job can reach the RIP at a time but the other
inputs may be able to receive and buffer data for later rendering.
To accept input from several sources, create and enable the sources you want in the Input
Controller. The RIP automatically monitors all enabled sources as soon as the input system is
started with the Start Inputs menu option.

8 Configuring Input
8.10 Using the Print File command

When you select Print File from the Harlequin MultiRIP menu, the dialog box shown in
Figure 8.6 appears.
Figure 8.6 Print File dialog box
Choose an appropriate Page Setup for printing the files, from the Page Setup drop‐down list.
Note: If you do not choose a Page Setup, the RIP uses the one that you chose last time you
printed a file. If you have not printed a file in this RIP session, the first Page Setup in the
drop‐down list is used. To change the order of this listing, see “Reordering Page Setups” on
page 93.
The Print File dialog box shows all PostScript language files in the current folder. (To show
files of a different type, or all files, use the Files of type drop‐down list.)
If you want to choose a file that is not in the folder shown, use the dialog box to move to the
correct folder.
Use the Look in drop‐down list to use other folders or drives.
Note: To select all files in the list, click anywhere in the central list of files and type Ctrl+A.
While any file is being processed, an additional Print File menu appears on the menu bar of
the main RIP window.
Alt
You can abort the current job by choosing Kill Current Job from this menu, or by typing Alt+•
(a period character).
When Kill Current Job is selected, the current job is stopped but subsequent jobs will be pro‐
cessed.
By selecting Stop Printing File, the current file will complete but any jobs queued after the cur‐
rent job will not print.
Selecting Abort Printing File will stop the current job and also stop all subsequently queued
jobs from ripping.

8.10.1 Printing several files
To print out several files at once, just select more than one file from the Print File dialog box
before clicking Print. The following keys make this possible:
Shift
You can select a contiguous block of files by selecting the first file in the block, then selecting
the last file in the block while holding down the Shift key.
Ctrl
You can select several non‐contiguous file names by holding down the Control key while
making your selection.
Note: The list of files to print can include files other than PostScript language, PDF files and
TIFF 6.0. The RIP ignores types of files that it cannot print.
8.11 Printing PostScript language files

The RIP can print PostScript language files and Encapsulated PostScript (EPS) files using the
Print File command or managed inputs. You can also enter PostScript language code interac‐
tively using the Harlequin MultiRIP > Executive command.
You can submit PostScript language jobs to the RIP using any of the managed input methods:
NT Pipe, Spool Folder, and sockets.
The Page Setup Options dialog box provides several options that tailor the way the RIP pro‐
cesses jobs. Some options provide compatibility with jobs using PostScript LanguageLevel 2
or LanguageLevel 1, or produced by specific applications. Other options deal with more gen‐
eral fault conditions or are convenience features. For example, some PostScript language file
formats, such as EPS, do not always include a showpage operator at the end of jobs. One of
these options adds showpage to the end of a job, if necessary. See “Edit Page Setup dialog
box” on page 94 for details.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in an
Encapsulated PostScript file. See the Harlequin ColorPro User’s Guide for details.
8.12 Printing PDF files

The RIP can print Portable Document Format (PDF) files that conform to the PDF 1.7 specifi‐
cation or earlier, or PDF/X versions listed below. The PDF Options dialog box allows you to
set up strict or flexible workflows using these versions of PDF jobs.
The Harlequin MultiRIP supports the following PDF/X versions:
• PDF/X‐1a:2001
• PDF/X‐1a:2003
• PDF/X‐3:2002
• PDF/X‐3:2003

8 Configuring Input
• PDF/X‐4
• PDF/X‐4p
• PDF/X‐5g
• PDF/X‐5pg
These are the only versions supported; any previous support for earlier versions has been
dropped.
The “PDF Options” from the page set up manager allows the user to select from a range of
PDF/X verification settings, see “PDF Types” on page 246.
The aim is to reproduce with high quality all the features of PDF files that can be rendered on
paper or film. You can also preview pages printed from PDF files, but the RIP does not pro‐
vide a fully interactive hypertext viewer or editor: there are no search, cross‐reference, or
annotation facilities.
Note: PDF/X is a standard defining a subset of PDF, designed for trouble‐free use where the
creator sends the PDF file to an external printer or other prepress consumer.
Note: A PDF/X‐3 file containing an OutputIntents dictionary will be color managed using
the ICC profile indicated by the OutputIntents dictionary as long as the job uses a device
independent color space and the Override color management in job option is not selected. For
more information see “PDF/X Color management” on page 239.
8.12.1 PDF/X standards

With the growth in the use of PDF for transferring graphic arts content files between sites
and between companies it is clear that the flexibility of the PDF format does not allow robust
and predictable exchanges of prepress data.
To overcome this problem a family of standards has been developed to define restrictions on
the content and use of PDF files to make PDF output more predictable.These standards are
collectively called PDF/X, each with a suffix to differentiate the specifications defined for dif‐
ferent sets of market needs.
The PDF/X standards defines the elements that must be included in a PDF, and those that
must not.
PDF/X‐1a:2001 is designed to provide the most robust and, to some extent, least flexible
delivery of PDF content data. It requires that the color of all objects be expressed in CMYK or
spot colors, prepared for the intended printing conditions. Elements in RGB or Lab color
spaces or tagged with ICC profiles are prohibited. It also requires that all fonts used in the job
be embedded in the supplied PDF file.
PDF/X‐3:2002 allows slightly more flexibility in that color managed workflows are also sup‐
ported—elements in Lab, and with attached ICC source profiles may also be used.
PDF/X‐4:2008 supports color‐managed, CMYK, gray, RGB or spot color data, as well as
optional content and PDF transparency.
PDF/X‐4p can be used with an externally supplied ICC Profile for the output intent.

PDF/X‐5g is an extension of PDF/X‐4 that allows the use of workflows similar to those used
with OPI. That is, the ability to reference externally supplied files.
PDF/X‐5pg is an extension of PDF/X‐4p that allows the use of workflows similar to those
used with OPI, together with a reference to an external supplied ICC Profile for the output
intent.
Support for PDF/X‐4p, PDF/X‐5g, PDF/X‐5pg requires the ability for the RIP to find external
files (ICC color profiles for PDF/X‐4p and PDF/X‐5pg and reference XObjects for PDF/X‐5g
and PDF/X‐5pg).
Support for PDF/X‐4, PDF/X‐4p, PDF/X‐5g and PDF/X‐5pg allows a digital front end to be
constructed which is compliant with PDF/VT‐1, PDF/VT‐2 and PDF/VT‐2s.
Note to OEM: For more information on how to build a PDF/VT solution around the
Harlequin MultiRIP see Technote 079.
The specifications also set out how a PDF/X file should be processed by the receiver of the
file. If different approaches to overprinting, for instance, are taken at different sites then it
will not be possible to predict the exact appearance of the final printed piece from a pre‐
transmission proof.
This section describes how a Harlequin MultiRIP should be configured in order to produce
PDF/X compliant output.
8.12.1.1 PDF/X Color management

PDF/X files all include data describing the characterized printing conditions for which the job
was prepared. That data is collectively described as the output intent. It includes an identifier
that may refer to a characterization held in a registry maintained by the ICC (International
Color Consortium). In many cases the output intent will also include an embedded profile to
support accurate color proofing, both on screen and on hard copy.
The ColorPro™ option can be used to perform in‐RIP color management with the Harlequin
MultiRIP. It can be used for many purposes, including color proofing, or for adjusting plates
to enable a press to better match a characterized printing condition such as SWOP. For more
information see the ColorPro™ documentation.
With regard to the output of PDF/X files, the Harlequin MultiRIP output will match the
Altona test suite and the GWG test suite output when auto‐detecting PDF/X files.
You can adjust the behavior of the RIP to match other mainstream applications by turning off
the auto‐detection of PDF/X and adjusting the RIP overprint settings. See “PDF Types” on
page 246 and “Color managed overprints for DCS” on page 398.
8.12.1.2 Trapping
The TrapPro™ options add in‐RIP trapping functionality to the Harlequin MultiRIP. If these
have been enabled, trapping parameters may be defined in the user interface and automati‐
cally applied to all jobs submitted to the RIP. If a PDF or PDF/X file is labeled as having

8 Configuring Input
already been trapped (by setting the Trapped flag to True), the in‐RIP trapping will automat‐
ically be disabled while processing that file to prevent traps being applied twice.
For more information see the TrapPro™ documentation.
8.12.1.3 Workflow notes

When processing PDF/X files it is important that your whole prepress workflow provides a
result that complies with the standard, including placement of partial‐page submissions on a
page and so on. You should also test all routes by which an incoming file may pass through
your complete workflow. Tools such as the Kensington Suite and the Global Graphics PDF/X
Overprint test strip can assist in this testing. see the Global Graphics web site for more infor‐
mation.
8.12.2 Printing PDF version 1.4

One of the major features of this revision is the ability to mark objects as being partially trans‐
parent, so that other objects in the background are visible through them. This feature aids the
creation of many special effects, including drop shadows, ghosting back of image areas
behind text blocks and soft edges to silhouetted pictures.

The Harlequin MultiRIP will print PDF v1.5 files. Some of the features included are:
• ICC profile handling.
• Support for JPEG 2000 and ability to decompress JPEG 2000 images
• 16 bit images.
• Annotation types.
New line end styles for Line annotations, fine positioning of Square and Circle annota‐
tions, new annotation types – Polygon & Polyline, Caret annotations.
• Cross reference tables.
• Layers.
Used for versioning, as “layers” in, for example, a packaging workflow. Each group of
optional content may be flagged with separate settings to display on‐screen in a PDF
reader and to print. The provision of layers within PDF 1.5 allows the support for dif‐
ferent languages within a single file.

• Encryption enhancements.
• Specification of the size of the unit in default user space.
• Support for NChannel color spaces.

• More flexible and locking of optional content groups.
Optional content is supported in the Harlequin MultiRIP. However, optional content in
nested PDF documents is not supported.
• New facilities for embedding OpenType fonts in PDF files.
The Harlequin MultiRIP supports embedded OpenType fonts, with either TrueType or
PostScript language glyphs.
• Grouping of markup annotations.
• The specification of objects, such as watermarks, that stay at a constant size regardless
of the page size.
• The ability to accurately specify relationships between the dimensions of objects on a
page and their real‐world counterparts.
• PDF files can now display three‐dimensional graphical data, using the U3D format, in
a PDF file.
Documents containing U3D Artwork annotations will be processed to completion by
the Harlequin MultiRIP. However, the resulting output will only display the 2D static
representation that is supposed to accompany the 3D graphic. If the 2D graphic is miss‐
ing, that part of the document will be blank.
Note: The Harlequin MultiRIP does not support some types of JPEG 2000 files where a soft
mask channel is included in the image. A job of this type will fail.

• Unicode string support.
Since the publication of the PDF v1.7 specification a number of extensions have been devel‐
oped to support various new features including those in Acrobat 9 and 9.1. These extensions
are published as Adobe Supplement to the ISO 32000, BaseVersion: 1.7”. The Harlequin
Server RIP v8.2 and later supports ExtensionLevel: 3.
Note: The PDF Checker procset is removed from v10.0r0 onwards. Therefore, the “PDF
Check Warning”, “PDF Check Abort” and “PDF Page Alert” sections are now not relevant
and hence removed from this document.
8.12.6 AcroForms
A PDF file can contain information which is additional to the standard PDF format. When
viewed using an interactive application such as Adobe Acrobat, this additional information
provides interactive features making the page more like a form. These files are called Acro‐
Forms.
With features such as text input fields, multiple choice option lists and clickable buttons, a
PDF file that features an AcroForm is used to provide comprehensive electronic form filling
functionality.

8 Configuring Input
You interact with the form via the usual mouse and keyboard actions. The AcroForm can be
programmed to respond to events (such as clicking on a button) to provide various levels of
automation.
8.12.6.1 Print Ready PDF AcroForm files

An AcroForm is generally created for interactive use via an interactive program like Adobe
Acrobat. However, you may want to print these files. The Harlequin MultiRIP is, of course,
not interactive and is only concerned with rendering the contents of the PDF file for printed
output. This creates a number of issues about exactly which of the essentially interactive fea‐
tures (such as, buttons and lists) should be printed and how they should appear.
When the form is completed (that is, all the required text input fields are filled in) using
Adobe Acrobat, the PDF file is re‐saved by Acrobat to save the entered information. When
this is done, Acrobat creates additional content in the PDF file called Appearance Streams
which render the filled‐in text input fields. It also marks the PDF file’s AcroForm as being
“complete” (by setting the NeedAppearances key in the AcroForm dictionary to false).
We refer to a file that has been completed in this way as being print‐ready.
Prior to being made print ready, a PDF AcroForm may be incomplete to various degrees. For
example, the form could be blank in the sense that none of the fields contain any user‐entered
information. Alternatively, a PDF AcroForm file could have been partially completed by a
database program (for example) which can provide values (content) for some or all of the text
input fields but still not yet completing the file. This completeness refers to two things:
• The fields’ appearance streams may not be present in the PDF file, even though the
fields may have been given values (that is, the actual text to display in the input fields).
• The AcroForm will be marked as incomplete by virtue of the NeedAppearances key in
the AcroForm dictionary being set to true.
When the Harlequin MultiRIP is given the job of printing a PDF AcroForm, it has to be sensi‐
tive to whether or not the form has been completed and is print‐ready.
The Harlequin MultiRIP uses the following rule:
• If the NeedAppearances key in the AcroForm dictionary (in the PDF file) is false (or is
absent), the AcroForm will be printed such that all fields (and only those fields) with
appearance streams given will be displayed. Otherwise, if NeedAppearances is true,
the Harlequin MultiRIP will reconstruct appearance streams for all the fields it finds.
What this means for the Harlequin MultiRIP is that, unless the PDF file has been made com‐
plete and print‐ready, the final appearance of the various fields of the AcroForm could be dis‐
played slightly differently than they might appear in the viewing application (for example,
Acrobat).

8.12.6.2 PDF AcroForms and the Harlequin MultiRIP
When a PDF AcroForm has been completed and saved and is therefore print‐ready, the Har‐
lequin MultiRIP will print all AcroForm field types (text fields, choice list boxes, buttons, and
signature fields). However, this is conditional upon the manner in which the fields have been
defined in the AcroForm. For example, some button fields may have been flagged (by Acro‐
bat) as “not to be printed”. In this case the Harlequin MultiRIP will not print such items.
If the PDF AcroForm has not been saved as print‐ready, the Harlequin MultiRIP still sup‐
ports the rendering of text input fields (both single‐line and multi‐line).To do this, the RIP
constructs (or reconstructs) the fields’ appearance streams according to the field values and
other information contained within the AcroForm. It should be noted however that there is a
degree of licence with respect to how a viewing application may format the items (such as
text and buttons), and so results between different viewing applications may differ.
If the AcroForm is not print‐ready, the Harlequin MultiRIP also attempts to support other
field types (such as buttons and choice lists) but their final appearance may be different to the
intended result (by a greater or lesser extent). It is therefore highly recommended that all
AcroForm files to be submitted to the Harlequin MultiRIP are saved as print‐ready first.
Note to OEMs: You are granted a certain amount of control over how the Harlequin
MultiRIP supports AcroForms, particularly with respect to how fields
are formatted and rendered when the PDF file is not print‐ready. This
control is provided through a number of parameters specified in a por‐
tion of a PostScript language file submitted to the RIP as part of its con‐
figuration.
The PostScript file containing the AcroForm parameters is called
HqnPageSetupConf and resides in the SW/procsets folder.
For more information on how to control Interactive AcroForms see
Section 14 of the Extensions manual.
8.12.6.3 Implementation of PDF 1.4 Annotations

Support for PDF Annotations, as defined in the PDF 1.4 specification, is implemented in the
Harlequin MultiRIP. Annotations are defined in section 8.4 of the specification, however, they
also refer to AcroForm fields (which merge with annotation “widgets”). AcroForms are
defined in section 8.6 of the specification entitled “Interactive Forms”.
Support for AcroForms has already been implemented for PDF 1.3.
Most PDF Annotation types are supported as long as they meet the following conditions:
• their “Normal” appearance streams are present and correct in the PDF file and,
• they have their “Print” flag set.
Excluded annotations are:
• Link and Movie annotations, because they do not present a normal appearance stream
in the standard way

8 Configuring Input
• Popup annotations, because they only apply to interactive applications (that is, pop‐
ping up a window)
• TrapNet (also known as, trap network) annotations.
Note: The RIP ignores (in non‐strict mode only), PDF documents with “FreeText” type anno‐
tations which contain invalid PDF content.
8.12.7 Related documentation

The following documents may help you understand AcroForms:
• Graphic technology—Prepress digital data exchange—Use of PDF for composite data—Part 1:
Complete exchange (PDF/X‐1), American National Standard CGATS.12/1‐1999. This doc‐
ument is available from NPES; see http://www.npes.org/ for purchasing details.
• Portable Document Format Reference Manual, Version 1.4. Adobe Inc.
• Harlequin ColorPro User’s Guide, Global Graphics Software.
8.12.8 PDF Options dialog box

Figure 8.7 shows the dialog box that appears when you click PDF Options in the Edit Page
Setup dialog box. (This view shows some settings that are not at their default values.)
If you need to print PDF files with different options, for example with different passwords,
you can create a number of PDF Page Setup configurations
Figure 8.7 PDF Options dialog box
The options are in sections for page selection, PDF type acceptance and passwords

8.12.8.1 Page selection
Print all pages
Leave this check box selected to print all the pages in the PDF document. If you wish to
print only a subset of the pages from a PDF job, deselect this check box and enter the
desired pages in the Pages field.
Reselect this check box when you have finished printing the subset of pages. This
enables the printing of all pages from other PDF jobs. (You do not need to delete the
entry in the Pages field.)
Page(s)
Enter numbers for the page or pages that you wish to print. You can enter individual
page numbers or ranges, separating each number or range with a comma ( , ) character.
To enter a page range, enter the numbers of the first and last pages in the range, using a
hyphen to separate them: for example, 7-16. If you wish to print all pages from a par‐
ticular page to the end of the job, enter a range starting with that particular page and
ending with a number that you know to be higher than the last page in the PDF job: for
example, 47-10000.
You can combine individual page numbers and ranges: for example, 1,2,7-16,23,24.
Pages may be repeated, for example [ 27, 27, 27] will print three copies of page 27.
Pages may be listed out of sequence, for example [154, 27, 170].
If not all pages in the document are printed the RIP will display a warning similar to
the following:
%%[Warning: Page range restricts printing to the following page(s):5, 27, 156-
163, 210, 210, 120, 196 from an availalable N pages.]
where N is the number of pages in the document.
If the range is such that no page in the job fits the following warning is displayed:
%%[ Warning: No pages found within range]%%
When printing a PDF job, the RIP displays a message for each page that is not printed
because of being unlisted in this field.
Page size bounding box
PDF version 1.3 offers several options for defining a rectangular area that is the area of
interest for a PDF page. A PDF file may set values for one or more of these areas, to be
used as appropriate to the different ways that the PDF file can be used: viewing, office
printing, imposition, commercial printing, and so on.
The RIP looks for the values of the option chosen in this list and makes a page buffer of
the size set by that option. Only MediaBox must be present in a file, but the other areas
inherit default values from MediaBox.

8 Configuring Input
When using Simple imposition the option chosen in this list is used to calculate the
position of trim marks and page furniture. Any bleed specified within Simple imposi‐
tion will be filled with objects outside that trim box, and the Page buffer will normally
be larger than the chosen PDF Page size bounding box. For more information see “Con‐
figuring Simple imposition” on page 279.
The options in this list are fully defined in the Portable Document Format Reference Man‐
ual, Version 1.3. The default is MediaBox.
MediaBox The size of the media, which may be larger than the page imaged upon
it.
BleedBox The size of the page whose edges must be reached by bleed objects,
though the trimmed size of the page may be smaller. There may be
printer’s marks and parts of the bleed objects outside this area.
TrimBox The size of the page as intended for delivery to the reader, after trim‐
ming any printer’s marks and excess bleed areas.
ArtBox The size of the rectangle to be used when placing a PDF graphic. (Typ‐
ically, this is the bounding box of the graphics plus a possible allow‐
ance for captions or blank margins.)
CropBox Rectangle specifying the default clipping region for the page when dis‐
played or printed. Acrobat Exchange sets this when cropping a page.
8.12.8.2 PDF Types

By default all PDF files will be accepted by the RIP, whether they conform to the PDF/X stan‐
dards or not.
The RIP will recognize PDF/X‐1a, PDF/X‐3, PDF/X‐4, PDF/X‐4p, PDF/X‐5g and PDF/X‐5pg
files, apply the necessary additional checks to validate that they comply with the full details
of the standard, and automatically change any configuration settings (such as overprinting)
that do not match the requirements for rendering them correctly.
Accept type(s)
This list allows you to define how strictly the PDF file must conform to various stan‐
dards and specifications for PDF jobs. You can use the On error list to define what the
RIP should do if the job does not meet the requested specification.
The options in this list are as follows:
Auto-detect types
This is the default option. The RIP makes the best possible attempt to
print the file according to the type labeling within the job. PDF/X files
will be recognized automatically. If the job claims to be PDF/X‐1 but
does not meet that standard, the RIP treats that as an error but may
still be able to print the file.

With regard to the output of PDF/X files, the Harlequin MultiRIP out‐
put will match the Altona test suite and the GWG test suite output
when auto‐detecting PDF/X files.
You can adjust the behavior of the RIP to match other mainstream
applications by turning off the auto‐detection of PDF/X and adjusting
the RIP overprint settings. See “Color managed overprints for DCS”
on page 398.
Any PDF <= 1.7 as basic PDF

All PDF and PDF/X files will be accepted, with no special treatment of
PDF/X files. With this setting the RIP will print any job with a recog‐
nized PDF version; that is, version 1.7 or less, including non‐compliant
jobs labeled as PDF/X‐1, but not actually complying with the standard.
This is the most relaxed setting. By using this option you are explicitly
telling the RIP not to override any overprint settings for a PDF/X file.
Any PDF/X-1a
Only PDF/X‐1a:2001 and PDF/X‐1a:2003 files will be accepted. See
below for the action taken when other files are received.
Any PDF/X-3 or 1a
Accept any supported PDF/X variant, that is; PDF/X‐1a:2001, PDF/X‐
1a:2003, PDF/X‐3:2002, and PDF/X‐3:2003.
PDF/X-4, 3 or 1a
Accept any supported PDF/X‐3 and X‐1a variant, that is; PDF/X‐
1a:2001, PDF/X‐1a:2003, PDF/X‐3:2002, and PDF/X‐3:2003, and only
PDF/X‐4 (that is, not PDF/X‐4p).
PDF/X-4p, 4, 3 or 1a
Accept any supported PDF/X‐3, X‐1a and X‐4 variant, that is; PDF/X‐
1a:2001, PDF/X‐1a:2003, PDF/X‐3:2002, PDF/X‐3:2003, PDF/X‐4 and
PDF/X‐4p.
PDF/X-5g, 5gp 4p, 4, 3 or 1a

Accept any supported PDF/X‐3, X‐1a and X‐4 variant, that is; PDF/X‐
1a:2001, PDF/X‐1a:2003, PDF/X‐3:2002, PDF/X‐3:2003, PDF/X‐4 and
PDF/X‐4p. In addition, PDF/X‐5g and X‐5gp are accepted (not PDF/X‐
5n).
On error
The options in this list define the action you wish to occur if there is an error: for exam‐
ple, if the PDF file is an unrecognized type or if it fails to meet the condition set in the
Accept type(s) list. The actions are as follows:

8 Configuring Input
Report errors and continue

The errors reported are for the file type as explicitly set in the Accept
type(s) field or as detected when the setting is Auto-detect types.
There may be problems with the printed results if the job is newer than
version 1.5 or badly constructed.
Any PDF/X validation errors will be reported in the RIP’s system log,
but the file will still be processed and output.
Abort job
Report errors and reject (abort) the job. If a file being processed does
not conform to the file type selected, the job will be aborted, and no
output will be produced.
Where a condition in the PDF file is encountered which does not conform to the appropriate
PDF/X specification, a warning message is displayed.
8.12.8.3 Non-conforming rendering

To force the RIP to apply your own configuration (for example, overprint settings), to a
PDF/X file; select Any PDF <= 1.4 as basic PDF in the Accept type(s) menu. This option
may also be used to print a file that claims to be PDF/X compliant, but that does not correctly
conform to the standard.
8.12.8.4 Password
Use password to print protected documents
Select this option when you wish to print a document that has been protected by a pass‐
word, and enter that password in the text field. Enter one password only.
For maximum security, remove the password after use. This removal is optional if your
other PDF jobs do not have password protection.
Note: The PDF specification allows for files to have Owner and User (reader) pass‐
words. The RIP checks the password that you enter against both of these passwords,
and allows printing if either password produces a match.
Passwords can be any length but only the first 32 characters are significant. If you have
any way to influence the choice of password used in jobs supplied to you, suggest that
it uses only ASCII characters: the letters A-z and A-Z, the numerals 0-9, and punctua‐
tion marks such as []{} and ;. For example, there may be problems in entering the
password if the password uses characters that are not in the English alphabet. Avoid
multiple white space characters, accented characters, and characters that require a
double‐byte representation.
Note: The Honor ‘PDF Color Management’ check box has been removed. The option is
now called Override color management in job and is part of the Input Document Controls
within the Color Setup Manager. See “Color Setup” on page 391 for more details.

To make fullest use of jobs containing device‐independent color definitions, enable a
TrapPro option in the Configure RIP Extras dialog box.
8.12.8.5 Use Harlequin VariData check box

For background information on Harlequin VariData (HVD) and to override the default set‐
tings see “Harlequin VariData” on page 206 and “HVD internal mode” on page 206.
From v10.1 the HVD internal mode optimization can be activated by selecting the Use
Harlequin VariData check box on the Page Setup > PDF Options dialog box.
PDF files with pages that share raster elements and have marks which change from page to
page should be accelerated by this optimization in the RIP. HVD can cache one raster per
page in internal mode and build the final raster from these parts. In addition, it can cope with
situations of an imposed flat where several images and text layers are placed on top of each
other.
Note: The HVD check box is only applicable to internal mode.
8.12.8.6 Screening selection

The PDF specification is unambiguous about which screen should be used for areas of a page
that involve live PDF transparency. However, these rules are not appropriate for cases where
it’s important to apply the screen associated with each object in the PDF with that object. To
overcome this a switch on the PDF options dialog is added which allows the screen specified
in the object to be used rather than following the PDF specification.
This option chooses the screen selection to use for transparent regions.
Default
Use the page default screen for non‐fully opaque objects.
Use topmost
Use the screen from the top‐most object for all objects. In all cases, fully
transparent objects are ignored.
The behavior when Default is selected is in‐line with the PDF specification.
The Use topmost setting is of particular value in workflows where it is important to use the
halftones specified in the supplied PDF file, such as in flexographic printing.
Note: If screening overrides are used, the values from the overrides will be used in prefer‐
ence to those from the job.
Note: Overprinted objects may use a combination of screens for foreground and background
objects, where overprinted colorants will use the screen from the background object.
8.12.9 Usage
The simplest way to use PDF files is using the Harlequin MultiRIP > Print File command. To see
a listing of PDF files in the current folder, use the PDF Files or All Files option in the Files

8 Configuring Input
of type drop‐down list of the Print File dialog box. Select the Page Setup that sets the correct
PDF options from the Page Setup drop‐down list.
You can also supply PDF files to the RIP using spool folder inputs and all forms of network
protocols: sockets, and so on. See the summary of managed inputs in “Input management”
on page 216. If necessary, set the PDF options in the Page Setup corresponding to your chosen
managed input.
8.12.10 Limitations and special treatment

The RIP can always print PDF files that are designed to be printed. There are some minor dif‐
ferences compared to the way in which the RIP handles PostScript language files. Also, the
emphasis on printed output and limited interactivity means that the support of some
optional content in PDF files is missing or modified, compared to the support in a dedicated
PDF viewer.
These features are:
Embedded fonts and font substitution
The Harlequin MultiRIP supports the use of fonts embedded in PDF
files as well as fonts already available to the RIP for use with PostScript
language jobs. The embedded fonts can include TrueType (Type 42)
fonts, CID (character identifier) composite fonts, and Compact Font
Format (CFF) fonts.
When fonts requested by a PDF job are missing, the RIP obeys the set‐
ting of the Abort the job if any fonts are missing check box in the Page
Setup Options dialog box. See “Abort the job if any fonts are missing”
on page 156 for more information.
Security settings
The creator of a PDF file can limit access to a PDF file, by requiring a
password of the reader or forbidding changing, copying, or printing of
the content. The only function relevant to the Harlequin MultiRIP is
the ability to forbid printing. In general, the RIP does not print files
where the creator has forbidden printing.
Document Information
The Harlequin MultiRIP window displays the PDF version number
and general information about the document, as supplied by the
author or creating application.
Most PDF Annotation types are supported but only if:
their “Normal” Appearance streams are present and correct in the
PDF file; and they have their “Print” flag set.
Excluded annotations are:

Link and Movie annotations, because they do not present a normal
appearance stream in the standard way.
Popup annotations because they only apply to interactive applications
(that is, popping up a window)
TrapNet (also known as, trap network) annotations.
Extensions The RIP ignores all extended content (for example, multimedia content
and private data) that is labeled as such according to the PDF specifica‐
tion.
Note to OEMS: OEMs can configure the PDF input functionality using Harlequin
extensions to the PostScript language. For example, you can specify
the password for printing password‐encrypted PDF files. Contact
Global Graphics for the Extensions manual.
8.13 Printing XPS Documents

The RIP can print XML Paper Specification (XPS) files that conform to v1.0 of the XPS
specification.
The following PrintTickets are supported if they are present within an XPS Document:
• DocumentPageRanges
• PageBlendColorSpace
• PageMediaSize
• PageResolution
The way that the RIP handles the DocumentPageRanges, PageBlendColorSpace and Page-
MediaSize PrintTicket keys depends on the settings of the XPS Options dialog. By default,
all PrintTicket settings are ignored, but these three keys can be honoured if you choose to do
so.
The only other PrintTicket setting which might get honoured is PageResolution. This will
only happen when the Override resolution in job option is not checked in the Page Setup
dialog.
For further information see “XPS Options” on page 163.
8.14 Printing HD Photo images

From v8.0 the RIP supports direct ripping of v1.0 HD Photo images (previously WMPhoto).
The RIP can print HD Photo files using the Harlequin MultiRIP > Print File command, or from a
spool folder. To view *.wdp files (HD Photo images) in the file selection dialog, select All Files
*.* in the “Files of type” field and browse to the required file.
In compliance with v1.0 of the XPS specification, the RIP supports v1.0 HD Photo images and
XPS Documents containing v 1.0 HD Photo images are processed correctly.

8 Configuring Input
8.15 Printing JPEG and JFIF files

The RIP can print JPEG and JFIF files using the Harlequin MultiRIP > Print File command, or
from a spool folder.
The simplest way to print JPEG and JFIF files is using the Harlequin MultiRIP > Print File com‐
mand.
To see a listing of JPEG and JFIF files in the current folder, use the JPEG Files or All Files
option in the Files of type drop‐down list of the Print File dialog box.
You can also supply JPEG and JFIF files to the Harlequin MultiRIP using spool folder inputs.
See Section 8.5, “Using the Spool Folder input folder” for details.
When ColorPro is enabled, the RIP can detect and utilize an ICC profile embedded in a JPEG
file. See the Harlequin ColorPro User’s Guide for details.
8.15.1 Limitations
A JPEG file in Progressive format (a format option in Adobe Photoshop) cannot be printed by
the Harlequin MultiRIP. Progressive format is often used for web downloads.
8.16 Printing GIF files

The Harlequin MultiRIP can print GIF (Graphics Interchange Format) files using the
Harlequin MultiRIP > Print File command, or from a spool folder.
The easiest way to print GIF files is using the Harlequin MultiRIP > Print File command.

To see a listing of GIF files in the current folder, use the GIF Files or All Files option in
the Files of type drop‐down list of the Print File dialog box.
8.17 Printing TIFF 6.0 files

The RIP accepts TIFF 6.0 baseline files, with the exceptions and extensions listed under “Lim‐
itations and extensions” on page 253.
This support extends to all TIFF files produced by the Harlequin MultiRIP TIFF output plu‐
gin.
Note: The Harlequin MultiRIP can handle RGB Composite (Band) or CMYK Composite
(Band) Style but only with the tiffexec operator. tiffdev still does not support these
styles.
Note: The RIPs support Palette color (Index color) TIFF files.
8.17.1 Procedures
TIFF 6.0 input is always enabled, but operates only with Spool Folder input and the Print File
command. (It is also possible to use TIFF 6.0 input from PostScript language instructions.)

Copy the TIFF file to the correct folder for Spool Folder input, or select it in the dialog box
shown when you choose Print File. If you use Print File, type the file name or make sure that
the RIP is displaying all files in the list of files. TIFF files often have the file name extension
.TIF but this is not required.
This extract from the text displayed in the Harlequin MultiRIP window shows the messages
produced when successfully processing a TIFF 6.0 file.
Setup loaded: "tiff"
Ripping file %H%/Suites/PEOPLE/68.tif as TIFF.
% tiffdev: reading "H:\Suites\PEOPLE\68.tif" as a
TIFF 6.0 baseline (with extensions) standalone file
Starting Job On Thursday, January 29, 1998 08:48:48
Using Color Setup "(None)"
Using default device calibration
% tiffdev: TIFF6: compression is None
% tiffdev: bits per sample = 8
% tiffdev: samples per pixel (planes) = 4 (CMYK)
Interpretation time: 32 seconds
. . .
The remaining text (not shown here) is related to rendering and output, not to the input.
8.17.2 Limitations and extensions

The Harlequin MultiRIP accepts TIFF 6.0 baseline files, with the following differences.
Not supported:
• Multiple IFDs (images) per file (the RIP images only the first).
• PhotometricInterpretation = 4 (transparency mask).
• PlanarConfiguration = 2 (tiffdev). This option is offered by the Harlequin MultiRIP
TIFF output plugin, as composite RGB or CMYK output with band‐interleaving.
Note: The tiffexec operator supports PlanarConfiguration = 2.
Note: 16‐bit images are supported.
Note: CIELab colorspace files with a given or default whitepoint (D50) are supported.
Ignored:
• GrayResponseCurve.
• GrayResponseUnit.
Restrictions:
• 1, 2, 4, 8, or 16 bits per plane.
Additionally, the RIP supports the following full TIFF 6.0 extensions to TIFF 6.0 baseline:
• CCITT T.4 compression (group 3 2‐D) (1 bit per pixel or bpp).
• CCITT T.6 compression (group 4) (1 bpp).
• LZW compression, including Differencing Predictor.

8 Configuring Input
• CMYK (including DotRange != 0, 255).
• JPEG compression.
Note: If you are attempting to RIP images which you have prepared using Photoshop and
saved using ZIP or JPEG compression, the RIP may generate a rangecheck error.
This occurs because ZIP compression is not a recognized TIFF compression format, and as
such is not documented in the TIFF 6.0 specification. The JPEG compression that Photoshop
uses is a new version of JPEG data in TIFF files which is also not part of the TIFF 6.0 specifica‐
tion.
8.18 Printing page buffer files

The RIP can print page buffer files produced by another similar installation of the RIP. This is
a convenient way of setting up a simple workflow able to transfer pages from one RIP instal‐
lation to another.
One example of how this ability can be useful is where you have several RIPs with a single,
fast, final output device, and perhaps various slower proofing printers. It is easy for a single
RIP working alone to keep a slow proofing printer supplied with jobs. On the other hand, it
may require many RIPs interpreting jobs and producing page buffers to keep your fast out‐
put device busy. One solution is have the interpreting RIPs all pass their final output page
buffers to a single machine running a RIP, whose only function is to accept page buffers and
pass them to the fast output device as quickly as possible.
Note: The separate FlatOut User Guide describes this situation and other, more complex, pos‐
sibilities in greater detail.
The method described here is designed for the rerouting of complete and valid page buffers,
using Print File or spool folder inputs.
8.18.1 Requirements and preparation

There are some requirements on the installations involved and you must prepare the receiv‐
ing and supplying Harlequin MultiRIP installations before use.
The requirements are:
• The RIP installation printing (receiving) the page buffers must have the same installed
version of the same output plugin as used to produce the page buffers.
• This sending and receiving RIP installations must be running in Multiple or Multi-
ple (Parallel) modes.
• The sending RIP installations must be version 4.5 or later.
• All the RIP installations must be running on the same platform: for example,
Windows XP on an Intel‐compatible processor.
• It must be acceptable to have the original page buffers destroyed after output.

The preparation of the receiving RIP installation is to enable use of the PGB hot folder page
feature and create a Page Setup. Optionally, you can use the Page Setup with a spool folder
input.
1. Enable the page feature, by copying the PGB hot folder file from the
SW/Page Features/Examples folder to the SW/Page Features folder.
Note to OEMs: You can enable this functionality in other ways. Either add the Post‐
Script language code in the page feature file to the file SW/Sys/HqnOEM
or copy the entire page feature file into the folder
SW/Sys/ExtraStart.
2. Create an appropriate Page Setup and choose the PGB hot folder entry in the Enable

Feature drop‐down list in the Edit Page Setup dialog box.
3. Optionally, if you wish to use a spool folder as input, create a new spool folder input
and, in the Input Channel Edit dialog box, choose the Page Setup that you created in
step 2. Configure and name the spool folder, as described in “Configuring a Spool
Folder input source” on page 225, then make sure that it is enabled and that the inputs
are started.
The preparation of the supplying RIP installation is simpler. Create Page Setups that use the
output device plugin with resolution and other settings that match those you have chosen in
the receiving installation. You do not need to select the PGB hot folder page feature.
8.18.2 Printing procedure

Depending on how you prepared the system, there are two possible methods. You can use
both methods together.
• Supply page buffer files to a spool folder if you have set up one as part of the prepara‐
tion described in “Requirements and preparation” on page 254.
Note to OEMs: It is recommended that you do not use a spool folder input monitoring
the folder managed by the Output Controller/Monitor of the supply‐
ing RIP. More robust methods include creating a daemon process to
transfer page buffers after creation or use of page buffer redirection
where the supplying RIP creates selected page buffers in another
folder. Page buffer redirection requires RIP version 5.0 or later. The
method used for Page buffer redirection has changed since v5.0. For
more information see the Extensions manual.
• Choose Harlequin MultiRIP > Print File, navigate to the relevant folder, select the wanted
files and click Print. (Page buffer files have the extension .PGB so be sure that you are
displaying all files in the folder.)
Warning: For both methods, the receiving RIP effectively deletes the supplied page buffer
file, at the same time as it creates a new page buffer in its own PageBuffer folder and makes
it visible in the Output Controller / Monitor. Even if you use a spool folder input and leave

8 Configuring Input
Delete on completion unselected, the completed files copied into the Complete Folder are no
longer valid page buffers.
When printing a page buffer file, the RIP displays a message in the main Harlequin MultiRIP
window, similar to this example, where text in italic varies according to the file and plugin:
Introducing new pagebuffer: %C%/my_folder/00000003.PGB
Pagebuffer created for device: my_device
Page name: 2. fontlist (K)
Total time: 1 seconds
Job Completed: 00000003.PGB
The receiving installation of the RIP does not check whether each page buffer was created for
an output plugin that the receiving installation has installed. Any page buffers created by a
plugin that is not installed either fail to appear in the Output Controller/Monitor, or trigger
the error:
could not access a resource for a plugin device driver
8.19 Entering PostScript language code by hand

If you would like to type code directly into the RIP and see the results interpreted, you can
use the Executive, which allows you to type PostScript language code, and have it interpreted
immediately by the RIP.
If the input system is running, you must stop it using the Harlequin MultiRIP > Start Inputs
menu option. When you choose Harlequin MultiRIP > Executive, the RIP asks you to select a
Page Setup for use with the Executive.
Note: If you do not choose a Page Setup, the RIP uses the one that you chose last time you
used the Executive. If you have not used the Executive in this RIP session, the first Page Setup
in the drop‐down list is used. To change the order of this listing, see “Reordering Page Set‐
ups” on page 93.
The RIP then displays a window where you can enter PostScript language code by typing or
cutting and pasting. Any PostScript language code that generates output when executed pro‐
duces page buffers exactly like other jobs processed using the same Page Setup. It is wise to
hold these page buffers for inspection in the Output Controller, where you can view or
manipulate the page buffers, before sending any suitable pages for output. The Output Con‐
troller is available in either of the multiple page buffer modes.
Note: If you intend to keep page buffers produced from the Executive for any significant
time, set a job name that helps you identify the page buffers.
To generate an interrupt, choose Interrupt from the Executive menu.
To quit the Executive window, type quit or Ctrl+W at the prompt, or choose Stop Executive
from the Executive menu.
Whenever you quit the Executive, the Harlequin MultiRIP window displays the following,
harmless message:
Job Not Completed: jobname

Remember to restart inputs if you stopped them before using the Executive.

8 Configuring Input

9
Media Management
This chapter describes how the RIP provides ways of monitoring and managing the use of
media in a range of output devices. It also describes how you can configure these ways to suit
your operation.
9.1 Why manage your media?

In a typical printing environment, you might have access to a number of different imageset‐
ters, each of which takes one of several feed cassettes, or drum recorders, each of which holds
a roll of continuous media. You may use several feed cassettes on one imagesetter, or share
one between several imagesetters. You may even do both.
Figure 9.1 on page 260 shows a possible printing environment. This environment can pro‐
duce several operational needs.
Suppose that you want to produce output from the RIP on a particular output device, using
one of the cassettes available to you. Which cassette should you use? You do not want to use
one that is low on media, in case it runs out before the job is printed.
At the same time, you want to make the most economical use of media. If a cassette contains
just the right amount of the correct media for a job, it makes sense to use it instead of another
one, so that media is not wasted.
The output (take‐up) cassette is also worth monitoring. You may want to process all of a job
together and need to know how much more media the output cassette can accept. Equally, if
the output goes to an online processor, you may need to know that there is enough film out‐
put for the processor to handle satisfactorily.
In addition, there may be times when you want to cut the media in a particular cassette, or
feed extra media. If you are working at your computer, and the output device is not located
nearby, doing this by hand might be inconvenient.

9 Media Management
Online Take-up bin

processor
Multiple feed Imagesetters Take-up

cassettes for film cassette
and paper
Figure 9.1 Using multiple output devices and cassettes
9.1.1 Overview of the Harlequin MultiRIP capabilities

The Harlequin MultiRIP media management can meet all these needs, subject to operating
with suitable output devices and getting a minimal amount of information from the operator.
These requirements are explained in later parts of this section.
The RIP can manage up to sixteen feed cassettes at once, using as many suitable output
devices as are connected.
For each cassette (or roll‐fed device) it can: monitor the media remaining, display the amount
of media for the particular cassette in use, and issue automatic warnings when this amount is
low.
The RIP can also instruct the output device to perform cut and feed operations, both auto‐
matically (at pre‐specified intervals and events) and interactively, on request (when you
choose menu options). The physical device itself must support software control of these func‐
tions.
You can still perform manual operations while using the RIP media management. The pur‐
pose of media management is to reduce the need for routine manual operation and record
keeping.
A media saving feature is also available. For more information see “Advanced Media Saving”
on page 131.

9.1.2 Suitable devices
You will gain some benefit from using media management with most types of output device.
Media management performs most efficiently when the following assumptions are satisfied:
• The physical output devices are roll fed from cassettes. The RIP media management is
not suited to, or necessary for, sheet‐fed devices.
• When you change a feed cassette, you also mount an empty output cassette—by
changing or emptying the full one.
• There is only one feed cassette mounted at a time. This is the usual case.
There is at least one imagesetter which can have several input cassettes mounted at one
time.
• Each physical device is represented by one Harlequin MultiRIP output device. This is
the usual case.
The possibility of having multiple output devices arises because there are some physi‐
cal devices which can provide multiple types of output. One example provides a dual
technology (dye sublimation and thermal transfer) engine in one unit. These technolo‐
gies have different characteristics and require separate strategies regarding calibration
and color separation—providing each technology with its own output device type is a
likely solution.
9.1.3 What you need to do

Media management reduces and simplifies your routine work but you need to perform a
small amount of setting up for each cassette or media source before starting to use media
management. This setting up includes:
• Specifying when automatic cuts or feeds and warnings should occur.
You do this in the Media Manager dialog box.
• Naming cassettes and specifying their initial contents.
You do this in the Cassette Manager dialog box.
After this setting up, all you have to do is tell the RIP when you change something that
affects its records of media use:
• Which cassette is in use.
You do this in the Edit Page Setup dialog box, using the Cassette menu.
• How much media you have put in a cassette when you refill it, and when you perform
a manual operation that affects the amount of media.
You do this in the Cassette Manager dialog box.
Note: Any management system that monitors the amount of media remaining relies upon
knowing the amount that was available when the system was set up, since there is usually no
automatic means of detecting this. It is therefore essential that you inform the RIP how much
media is available to each cassette whenever it changes (for instance, when you refill one).

9 Media Management
You must also ensure that the cassette being used to process a job is the same one the RIP
thinks is being used. You can check this by seeing which cassette is chosen in the selected
Page Setup.
Note to OEMS: Alternatively, the RIP is capable of accepting media management
information directly from the relevant output plugin. OEMs can con‐
tact Global Graphics to find out more about writing plugins that can
handle this information.
9.2 Advancing and cutting media interactively

You can use the interactive options described in this section immediately, without perform‐
ing any preparation.
This can be useful when you are starting to use a new system. Once you have established the
effects of the options and decided which of these you want to use regularly, you can set up
automatic procedures to reduce your need for the interactive options: see “Advancing and
cutting media automatically” on page 263. The interactive options (and any manual controls
on the output device) remain useful for unusual jobs or special tests.
9.2.1 Device menu

Each interactive option is a Harlequin MultiRIP menu command which affects the selected
device and the cassette mounted in that device.
The commands are in a menu in the main Harlequin MultiRIP window which appears
between the Edit menu and the Color menu. The menu changes its name to indicate the cur‐
rently selected output device.
Note: For simplicity, this manual refers to this menu as the Device menu. The commands
available in this menu can vary to suit the currently selected output device.
The first option in the Device menu is Select Device. Choose this option to see the Select Out‐
put Device dialog box, where you can see a list of available output devices. Select a device
and click Select.
The possible names in the Select Output Device dialog box—and thus of the Device menu—
are exactly the same as the ones you can choose from the Output device list in the Edit Page
Setup dialog box. For example, the name might be UltreP or ExxtraSetter if the RIP is driving
only one imagesetter, or only one of each type of imagesetter. If you are driving two images‐
etters of the same type, there might be names such as Ultre_1 and Ultre_2: you can choose a
name for each device when you set it up in the Device Manager.
9.2.2 Using the Device menu

For most output devices, the Device menu contains commands to advance (feed) the media
and to cut it.
On some output device types, there may be extra commands or some of the default com‐
mands may be grayed out. (Any output device that you choose from the Device Manager can

have its own version of the Device menu: in technical terms, the menu is specified in the rele‐
vant output plugin at the time of software manufacture.)
For example, if a device takes a long time to load film, there could be a pre‐load command
allowing you to load film during the processing of a page to avoid delay once the page is
ready to image.
• To advance the media in the current device, choose one of the Advance menu options,
when available.
There are usually three options to advance the media, allowing you to feed 1, 3, or 6
inches of media through the imagesetter. (The relevant output plugin can be written to
offer any number of similar options, specifying other lengths or units.)
• To cut the media in the current device, choose one of the Cut menu options. There are
commands to cut with or without feeding media.
If you choose Cut media with feed, or type Ctrl+K, the RIP will feed a predetermined
length of media through the imagesetter, and then cut. You can specify the amount of
media to feed through, in the Media Manager. See “Automatic use” on page 263, for
details of how to set this length.
If you choose Cut media no feed, or type Ctrl+L, the RIP will cut the film without feeding
any extra media.
Note: Some output devices, for instance the PelBox, always perform a feed before a cut.
The RIP cannot override this feed, but it can keep a record of how much media is fed. If
you use such a device, read its manual to find out this feed length, and enter the value
in the box labeled Built in cut length in the Media Manager dialog box. See “Hardware
feeds” on page 272.
9.3 Advancing and cutting media automatically

The automatic options described in this section reduce the number of times you need to use
the RIP menu commands or front panel buttons on the physical output device. You must do
some setting up to make sure that the automatic options do what you want.
The manual options remain useful for use with unusual jobs or special tests: see “Advancing
and cutting media interactively” on page 262.
9.3.1 Automatic use

The RIP can advance the media in a cassette or drum recorder automatically. With many
imagesetters, the RIP can also cut media, although this depends on the particular device you
are using.
Figure 9.1 shows two possible schemes for advancing and cutting media automatically. The
RIP supports these schemes and many others.

9 Media Management
Flow of exposed media
P2 P1 P3 P2 P1 P4 P3 P2 P1
Job 3 Job 2 Job 1
Advance and cut only between jobs
P2 P1 P3 P2 P1 P4 P3 P2 P1
Advance every page and cut between every 4 pages
Figure 9.2 Some options for handling output media automatically
Using the Media Manager, you can make the RIP perform media cuts and feeds automati‐
cally, choosing when and how much media to feed through and when to cut.
You can also disable or re‐enable all media management facilities as often as you wish. (Har‐
lequin MultiRIP output plugins designed for sheet‐fed devices disable media management
on those devices automatically.) You will probably want to disable media management when
you share feed cassettes between different devices—this will prevent the RIP issuing mean‐
ingless warnings about low media levels.
Display the Media Manager dialog box by choosing Media Manager from the Output menu.

Figure 9.3 shows the RIP Media Manager dialog box. This dialog box allows you to configure
and control media.
Figure 9.3 Media Manager dialog box
The RIP displays the name of the current device at the top of the dialog box, in the Device
drop‐down list. All selections that you make in this dialog box apply to the displayed device
(and to all cassettes that you use on this device). These selections are not confirmed until you
click OK.
You can select another device using the Device list, then set up different options for managing
media in the new device.
Click OK to confirm your media management choices for the device(s) that you have edited.
Click Cancel to abandon all changes made to media management (on any device) in the cur‐
rent use of the Media Manager.
9.3.2 Enabling and disabling media management

In the Media Manager dialog box, there is a check box labeled Disable media management.
• Select this box to turn off the automatic media management facilities for the output
device. If you turn off media management, there will be no current cassette selected in
the Cassette Manager (See “Setting up the monitoring system” on page 268).
• Leave the box clear to enable media management.
Note: After enabling or re‐enabling media management, you must verify the contents of each
cassette used on that output device. For details, see “Setting up the monitoring system” on
page 268.
9.3.3 Cutting media

With media management enabled, you can choose when the RIP will make automatic cuts.

9 Media Management
Note: Any cut operation disables output, unless the output device is using an online proces‐
sor (developer). Typically, you will need to fit a new take‐up cassette before re‐enabling the
RIP outputs: the RIP displays a message to remind you of this.
You can choose from three different policies, available on the left of the Media Manager, in
the section labeled Cut. The three choices are:
• Cut the media after each job.
• Cut the media after a certain number of pages.
• Cut the media when (or slightly before) a certain length of it has been exposed.
To use any of these options, select the check box labeled appropriately and, if there is a text
box alongside the label, type a suitable value in that box.
If you choose a combination of conditions for a cut, the RIP will cut whenever any one of
those conditions becomes true, and will then reset all counts of length or pages.
To cut the media:
After every job printed
select the check box labeled after job. The RIP will automatically cut the
media after every job output on the current device.
After a number of pages
select the check box labeled after pages and enter the number—which
must be a whole number—in the adjacent text box. The RIP will auto‐
matically cut the media after that number of pages has been printed.
At a certain length
select the before length check box and specify a length in the box. This
length is the maximum that will be exposed. For example, you might
choose a length that is convenient to process.
You can select the units you wish to use for length from the Select units
drop‐down list in the bottom left of the Media Manager. The options
available are feet, inches, meters, and centimeters.
Note: The RIP never cuts the media while part of the way through printing a page. Where a
cut at the exact length would fall within a page, the RIP performs the cut before outputting
the page. This occurs even if, for example, you specify a length of 12 inches and a page is 18
inches long.
9.3.4 Feeding media

The options on the right of the Media Manager let you specify when the RIP will feed media
automatically. There are three feed policies under Paper feed:
• Feed the media around each page.
• Feed the media between jobs.

• Feed the media before every cut.
See below for a fuller description of these policies and some of the possible reasons for want‐
ing extra media feeds in each of the specified situations. (The remaining entries in this section
of the dialog box describe characteristics of the output device.)
To use any of these options, type the feed length that you want in the text box alongside the
appropriate label. Type 0 (zero) into the text box if you do not want an automatic feed.
You can choose which units to use for the lengths from the Select units drop‐down list above
the OK button—the available units are feet, inches, meters, centimeters, picas, and points.
Some reasons, and the details, for each feed policy are as follows:
Around each page
Feed through some media around every page that is produced, per‐
haps so that you can perform cuts by hand more easily. Half of this
amount will be fed before the page and half after it.
Between jobs Feed through some media after every job that has been processed, per‐
haps to make it easier to see where one job ends and the next starts.
Note: This feed after a job will not occur if there is a cut after the last
page of the job, caused by either of the cut after pages or cut after job
settings.
Before cut Feed through some media before making any cut, perhaps to stop film
near a cut being exposed to external light.
The RIP feeds the amount of media you specify here before perform‐
ing any of the automatic cuts described on page 265, or a cut that you
have requested by choosing Cut media with feed from the Device menu.
See also “Hardware feeds” on page 272.
9.3.5 Interaction with other Harlequin MultiRIP options

The description just given of automatic cutting and feeding is accurate but there is also a
degree of interaction with the RIP options to use media as economically as possible. These
options either reorient pages or pack them together so that, for example, more than one page
is imaged side by side in the length of media that would otherwise be used by one page.
The results are that the page length can vary or that the RIP treats several pages as one unit
(and that this unit is treated as a page by the media management software). This may be
unexpected but it should not cause any problems.
The relevant options occur in the Optimization and Enable Feature drop‐down lists of the Edit
Page Setup dialog box. See “Advanced Media Saving” on page 131 and “Features” on page
151 for a fuller description of these options.

9 Media Management
9.4 Monitoring media

When you start monitoring media, you must tell the RIP how much media is in each cassette.
Thereafter, the RIP maintains a record of how much media remains, and will warn you when
any cassette is running low.
9.4.1 Setting up the monitoring system

The RIP monitors the feed cassette providing the media, rather than the output device used.
This is because any one output device may take several different feed cassettes. For instance,
you may have an imagesetter that can produce output on either film or paper, and you may
keep two cassettes—one loaded with film and one loaded with paper.
Note: If you have an output device that uses a roll feed, you can monitor its use of media by
treating it as a device with a permanently mounted cassette.
Before processing any jobs, you need to tell the RIP about the cassettes you are using and
give details of the media currently in each cassette. You do this from the Cassette Manager
dialog box. Click the Cassette Manager button in the Edit Page Setup dialog box or choose
Output > Cassette Manager to open the Cassette Manager dialog box, as shown in Figure 9.4.
9.4.2 Cassette Manager and Edit Cassette dialog box

The main window of the Cassette Manager lists each available cassette, so that you can see
and compare the information relating to different cassettes.
A new installation of the Harlequin MultiRIP lists one cassette in the Cassette Manager. You
can add more cassettes at any time, and subsequently edit their information or delete their
entries using the Edit, New, Copy, and Delete buttons.
There is a related Edit Cassette dialog box in which you can alter the information for a partic‐
ular cassette.
Figure 9.4 Cassette Manager dialog box

The information in the Cassette Manager also appears in the Edit Cassette dialog box: each
category is listed below.
There are two buttons which appear in the Cassette Manager only. Use these buttons to tell
the RIP when you have performed a manual operation. (On some output devices, a manual
operation may be the only option or it may be quicker than an operation driven by the RIP.)
Manual Cut Done

Click this button when you have cut the media in the current device.
Manual Feed Done

Click this button when you have performed a manual feed of media in
the current device.
Before using one of these buttons, you must set up the amount of media used in the corre‐
sponding manual operation. These quantities are labeled Manual feed length and Manual cut
length in the Media Manager. See “Hardware feeds” on page 272.
To set up or change the details for a cassette, select the relevant cassette in the Cassette Man‐
ager window and click the Edit button. Figure 9.5 shows the Edit Cassette dialog box that
appears, containing the details for the selected cassette.
Figure 9.5 Edit Cassette dialog box
The RIP displays the following values in both the Edit Cassette dialog box and the Cassette
Manager. You can only change these values from within the Edit Cassette dialog box.
The RIP displays the information about a cassette in columns in the Cassette Manager and in
corresponding text boxes in the Edit Cassette dialog box.
Cassette name An identifying name. This name will be displayed on the Cassette

drop‐down list in the Edit Page Setup dialog box. The name is purely
for your own convenience—you can change it to any name you like.
Choose a name that allows you to identify the cassette and that suits
your situation and your procedures. You might find it helpful to attach
a label with this name (and the type of media) to the actual cassette.
For example, if you use two cassettes only on an Ultre imagesetter and
only for specific types of media then you might name these cassettes:
UltreFilm1 and UltrePaper2. An alternative solution in the same situa‐

9 Media Management
tion might be Ultre1 and Ultre2, with a separate record of the type of
media. If you use the same cassette to hold paper and use it for proofs
on different output devices then you might call it PaperProof.
Note: The symbol > in front of the cassette name indicates the cassette
in use on the current or most recently used output device.
Media type The type of media held in the selected cassette. It lets you tell quickly

whether, for instance, the cassette holds paper or film. The field Cas-
sette Name is purely for your own convenience—you can change it to
anything you like.
The entry No Media means that no one has yet specified a type of
media for the cassette.
Media width The width of the media in the selected cassette or drum recorder. The

RIP uses this value when calculating in which orientation to print a
page if you are using the Media Saving option in the Optimization
menu. (See “Printing effects” on page 140.)
You must set this value to the actual width of media that can be
printed on (the imageable width) because some output devices cannot
image right up to the edge of the media. If you enter the total width of
the media and the output device has a smaller imageable width then
some large pages are likely to extend into the non‐imageable area and
those output pages will be clipped or visually corrupted when the RIP
attempts to output them. The illustration to the left shows an example
Imageable of clipping where a page (the rectangle) is wider than the imageable
width
width (arrowed): only the area shown shaded is imaged successfully.
Remaining length
The amount of media left inside the cassette. The RIP updates this
value whenever it advances or prints media. (The RIP also tests the
updated value against your choice of threshold values so that it can
warn you when the media is running low.)
You must type in the length that you have loaded whenever you refill
a cassette with media.
Number A unique number that the RIP uses to keep track of the cassette. You
can edit this number only when creating an entry for a new cassette—
the RIP suggests an unused number, but you can use any other unused
number.
Units The units used in the measurement fields in this dialog box. Use this
drop‐down list to choose any convenient unit. The RIP converts any
figures already displayed to the units you choose.)
Note: The unit of measurement that you choose here is also used to display media usage in
the Media Monitor window: see “Monitoring media” on page 268).

9.4.2.1 Closing the dialog boxes
You must close the Cassette Manager before you can use any tool bar buttons or menu
options in the Harlequin MultiRIP.
Click OK to confirm all the changes you have made in this use of the Edit Cassette dialog box.
This confirmation is provisional: you must also click OK in the Cassette Manager to finally
save your changes. The OK button saves the changes you have made and closes the Cassette
Manager. If you opened the Cassette Manager from the Edit Page Setup dialog box, you can
also save the changes by clicking the Select button. In addition to saving the changes, the
Select button displays the selected cassette in the Edit Page Setup dialog box. Click Cancel to
discard all changes.
Note: If you open the Cassette Manager from the Edit Page Setup dialog box, changes that
you make in the Cassette Manager are independent of the Edit Page Setup dialog box. For
example, if you create a cassette, and close the Edit Cassette and Cassette Manager dialog
boxes with OK or Select, the new style will remain even if you cancel the Edit Page Setup dia‐
log box.
9.4.3 Using media management

When using media management, you must select both the feed cassette to be used and the
output device, in the Edit Page Setup dialog box (as described in “Cassette management” on
page 153). When printing a job, the RIP uses the cassette selected in the saved Page Setup
associated with the input source providing the job.
When you perform a manual operation on the output device, use the Manual Cut Done or Man-
ual Feed Done buttons in the Cassette Manager dialog box.
When you refill a cassette, you must use the Edit Cassette dialog box to inform the RIP how
much media is now in the cassette.
9.4.4 Using media management with multiple setups

Sometimes you will need to process a job on a device that had previously used one cassette
and now must use another. This is quite likely to happen when using a number of different
Page Setups.
When a change of cassette is required, the RIP will warn you that the correct cassette is not in
the current device, and will halt printing until you have loaded it. This ensures that you will
never waste time or media by printing jobs on the wrong cassette.
If you are running the RIP in a Multiple mode, the warning will appear in the progress box of
the Output Controller. If you are running in a Single mode, it will appear in a separate prog‐
ress box on the screen.
Note: The RIP cannot tell which cassette is loaded on the output device, so it will issue a
warning even if you have changed to the correct cassette after the previous job was pro‐
duced.

9 Media Management
Always inform the RIP when you physically change cassettes, by selecting a Page Setup that
uses the new cassette.
9.4.5 Low media warnings

The RIP can warn you when the amount of media in the current feed cassette is low and
before the media actually runs out. You can specify thresholds for up to three warnings using
the Media Manager.
In the section labeled Length warnings, type values into the First, Second, and Final text boxes.
The RIP sorts the three values so that the length for the first warning is greater than for the
second, which itself is made greater than the final threshold. All three warnings appear in the
Output Controller: they are Media low, Media very low, and MEDIA VERY LOW.
Choose the units used for these lengths from the Select units drop‐down list immediately
below the Length warnings text boxes—the options available are feet, inches, meters, or centi‐
meters.
Note: Once you have refilled a cassette, you must update its details in the Cassette Manager
if you want media management to continue to work correctly.
9.4.6 Hardware feeds

Some imagesetters automatically feed the media a certain amount before printing any page
or before performing a cut; and they also may have front panel buttons that trigger these or
similar actions. The RIP cannot override these hardware feeds but it can record them and cal‐
culate their effects on the amount of media left in any input cassette.
If you have an imagesetter that issues hardware feeds, and you use media management, you
must tell the RIP how much media is fed through when a hardware feed is performed, so that
it can take this into account.
This involves two stages: set up and routine use.
Perform the set up by selecting the output device in the Device drop‐down list in the
Media Manager. The relevant options are on the right of the Media
Manager:Built in feed length
Type into this text box the amount of media that the output device
feeds when it receives a software feed request.
The Media Manager will add this amount to its record of the amount
of media consumed for every job processed, and deduct it from the
details of the relevant cassette. This is used in addition to the around
each page feed value.
Built in cut length

feeds before a cut triggered by software.

Whenever a cut is issued, the RIP will subtract this amount from its
record of the remaining length of media for the current cassette. This is
used in addition to the before cut feed value.
Manual feed length

feeds when a front panel button triggers a media feed.
The RIP adds this amount to its record of the amount of media con‐
sumed, and deducts it from the details of the relevant feed cassette.
Manual cut length

Type into this text box the amount of media that the current output
device feeds before a cut triggered by a front panel button.
Whenever you inform the RIP that you have performed a cut, the RIP
subtracts this amount from its record of the remaining length of media
in the current cassette.
For these options, you can choose units from the Select units drop‐down list at the bottom of
the dialog box. The units available are feet, inches, meters, centimeters, picas, or points.
Note: The feed lengths for built‐in and manual operation may be the same. If they are the
same, enter the same value in the two fields.
In routine use, there are two cases:
• The RIP takes account of the values you set up when calculating the effects of any
automatic operations and ones that you request from the Device menu. You do not
need to do anything extra.
• If you perform a manual operation by using controls on the output device, you must
inform the RIP. Display the Cassette Manager and click the button Manual Cut Done or
Manual Feed Done whenever you perform the corresponding manual operation. See
Figure 9.4, page 268, and the following description of the buttons.
9.4.7 Online developers or processors

If you are using an online developer with a particular output device, you must inform the
RIP so that it can handle that device correctly.
There is an obvious benefit to using an online developer because media that emerges from
the output device is fed directly to the developer, which produces the image automatically.
However, online developers need to be fed a certain amount of media before they can
develop any images—for example, a particular online developer may require a minimum of
two feet of media. If the RIP or an operator performs a cut before the required amount of
media has been exposed, then any images on the exposed media will not be developed auto‐
matically, and there may be a media jam in the developer. It is easy to avoid this problem.

9 Media Management
To set up the RIP to drive an output device with an online developer, first make that device
current and display the Media Manager. Make these two settings:
Using online developer

Select this box to show that you are using an online developer.
Minimum length before cut

Enter in this text box the minimum length of media that the online
developer requires for processing.
You can choose the units for this length from the Select units drop‐
down list immediately below. The units available are feet, inches,
meters, centimeters, picas, and points.
In routine use, you do not need to do anything extra. The RIP will make an automatic cut
only if there is sufficient exposed media to enable the online developer to work effectively. If
you need to force a cut, select Cut with feed from the Device menu. This command feeds
enough media to pad the output to the Minimum length before cut value, and then performs a
cut.
When using an online developer, the RIP does not issue warnings to change take‐up cas‐
settes, and does not disable output after a cut.
9.4.8 Monitoring your media

When you are using media management, the RIP can display information about media usage
on your computer screen and keep the information up to date as jobs are output.
Choose Media Monitor from the Output menu to display the information.
The information appears in the Media Monitor, shown in Figure 9.6. By default, when in
Multiple (Parallel) mode, the RIP displays both the Output Controller and the Media Moni‐
tor.
Figure 9.6 Media Monitor window
The media information is presented in the following fields:
Name The name of the feed cassette.
A series of asterisks ( *** ) in this field shows that the current output
device has media management disabled.
Type The type of media in the feed cassette.

A series of asterisks ( *** ) in this field has the same meaning as in the
Name field. The entry No Film, No Media, or a blank entry, means that
no one has defined the type of media, not that the cassette is empty.
Pages The number of pages exposed since the last cut was performed.
Length The amount of media left in the current feed cassette.
This length is shown in the unit of measurement that you can choose
in the Units field in this dialog box.
Exposed The amount of media that has been exposed since a cut was last per‐
formed. This is also the amount in the take‐up cassette.
Units The units of measurement for figures in the Length and Exposed fields.
Choose any convenient unit from those listed.

9 Media Management

10
Simple Imposition
This chapter describes Simple Imposition, the in‐RIP imposition option provided with the
Harlequin MultiRIP.
10.1 What is Simple imposition?

Harlequin MultiRIP Simple imposition provides facilities to impose incoming pages using
some of the most common imposition layout schemes used for smaller format presses. This is
achieved by the selection of various options within an Imposition setup dialog. You are able
to create and save as many imposition configurations as you wish. In addition to this, once an
imposition configuration is created, you can apply that configuration to any Page Setup by
selecting it from a menu in the Edit Page Setup dialog. When you have created an imposition
setup you can use that setup as the basis for further imposition setups.
10.2 Input file formats

The Harlequin MultiRIP can accept various file formats. Table 10.1 shows which input file
formats are compatible with, and can be used with, which imposition schemes:
Input file format Imposition schemes
PDF, TIFF, JPEG, EPS All schemes
PostScript Language files One‐Up, single‐sided
N‐Up, single‐sided
Table 10.1 File format compatibility
Note: Simple imposition is not compatible with jobs submitted through JDF.
Of all the schemes, only One-up, single-sided and N-up, single-sided may be used
when processing PostScript language files. PDF files may be submitted to any scheme, and
single page formats such as TIFF, EPS and JPEG may be submitted to any scheme, but only
really make sense for use with One-up, single-sided and Step and repeat, single-
sided schemes, because all others are intended to be applied to multiple pages.

10 Simple Imposition
Note: PDF files with mixed orientation and pages sizes cannot be processed with Simple
Imposition. If an attempt is made to process files of this type the following error will occur.
%%[ Error: while running imposition Response procedure ]%%
%%[ Error: rangecheck; OffendingCommand: HqnLayout; Info: Simple imposition

requires that all pages are the same size and orientation; File: ]%%
Note: Some EPS files containing errors will continue to output if the Add Showpage at end of

job if necessary and Crop marks page feature options are turned on. If either of these options
are turned off then an error will occur on input.
10.3 How to activate Simple imposition

To make use of the standard Simple imposition setups you do not need to upgrade your RIP.
However, if you would like to create new and copy and edit existing setups, you can activate
it with an LDK product key.
10.4 The Imposition Manager

The Imposition Manager allows you to select, create, edit, copy and delete imposi‐
tion schemes. To display the Imposition Manager, click the Imposition Manager icon
from the toolbar or the Page Setup dialog, or select Output > Imposition Manager.
Figure 10.1 The Imposition Manager dialog box
Note: The Imposition Manager dialog contains listings when it first appears. The setups
within brackets are those supplied as standard. These setups have names that reflect their
intended use. These options cannot be copied and changed or new setups created unless you
have activated Simple Imposition with an LDK product key. Imposition schemes are selected
from the Page Setup dialog.
Please note that the imposition setups provided as standard cannot be edited. You may how‐
ever, use the Copy option to create a duplicate setup which you can then change to suit your
requirements.

The following options are available from the Imposition Manager dialog box:
Units Before creating any imposition setups you should choose your pre‐
ferred units. All imposition setups use the same units, and any existing
imposition setups will convert any values to the currently selected
units.
Edit Select an existing imposition setup and click Edit to change the imposi‐
tion settings. When you have finished editing the setup, click OK to
save your changes. Please note that the supplied imposition schemes
cannot be edited, they can however be copied to a new name and then
edited.
New Click New to create a new imposition setup. In the Imposition setup
dialog choose your imposition options and then click Save as. Enter a
unique name for your setup followed by selecting Save.
Copy This option allows you to copy an existing setup or use an existing
setup as the base for a new setup. Select an existing imposition setup
and click Copy. In the Imposition Setup dialog make any changes to the
setup and then click Save as. Enter a new name followed by clicking
Save.
Delete Select an existing setup and click Delete to remove it from the Imposi‐
tion Manager. If a Page Setup is using an imposition setup that is
selected for deletion, it will not be removed, and a message will appear
stating this. To remove an imposition setup the setup must not be used
by any Page Setup.
Select If you have accessed the Imposition Manager from the Edit Page Setup
dialog you can highlight one of the existing Imposition setups, and
click Select. This will apply the selected imposition to the current Page
Setup configuration.
10.5 Configuring Simple imposition

This section describes how to use Simple imposition. Before choosing your imposition
scheme you should consider:
• The binding method. The common options are:
• Perfect binding as used for most books. The pages are collated then cut and glued
together with a spine.
• Saddle‐Stitching as used for newspapers and magazines. The pages are stapled
together along the center‐fold. (The front page is printed next to the back page.)
• Cut and stack. The printed pages are trimmed to the correct size, collated and then
bound.

• The size of the printing surface (raster).
• Whether the reverse side of the surface can be printed, and how the page is turned on
the printing device.
• How the job is folded or cut.
• Simple imposition acts on the Page Setup > PDF Options > Page size bounding box
option, see “PDF Options dialog box” on page 244 for more information. Therefore,
before configuring your Simple imposition scheme you should consider how the
incoming PDF is constructed in terms of its trim box, bleed box and so on. For exam‐
ple, you can configure the Page Setup to use TrimBox, and then configure Simple
imposition to add bleed from outside the trim. Setting the correct Page size bounding
box is essential to the successful imposition of PDF files. The recommendation when
using Simple imposition is to set the Page size bounding box option to TrimBox because
the size of the page is as it is intended for delivery to the reader, after trimming any
printer’s marks and excess bleed areas. With this selection you can add your trim
marks and page furniture using the Simple imposition options.
The New/Edit Imposition setup dialog is used to configure the imposition setups. You can
access this dialog through the Imposition Manager.
Figure 10.2 Simple imposition setup dialog
Note: The imposition setup graphic shown above is displayed as it first appears.
The following sections describe the various options within the imposition setup dialog.

10.5.1 Schemes
Choosing the correct scheme is important as its selection determines which of the other
options in the imposition setup dialog are available. The following imposition schemes are
available:
Scheme Name Description
One‐up, single‐sided Single‐sided, one page per surface.
One‐up, two‐sided Two‐sided, one page per surface.
N‐up, single‐sided Each surface of this single‐sided layout contains a grid of
pages, all at the same orientation. This can be used for
laser printer N‐up printing, and for media saving. The
number of pages in the grid can be set manually, or can
be calculated automatically for best fit.
In conventional print, it can also be used for two‐sided
printing using either Work & Turn or Work & Tumble
(depending on plate orientation in the press) for two‐up
surfaces that will be cut to produce single‐surface,
unbound jobs.
N‐up, two‐sided Each surface of this double‐sided layout contains a grid
of pages. It is intended mainly for laser printing, and for
the media saving of unbound jobs in conventional
printing.
Note that neither of the N‐up schemes provide support
for generalized conventional imposition; they all take
pages in reader order from the supplied content file,
rather than taking pages out‐of order as is required for
perfect binding, etc.
Step and repeat, single‐sided Single‐sided, multiple copies of the same page are
imposed in a grid.
Step and repeat, two‐sided Two‐sided, multiple copies of the same page are imposed
in a grid. This differs from the single‐sided variant
principally in allowing different surface margins, slug
lines, and so on, or the front and back of the surface.
Two‐up, saddle‐stitched Two‐up Saddle‐stitched production. Surfaces are
gathered after printing, then folded and trimmed to
produce booklets. The binding side is defined by the
setting of Binding edge parameter.
Step and repeat, saddle‐stitched Step and repeat of Saddle‐stitched page pairs. This
option places one or more identical copies of each
booklet side‐by‐side on the surfaces. The surfaces are cut
before gathering, then folded and trimmed to produce
booklets. The binding side is defined by the setting of the
Binding edge parameter.
Cut and stack, single‐sided Single‐sided, multi‐up imposition for jobs that will be
bound with wire, comb binders and so on, and therefore
will be trimmed to single pages. Once printed and
stacked, each set of surfaces will be cut, and stacked on
top of the other to give a full set of pages in order.
Cut and stack, two‐sided As Cut and stack, single‐sided, but for two‐sided work.
For an example see “Cut and stack, two‐sided—12 page
booklet, A4, ring bound” on page 296.
Table 10.2 Simple imposition schemes

Scheme Name Description
Four‐up, saddle‐stitched Saddle‐stitched, four‐up printing which is folded once
before gathering and stitching. The Binding edge, Spine
fold and Geometry options define the layout on the
surface.
Four‐up, perfect binding Four‐up printing for perfect binding. The Binding edge,
Spine fold and Geometry options define the layout on
the surface.
Table 10.2 Simple imposition schemes
10.5.2 Surface
The Surface options define the size of the raster to be created, that is, the maximum size, out‐
side of which nothing will be printed. The following options are available:
Size The size options are:
From media: (the default option) where the size of the output is taken
from the size of the media loaded. This of course depends on the
device and type of media. See the Table 10.3 below for more details.
From job: where the size of the output is taken from the size of the
incoming job (plus any margins).
Custom: where the size of the output is defined in the Width and Height
fields.
Note: All imposition schemes are constructed on the assumption that
the image width > height. If the image height > width, the whole lay‐
out is rotated. Thus, if the sheet is rotated, the layout design is calcu‐
lated as if it had been rotated, which is then applied to the media at 90
degrees to what you might otherwise have expected. For one‐up lay‐
outs the only effect is that the page is rotated by 90 degrees in such
cases. This may not be visible if BestFit is selected for the page rota‐
tion.
Device Width Height
Capstan When there is a media Height is taken from the job.

(including roll‐fed selection on the Page Setup For N‐Up and Step & Repeat
proofers) Layout dialog, the width is with automatic page counts,
taken from that, otherwise it is only one row will ever be
taken from the cassette width. produced.
Drum As Sheet (below) As Sheet (below)
Partial drum Width is taken from the job. The height is taken from the

For N‐Up and Step & Repeat cassette width.
with automatic page counts,
only one column will ever be
produced.
Table 10.3 Width and height definition when using From Media option

Device Width Height
Sheet When there is a media When there is a media

selection on the Page Layout selection on the Page Layout
dialog, the width is taken from dialog, the height is taken
that, otherwise it is taken from from that, otherwise it is taken
the default Page size option on from the default Page size
the Page Layout dialog. option on the Page Layout
dialog.
Unlimited devices Width is taken from the Height is taken from the

including TIFF default Page size option on the default Page size option on the
Page Layout dialog. Page Layout dialog.
Table 10.3 Width and height definition when using From Media option
Flip on This option is only available with two‐sided imposition schemes, and
allows the surface to be flipped on either its Long edge or Short
edge.
When used for conventional printing, select the option that matches
how the paper lifts are turned for the second side to be printed, or how
each sheet is turned automatically in a perfecting press. When used for
driving a digital printer, select the option that matches the duplex
capability of the printer for the paper size to be used.
The selection of Long edge is where the first surface is printed, and the
media is then flipped from top to bottom. The top and bottom are
switched, and the right and left edges remain in the same position for
both surfaces.
The selection of Short edge is where the first surface is printed, and the
media is then turned from side to side. The right and left edges are
switched, and the top and bottom remain in the same position for both
surfaces.
Simple Imposition can get the page size from the Media, the Custom lay‐
out or from the Job. All Simple Imposition schemes are constructed on
the assumption that the image width > height (landscape). If the image height > width (por‐
trait), the whole layout is rotated and the top of the page is effectively at the right‐hand side.
In normal circumstances when making plates the page size would be set as Custom or to
come from the media.If however the page size is set to come from the job, a portrait page is
configured such that the top of the page is actually at the top. This causes the Flip on long
edge and Flip on short edge options to behave in the opposite way to how you would expect.
Flip on long edge causes the page to flip top/bottom (in effect on the short edge), and Flip on
short edge causes the page to flip Left/Right (in effect on the long edge).
10.5.2.1 Work & Turn, Work & Tumble, and Perfecting

Work & Turn, Work & Tumble, and Perfecting are common imposition schemes.

A Work & Turn imposition scheme uses a single plate to print on both sides of the paper.
When the first side of the sheet is printed, the paper is then flipped over from side‐to‐side
and fed through the press again using the same gripper edge. The top and bottom remains in
the same position for both sides, that is the top of the first side remains as the is the top for
the second side.
A Work & Tumble imposition scheme again uses a single plate to print on both sides of the
paper using opposite grippers. When the first side of the sheet is printed the leading edge is
gripped. The paper is then “tumbled”, that is, the top of the first side becomes the bottom of
the second side and the trailing edge of the paper is gripped. The left and right edges of the
sheet remain in the same position for both sides.
Perfecting is when you can print on both sides of the sheet in one pass through the machine.
These imposition schemes can be achieved using Simple imposition. It does however depend
on which edge of the sheet is fed into your printer.
If your press is fed with the short edge first and you have Long edge configured as the Flip
on setting, you are in effect, using a Work & Turn scheme.
If your press is fed with the short edge first and you have Short edge configured as the Flip
on setting, you are in effect, using a Work & Tumble scheme. This method can be utilized for
a Perfecting press configuration.
If your press is fed with the long edge first and you have Short edge configured as the Flip
on setting, you are in effect, using a Work & Turn scheme.
If your press is fed with the long edge first and you have Long edge configured as the Flip on

setting, you are in effect, using a Work & Tumble layout. This method can be utilized for a
Perfecting press configuration.
10.5.3 Pages
These options define the settings that affect individual pages within a layout. The following
options are available:
Layout of pages N‐up, Step and repeat, and Cut and stack page schemes can use an

Automatic or Custom layout of pages. When Automatic is selected the
number of pages on a surface is calculated automatically.
You can specify the number of pages on each surface using the Custom
option. You define the number of page columns by entering a value in
the Across field. You define the number of page rows by entering a
value in the Up field.
To define the order in which pages fill the layout use the Page fill order
option, see “Front and back options” on page 289 for more informa‐
tion.
Rotate The rotate options define whether pages within a layout can be
rotated. The Best Fit option will rotate pages as needed (for Nup,
StepRepeat, Cut & Stack only) so that they fit the layout.

Note: Best Fit will be treated as 0 if Width = 1.
This option defines how individual pages are rotated within the page
grid. The 0 to 270 options rotate the individual pages by the elected
amount.
0 as in the supplied job.
90 is rotated 90 degrees.
By selecting Landscape all pages will be rotated by 0 degrees unless
the pages are supplied as portrait in which case the pages will be
rotated by 90 degrees.
By selecting Portrait all pages will be rotated by 0 degrees unless the
pages are supplied as landscape in which case the pages will be
rotated by 90 degrees.
The whole grid (and its accompanying annotations) can be rotated
using the Rotate options from the Page Setup dialog.
Note that PageRotate is ignored for bound‐work schemes, and the
final page rotation is defined by the spine direction, binding edge and
geometry.
Page flip How the front and back of each page within the sheet are turned rela‐

tive to each other.
If Left/Right the final trimmed page should be flipped left to right to
move from the front to the back.
If Top/Bottom the final trimmed page should be flipped top to bottom
to move from the front to the back.
Schemes: OneUp_2s_1, NUp_2s_1, StepRepeat_2s_1, CutStack_2s_1.
Max bleed The value in this field is added to the overall page size.

The value entered here will not affect page positioning in any way, but
if there is any graphical content on the page that extends off the page,
this much of it will be printed.
If the bleed value extends more than halfway across a gutter, the con‐
tent is trimmed at the gutter centre.
If pages don’t fit If the group of pages do not fit within the surface size, you have the

following options:
Abort job will abort the job and issue a warning message.
Crop will crop one or more edges of the raster. The Page Grid position‐
ing options (see “Page Grid positioning” on page 290 for more infor‐
mation), decide the alignment of the page grid within the available
space, and therefore the edges that are cropped.

The various Trim options crop one or more edges of the raster. The
edges to be trimmed are manually selected.
The Scale to fit option will scale the pages and all associated gut‐
ters and crop marks. This option is intended for use when proofing
and digital printing and would not generally be used when imaging
plates.
Tile allows the same page grid to be imaged over several rasters, each
with different offsets so that the rasters may used together to create the
entire image.
Note: The Tile option cannot be used with PostScript language files.
Also, the use of the Tile option with the Layout of pages option set
with Up and Across equal to zero, with multiple page, Step and repeat
and Cut and stack schemes will only ever produce one tile unless a sin‐
gle page will not fit in the image size available.
Page padding This option decides what to do if the number of pages in the job do not

divide exactly by the number of pages required to fill a sheet. The
options are:
Abort job if pages don’t fill surfaces which will cause a
warning to be issued and no output will be produced.
Add blank pages after last page and Add blank pages before
last page which will add blank pages as specified.
Add blank pages before cover which will add blank pages before
the next to last page (that is, before the back cover of a two‐sided job).
The affect of the Split before end option, available for two‐sided
Cut and stack schemes, depends on the number of blank pages. If one
blank page, the result will be the same as Add blank pages before
the last page. If two blank pages the result will be the same as Add
blank pages after the last page. If three blank pages, one blank
page will be added before the last page, and two after it.
The Split before cover option is only available for two‐sided Cut
and stack schemes. This will be the same as Add blank pages before
the last page, but will insert pages before the last‐but‐one page as
necessary.
These options lead to a booklet containing an even number of pages,
with the last page of the content files on the outside of the back cover,
and then a number of blank sheets behind the booklet after cutting and
stacking.
10.5.4 Binding
The Binding options determine how the booklet is bound and folded.

Binding edge For saddle‐stitched and perfect binding schemes these options decide
the binding edge.
Left bound is used for booklets bound on the left, the most common
form for Latin text.
Right bound, suitable for use with right‐to‐left scripts such as Arabic
and Hebrew. This scheme is also appropriate for use with Japanese
text (even though that is not written right to left).
Top bound A is designed for use in items such as calendars, which are
hung open so you can see two pages at a time.
Top bound B is designed for use in items that will be hung (if a calen‐
dar) closed by the binding edge, and where page 2 is on the reverse of
page 1.
Top bound C is designed for use in items that will be hung (if a calen‐
dar) by the binding edge, and where page 2 is on the front of the sec‐
ond surface.
Spine fold For saddle‐stitched and perfect binding schemes these options decide

the direction of the fold that will become the spine. This is the fold
with any creep applied.
Vertical is used for portrait (tall) pages.
Horizontal, is used for landscape (wide) pages
Automatic, select between the vertical or horizontal options based on
the Page size, available space, Binding edge and Geometry.
This option is automatically set to None for normal flatwork. so that
any applied gutters work correctly.
Geometry For four‐up, saddle‐stitched and perfect binding schemes these
options decide if the gutter (other than the Spine fold) is head‐to‐head
or foot‐to‐foot. These options change the orientation of the pages on
the surface.
Head to head places the tops of the page pairs together
Foot to foot, places the foot of the page pairs together.
Left to right, place the left and right sides of the page pairs
together.
Right to left, places the right and left sides of the page pairs
together.
Automatic, either head to head or left to right is automatically selected
depending on the aspect ratios of the pages and the available raster.
This option can only be used if Automatic is selected n the Spine fold
field.

Work and T For all two‐sided schemes, these options allow you to select a Work &

Turn or Work & Tumble layout.
None, no Work & Turn or Work & Tumble.
Left to right/Right to left, are available when Short edge is
selected in the Flip on option and is used with Work & Turn schemes,
with the paper turning either way.
Top to bottom/Bottom to Top, are available when Long edge is
selected in the Flip on option and is used with Work & Tumble
schemes, with the paper tumbling either way.
Gutter This is the amount of space between the two “sides” of the layout pro‐
duced when Work and t is set to something other than None.
Min This is the minimum gutter value between the two “sides” of the lay‐
out produced when Work and t is set to something other than None,
which is the most common configuration.
10.5.5 Gutters
The gutter is the space between pages on a layout. The options in this section define the size
of the gutter. The following options are available:
Vertical gutter/Horizontal gutter

The value in these option define the optimum horizontal and vertical
gutter. If there is sufficient space within the layout these values are
used. If there is not enough space, the gutter is size reduced as neces‐
sary, but to a value not less than the value specified in the Minimum
field.
Note: The vertical gutter runs vertically, from top to bottom.
Creep Creep occurs on saddle‐stitched and perfecting bindings where the
inside pages extend beyond the image area of the outside pages. This
option compensates for this effect, and specifies the amount to be
removed from the gutter (often called shingling).
Creep Style The following Creep Styles are available:

Push out: means that the inner‐most surface uses the set gutter value,
and every outside surface has a larger gutter increased by the Creep
value, each page is pushed the amount of creep away from the centre
line.
Pull in: means that the outside surface has the set gutter value, and
each inside surface has a gutter size decreasing by the Creep value,
each page is pulled in by the amount of creep towards the centre line,
until the minimum gutter size is reached, at which point the gutter will
stay at the minimum size for all remaining surfaces.

Center line: means that the middle surface in the stack has the set
gutter value, those inside it will have smaller gutters and those outside
it will have larger gutters.
10.5.6 Front and back options

These options define the way in which the layouts are filled with pages, and allow the speci‐
fication of various page furniture items such as annotations, registration marks and crop
marks. For two sided schemes you have the option to define the front pages, and then, by
leaving the Use front options for back option selected, you can use those same values for the
back pages. Alternatively, you can de‐select the Use front options for back option and define
the back pages separately.
If you wish, you may change the current units used by imposition. Changing this option will
convert all existing values in this and any other imposition setups.
On selection of either Front options or Back options the following dialog will appear:
Note: The left, right, top and bottom are all relative to the design orientation of the imposition
scheme, which assume that the image width is greater that the image height. If this is not the

case, or if the surface has been rotated using the Page Setup Rotate option, the orientation is
likely to be affected.
Figure 10.3 Front and Back imposition options
Page fill order The page fill order options define how pages will fill the layout, and

are all described such that the first half of the name describes the “fast
scan” axis and direction, and the second half describes the “slow scan”
axis and direction. Please note that the example graphic shows how a 2
x 2 layout would be numbered.
10.5.6.1 Page Grid positioning

The top, bottom, left and right options define the size of the borders into which control strips
and/or slug lines will be placed. The margins must therefore be large enough to accommo‐
date the selected items. Do not confuse the Spacing for marks with the margins specified in
the Page Layout dialog which may be used to position the raster produced by the RIP on the
printing plate or output media.
Note: Cop marks and bleed will extend into the margins defined in simple imposition, and
will be clipped if insufficient margin is defined. Margins will also not automatically increase
if too large a set of annotations is defined on any edge.

Position page grid horizontally
The page grid is horizontally positioned within the area of the raster
after Left and Right are accounted for according to this value. Note
that the graphic on the user interface indicates the currently selected
position.
The options are Left, Center, Right.
Position page grid vertically

The page grid is vertically positioned within the area of the raster after
Top and Bottom are accounted for according to this value. Note that
the graphic on the user interface indicates the currently selected posi‐
tion.
The options are Top, Center, Bottom.
If annotations and crop marks do not fit in margins

Crop marks and bleed extend into the margins defined within simple
imposition. By default, the margins will not grow automatically if too
large a set of annotations is defined on any edge; they will be clipped.
This can be changed using this option. The available options are:
Clip annotations and crops: which is the default value.
Enlarge margins: enlarges the margins to accommodate the annota‐
tions.
Abort job: abort the job if the annotations do not fit.
10.5.6.2 Marks
These options allow you to define which marks you want placed onto your imposition lay‐
out.
Crop Marks You can make a selection from the various crop marks provided. Crop

marks are drawn around every page on the layout.
None: no crop marks are used.
Small: small trim marks are placed on the layout.
Full: large trim marks, separation names, step wedges and color bars
are placed on the layout.
PDF page boxes: trim marks are placed to show the locations of all
PDF pages boxes. For file formats other than PDF this option is the
same as Small.
Registration Marks
Select the required option to place registration marks on the selected
surface:
None: no registration marks are placed on the layout.

Desired: registration marks are placed on the layout if space is avail‐
able. If space is not available a warning is generated.
Required: registration marks are placed on the layout. If space for
those marks is not available the job is aborted.
Fold and/or cut marks

Select this option to place fold or cut marks in all the appropriate gut‐
ters on the layout.
Page border Select this option to draw a page border around every page on the

selected surface.
10.5.6.3 Annotations
The Annotations section of the imposition dialog allows you to add slug line text, color bars
and proofing strips. You can, using this option, add just about anything extra you wish to
your imposition layout.
If required custom annotation files can be used. This is done by using the Install Annota-
tion page feature which, when activated via the Page Setup dialog, allows you to print an
EPS file (EPS only), to install that file as a new annotation.
Annotation selections draw the following marks:
PlateBar_ISO12647‐2_1, PlateBar_SWOP_1
Both draw a more or less standard press color bar, with 25, 50, 75%
tints and solids of all the separations rendered, together with trapping
patches, slug patches, registration test patches and neutrals. These do
not include any slug text. The difference between the two is in the neu‐
tral patches; one follows the recommendations from the ISO 12647‐2
standard, the other from SWOP.
PlateBar_small_1
This draws a secondary press color bar, with smaller patches in order
to avoid wasting space; the patches in this bar are not designed to be
large enough for measurement using densitometers. Patches include
shadow and highlight ramps.
PlateText Writes a slug line, including job name, time and date of interpretation,
file time and date (if available), submitterʹs name (if available) and
details of the Page Setup selected.
ProofStrip_1, ProofStrip_2,ProofStrip_4
All draw a combination of color bar and slug text designed to be suit‐
able for proofing. In addition to flat color tints, graduations and neu‐
trals, some patches setting out job meta‐data such as PDF/X

compliance are included. The three selections differ in the number of
rows of color patches included, and therefore the amount of space that
they take up.
Spacer_18pt, Spacer_6pt
These do not draw any marks, but may be used to position the other
annotations, for example, by moving them away from the edge of the
sheet.
PlateBar_G7_1 This option prints a G7 color bar on the output and provides support
for the use of Gracol’s G7 print characterization data.
To install your own custom annotation:
1. Create a Page Setup (not using Simple Imposition) and select the Install Annotation
page feature. For more information on using page features see “Features” on page 151.
2. Print the Annotation (EPS) file using this Page Setup. A message will appear indicating
that the annotation is being installed.
3. Go back to the Page Setup using Simple Imposition. You can now select and use the
custom Annotation in your Simple Imposition setup. See below for information on how
to add an annotation to the imposition layout.
When used as an annotation the EPS file will be repeated along the length of the selected ras‐
ter edge as many times as it will fit.
Note: If the custom annotation does not fit, there will be no error message.
To add an annotation to the imposition layout:
1. Click New.
Note: An annotation will appear in the list. Do not attempt to delete this. Go straight to
step 2.
2. Select your required annotation file from the Edit selected row drop‐down list. For
example, select PlateText to add slug line information.
3. Select where on the layout you want to add the annotation by choosing either, Top,
Bottom, Left or Right from the Edit selected row drop‐down list.
4. Click New to add further annotations. You can add as many annotation files as you
wish, but you must ensure your layout has enough room to accommodate them.
The annotations are printed in the order in which they appear in the list, and you can change
that order by dragging and dropping them. If two annotations are placed on the same edge
of the layout, the first one will be on the edge of the layout, and the second will be moved
inwards by the size of the first. Similarly, if an annotation has already been drawn on the left
of the layout, a second annotation on the bottom edge will leave room at one end for the first
annotation.
You can edit the any annotation in the list by selecting it and then choosing the required
options from the Edit selected row drop‐down menus.

You can remove any annotation file from the list by selecting and clicking the Delete button.
When you have completed the front and back options select OK to save them. Selecting Can-
cel will abort any change you have made. Similarly, when you have completed all your impo‐
sition configuration options select OK to save your changes.
Note: When using a new annotation file with Simple Imposition the RIP must be re‐started if
the annotation file name needs to be escaped, such as the name “PDF/X Overprint tests ‐
large”, otherwise the following message is reported:
%%[ Error: HqnLayout: Selected file not found: "Usr/HqnLayout/Annots/PDF/X
Overprint tests - large" ]%%
%%[ Error: undefinedfilename; OffendingCommand: HqnLayout; File: ]%%
The vast majority of annotations do not need to be escaped, and can be used immediately
after installation, without having to restart the RIP. Note that in all cases a Simple Imposition
setup can be created using the newly‐installed annotation without a RIP restart. It is only
when using that setup that the error occurs for names requiring escaping. The annotation is
installed by ripping it with a page setup which uses the “Install Annotation” page feature.

10.6 Example impositions
This section provides same example impositions showing how the pages for each surface are
laid out along with the final results.
10.6.1 Saddle-stitched—16 page booklet

The plates for this imposition will be laid out in the following fashion:
Front surface
16 1 14 3 12 5 10 7
15 2 13 4 11 6 9 8
Back surface
Figure 10.4 Saddle-stitched, left bound layout
This extra settings for this imposition scheme are:
Scheme Two up, saddle stitched
Flip on Long edge
Binding edge Left bound
Spine fold Vertical
The resulting saddle‐stitched booklet will look like this:
9
11 7
13
15 5
3
1
Red numbers denote unsighted pages
Figure 10.5 Saddle-stitched, left bound result

10.6.2 Cut and stack, two-sided—12 page booklet, A4, ring bound
The plates for this imposition will be laid out in the following fashion:
Front
Surface 1 7 3 9 5 11
Back 2 8 4 10 6 12
Surface
Figure 10.6 Cut and stack, two-sided layout
Scheme Cut and stack, two sided
Flip on Long edge.
The resulting sheets before cutting and the stack after cutting are shown below:
Sheets before cutting Pages after stacking
2 1 8 7 2 1
4 3
4 3 10 9
6 5
6 5 12 11
8 7
10 9
Blue numbers denote the reverse side
12 11
Figure 10.7 Cut and stack, two-sided sheets and stack
The final pages are suitable for hole punching and then ring or wire binding.

10.6.3 Saddle-stitched—8 page booklet A5 on B4
The plates for this imposition will be laid out in the following fashion.
7
8
2
2
1
5
6
6
4
3
4
Front surface Back surface
Figure 10.8 Saddle-stitched, x2 left bound layout
Scheme Step and repeat, saddle stitched
Flip on Short edge
Spine fold Horizontal
The two resulting saddle‐stitched booklets will look like this:
5 5
7 7
3 3
1 1
Figure 10.9 Saddle-stitched, x2 left bound result

10.6.4 Saddle-stitched, Top bound A, 8 page booklet

The pages for this imposition will be laid out in the following fashion:
Front
6
8
surface
Back 2
5
surface
Figure 10.10 Saddle-stitched, Top bound A layout
Note: Page 8 is a special case.
Flip on Long edge
Binding edge Top bound A
Spine fold Vertical
7
1 2
4
5
5 7
3
Figure 10.11 Saddle-stitched, Top bound A result

10.6.5 Saddle-stitched, Top bound B, 8 page booklet
3
6
8
Front
surface
4
7
5
Back
surface
Figure 10.12 Saddle-stitched, Top bound B layout
Flip on Long edge
Binding edge Top bound B
Spine fold Vertical
7
1 4 2
5
5 7
3
Figure 10.13 Saddle-stitched, Top bound B result

10.6.6 Saddle-stitched, Top bound C, 12 page calendar

12
1
6
7
11
2
5
8
10
3
4
9
Figure 10.14 Saddle-stitched, Top bound C layout
Flip on Short edge
Binding edge Top bound C
Spine fold Vertical

The resulting saddle‐stitched calendar will look like this:
12
11
10
6
1
5 6
2
4
3
Figure 10.15 Saddle-stitched, Top bound C result

10.6.7 Four-up, Saddle-stitched—16 page A4 booklet on B2/SRA2

1
4
3
2
13
16
14
15
8
7
6
9
12
10
11
Figure 10.16 Four-up, Saddle-stitched, 16 page A4 booklet
Scheme Four-up, saddle stitched
Flip on Short edge
Geometry Head to head
The resulting 16 page saddle‐stitched booklets will look like this:
9
11
13 7
15 5
3
1
Figure 10.17 Saddle-stitched, 16 page A4 booklet result

10.6.8 Four-up, Perfect-bound—16 page A4 booklet on B2/SRA2
1
4
3
2
5
6
7
12
11
10
13
16
14
15
Figure 10.18 Four-up, Perfect-bound, 16 page A4 booklet
Scheme Four-up, perfect binding
Flip on Short edge
Geometry Head to head

The resulting 16 page perfect‐bound booklets will look like this:
13
15
11
9
5
7
3 Red numbers denote unsighted pages
1
Figure 10.19 Perfect-bound, 16 page A4 booklet result

11
Fonts
Whenever the RIP processes a job that uses fonts, they must be available in memory. Fonts
are loaded into the RIP from the disk automatically whenever they are required. However,
the fonts must have been installed first, or they must be embedded in the job that uses them.
Installation is a once‐only process where the RIP configures the font for its use and puts it in
the appropriate place. This chapter discusses how fonts are installed and then used by the
Harlequin MultiRIP.
The RIP provides a suite of facilities that let you manage fonts easily and efficiently. This
suite includes commands that will:
• Install fonts in the RIP.
• Tell you which fonts are currently installed.
• Produce a proof of any font currently installed.
• Remove fonts from the RIP.
The Harlequin MultiRIP also provides facilities for font substitution and font emulation. For
more information see:
• “Font substitution” on page 314.
• “Font Emulation” on page 316.
For Windows, the Microsoft core fonts are governed by the same restrictions as the products
they are supplied with. Therefore, if you can run the RIP on Windows and access it, the
licence for the fonts allows you to use them on that system.
It is your responsibility to ensure that you have a suitable license for any fonts used in your
RIP.
11.1 Supplied fonts

The Harlequin MultiRIP comes with the 35 standard fonts found in most versions of the
Apple LaserWriter and many other PostScript language capable printers. The RIP font folder
also includes several special‐purpose fonts:
• The Harlequin font is used only for the Harlequin MultiRIP logo.
• The NotDefFont font is used by composite fonts.

11 Fonts
The RIP supplies the 35 standard fonts and the special‐purpose fonts installed in the fonts
folder in the SW folder.
11.2 Types of font

There are several different types of fonts that can be installed and used with the RIP. See
“Installing fonts in the Harlequin MultiRIP” on page 308 for details about installing fonts.
• Type 1 fonts—these are the most commonly used fonts. Type 1 fonts can contain hints
that can subtly change the shape of the characters. Hinted fonts can improve the
appearance of text rendered at low resolution or at small sizes on higher resolution
devices: for example, hints can affect 11 point text at resolutions up to 2000 dpi.
Note: The font downloaders supplied with many Type 1 fonts actually install Type 1
fonts as Type 4 fonts.
• Type 3 fonts.
• Type 0 (composite) fonts—these are special fonts designed to support large character
sets such as Japanese or Chinese. Type 0 fonts can use any base font format (Types 1, 3,
4, 32, 42) and CID fonts. Type 0 fonts can support multi‐byte character encodings.
Older Type 0 fonts had multiple sub‐fonts and as such used a lot of memory however,
the new CID‐keying method is much more memory efficient.
• Character identifier (CID) composite fonts, together with associated character map
(CMap) files are used to produce CID‐keyed fonts, which exist only in the memory of
the Harlequin MultiRIP (or other RIPs).
There is not easy method of determining whether a TrueType font should be installed
as a CID font or not. If installed as a CID font, the order of characters in the font is not
easily predicted. Improvements to this are expected in future releases.
• Single‐byte PC format TrueType fonts or OpenType fonts with TrueType outlines.
• The RIP also supports installation of native TrueType, Type 42, raw CFF (Compact For‐
mat) and OpenType/CFF fonts. Multiple‐font CFF or OpenType/CFF fonts will be
installed as FontSet resources, but these will not appear in the Proof or Delete Fonts
menus, or in the font List.
Note: The font resources created when installing CID fonts are CID‐keyed fonts and are cre‐
ated automatically by the RIP. These font resources are created when CID fonts or CMaps are
installed using the Install Fonts option in the Fonts menu, and are deleted when CID fonts are
removed using the Delete Fonts option from Fonts menu. Font resources may also be created
or deleted on startup, if the available CID fonts or CMaps have changed since the last bootup.
Installing a CID font with a font installer will not automatically create font resources; the RIP
must be quit and restarted to do this.
The created font resources may be deleted using the Delete Fonts option on the Fonts menu,
and will not be re‐created by the RIP.

Note: The RIP supports the use of a variety of other fonts, for example, when they are embed‐
ded in PostScript language, XPS or PDF jobs. The embedded fonts can include Compact Font
Format, Type 42, and Type 32 fonts.
Note: The font data cache is not configurable, but takes 0.5 MiB for all fonts. So, for CID,
native TrueType, CFF, and OpenType/CFF fonts, 1 MiB extra RAM should be sufficient.
11.2.1 Font resource directories

The Font resource directories can be changed. The default locations are:
• Font resources are installed in SW/fonts.
• FontSet resources are installed in SW/FontSet.
• CID fonts are installed in SW/CIDFont.
• CMap files, which are placed in the SW/CMap folder.
Throughout this section these are the directories referred to when font resources are men‐
tioned.
11.3 The DLD1 format

The Harlequin MultiRIP will convert Type 1 fonts (and Type 1 fonts contained within com‐
posite fonts) into its own DLD1 font format.
The DLD1 format stores font data far more efficiently than do standard storage formats.
Access to font data, and operations upon fonts, are made much faster, while the amount of
PostScript language virtual memory consumed by the font is reduced dramatically.
The benefits of using the DLD1 format include: a DLD1 format font occupies less disk space;
and this format can require under 10% of the memory space of other formats. This table
shows some typical figures for the disk and memory requirements of a font in DLD1 format,
and for the corresponding font in Type 1 and Type 4 formats.
Table 11.1 Disk and memory requirements for font types
Font type Disk space (KiB) Memory (KiB)
DLD1 45 4
Type 1 100 50
Type 4 50 30
Note: It is difficult to give corresponding estimates for Type 3 fonts because they are inher‐
ently so flexible, but they are not particularly efficient.

11 Fonts
11.4 Installing fonts in the Harlequin MultiRIP

If a job requires a particular font, the font must already be installed in the RIP before the job is
processed, unless the job itself contains the font definition. If the font is not found, the RIP
will instead print the text in a selected substitute base font (see “Font substitution” on page
314), or issue an error message, depending on the setting for Abort the job if any fonts are miss-
ing in the Page Setup Options dialog box. See “Abort the job if any fonts are missing” on page
156 for details.
Depending on the font type, you can install a font into the RIP in one of two ways: by using
the Install Fonts command or by downloading the font to the RIP.
All fonts may be embedded, and all fonts may appear in the fonts and CIDFont resource
directories. Most font formats can be installed using the Install Fonts command, including,
Types 1, 3, TrueType, Type 42, CID Types 0, 1, 2, 4 (same as Type 32), CFF, OpenType and
CMap resources.
The Install Fonts command and downloading fonts to the RIP are described in the next two
sections.
See “Removing fonts” on page 312 for details about deleting the fonts you have installed.
11.4.1 Install Fonts command

When you choose Install Fonts from the Fonts menu, the RIP displays the Install Fonts dialog
box shown in Figure 11.1.
Figure 11.1 Install Fonts dialog box
To install a single font, do the following:
1. Select a font in the list box.
2. Click Install.
Note: PC format files with a *.pfa, *.pfb (Type 1), *.otf (OpenType), *.ttf (TrueType) extension
are visible in the upper list box. If your fonts are not in this format, select All Files from the
Files of type drop‐down list.
Use the Look in drop‐down list to use other directories or drives.

You can also select several fonts and install them together.
Shift
To select a block of several files, select the first file in the block, and then hold down the Shift
key and select the last file in the block.
Ctrl
To select several unconnected files, hold down the Control key while making your selection.
A successfully installed font produces the message:
Installed font ’font_name’ in TrueType format
Note: The format type will be reported in this way for single‐font packages only (not Font‐
Sets). The type reported will be TrueType, Type 42, Type 1, DLD1, Type 2, Type 3 and so on.
The Install Fonts command will install into the RIP Type 1, Type 3 and single‐byte PC format
TrueType fonts or OpenType fonts with TT outlines.
OpenType/CFF is supported. Single‐font OTTO packages will install as a single font or
1
CIDFont as appropriate. Multiple‐font packages will install as FontSet resources.
If you try to install a file that does not contain a font, or that contains a font of another type,
the RIP displays a message in the RIP Monitor. This will not harm the RIP or the file in any
way—the RIP just refuses to install it.
Using the installer, TrueType fonts only install as non‐CID fonts. They therefore have to be
manually moved to the CIDFont resources directory to make them appear as CID fonts.
If a font is of Type 1, it will be converted into DLD1 format before being added. This can then
be loaded into the RIP whenever necessary.
Installation is performed on a copy of the font, so your original font file remains intact.
If you are installing fonts from the Windows OS into the RIP you can copy those fonts from
C:\Windows\Fonts into a directory which can be accessed by the Install fonts command.
11.4.2 Downloading fonts to the RIP

This section describes how to download fonts to the RIP.
• Multiple Master fonts
Multiple Master fonts may be downloaded from a Macintosh using the downloader
supplied with them.
• Composite fonts
Composite fonts vary greatly, and so the procedure for installation is likely to be differ‐
ent for each one: there is no industry standard for this at present. Almost all composite
fonts now come with their own installers; however, there is still a small number that
OpenType fonts containing CFF data use the tag “OTTO”
1.

11 Fonts
are shipped as a collection of self‐installing PostScript language files. Contact your font
supplier for more detailed information about using particular composite fonts with the
RIP.
• TrueType fonts
No downloader is needed for TrueType fonts. Using a downloader makes them less
efficient if converted to Type 42 format. TrueType fonts should be installed using the
Install Fonts command.
• CID fonts
If your CID font is supplied with a downloader, install the font and any relevant CMap
file using the supplied downloader. If no downloader is supplied, use the Install Fonts
command. At present, however, CID fonts have to be manually moved to the CIDFont
resources directory to make them appear as CID fonts.
All installed fonts are placed in the fonts resources directory, except for CID fonts and
CMap files, which are placed in the CIDFont and CMap resources directories respectively.
Leaf fonts and composite fonts are sub fonts of Type 0 fonts and are installed elsewhere.
11.5 Pre-loading fonts

The Harlequin MultiRIP always pre‐loads the 35 standard fonts, since one or more are likely
to be used by most jobs. If you frequently use a particular set of other fonts, you can ask the
RIP to load them automatically upon start‐up.
The RIP will take slightly longer to start‐up, but once loaded, the fonts will be in memory
when jobs require them. This saves time when processing jobs, since the RIP does not have to
stop interpreting to wait for a font to be loaded. The time savings can be considerable—if a
job requires a composite font, the RIP could be waiting for a few seconds to load it. By having
it pre‐loaded, you will save this time with every job that uses it.
Note: You can use this method to pre‐load composite fonts, so long as they have been
installed according to the instructions in “Downloading fonts to the RIP” on page 309.
To pre‐load a font, add a new line to the Harlequin MultiRIP initialization file, HqnOEM, and
restart the RIP. This initialization file is in the Sys folder in the SW folder.
You must add one line of PostScript language code for every font you want to load. For exam‐
ple, the following lines load ZapfChancery‐MediumItalic and ZapfDingbats into the RIP:
/ZapfChancery-MediumItalic HQNloadfont
/ZapfDingbats HQNloadfont
The RIP may take slightly longer to start up, but any jobs using these fonts will run consider‐
ably faster. Pre‐loading a composite font takes longer than pre‐loading other types of font,
but saves more time for each job using it.
11.6 Producing a list of installed fonts

Sometimes you will need to know whether a particular font is currently installed in the RIP.
You can produce a list of all the currently installed fonts by choosing Fonts > List Fonts.

Note: The List Fonts option does not show FontSet resources.
This list will appear in two places:
• The Harlequin MultiRIP window—this lets you see immediately whether or not fonts
are installed.
• The file LOGFILE in the SW folder—this provides a more permanent record of which
fonts were installed at a particular time.
The date and time accompanies every list.
11.7 Proofing fonts

Sometimes you may want to produce a formatted listing of all the characters in a particular
font—known as a proof. This would normally entail writing a special PostScript language job
to produce the listing, but the RIP allows you to produce a proof of any installed font auto‐
matically.
Note: The RIP can proof CID fonts only in long format. Also, the RIP will not use a substitute
font in short format. If you do not choose long format, the RIP reports:
CID fonts cannot be proofed - try Proof fonts in long format.
Palatino-Italic
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQR
1234567890‐=!@#$%^&*()_
Figure 11.2 An example of font proofing
You can proof fonts, either on a printer or on your screen, by choosing Proof Fonts from the
Fonts menu. The RIP produces the proof using your choice of Page Setup and fits as many
fonts as possible on a page. Figure 11.2 shows an example of a short‐format proof for one
font.

11 Fonts
When you choose Proof Fonts, the RIP displays a dialog box that lists all of the fonts currently
installed, as shown in Figure 11.3.
Figure 11.3 Proof Highlighted Fonts dialog box
First, choose an appropriate Page Setup for proofing the fonts, from the Page Setup drop‐
down list.
Note: If you forget to choose a Page Setup, the RIP uses the one that you chose last time you
proofed fonts. If you have not proofed fonts in this RIP session, the first Page Setup in the list‐
ing is used. To change the order of this listing, see “Reordering Page Setups” on page 93.
Select the fonts you want to proof, and click Proof. You can select as many fonts as you like.
Shift
To select a block of several fonts, select the first font in the block, and then hold down the
Shift key and select the last font in the block.
Ctrl
To select several unconnected fonts, hold down the Control key while making your selection.
The RIP constructs a PostScript language job and then runs it, as if you had used Print File to
print an existing file. If other jobs are pending, the proof takes its place in the queue.
By default, proofs only show a sample of the full character set in a font. If you want a proof of
the complete set of characters, select the Proof fonts in long format check box.
Note: CID fonts can be proofed, but only in long format. FontSet resources cannot yet be
proofed.
11.8 Removing fonts

You can remove most font types using the Delete Fonts command. The two exceptions to this
are composite and CID fonts.

• Composite fonts
We recommend that you remove a composite (Type 0) font using the font downloader
supplied with it. This will ensure that the leaf fonts are removed. In many cases this is
also the only way to recover a font license if the license restricts you to a fixed number
of installs.
• CID fonts
CID fonts which you have installed using the Fonts menu Install Fonts option should be
deleted using the Fonts menu Delete Fonts option.
Note: If there is a CID font and, for example, a Type 1 font with the same name, the
name is listed twice. If you delete such a font, the RIP deletes the Type 1 font first; and
then the CID font, if you choose to delete again.
When you choose the Delete Fonts command from the Fonts menu, the RIP displays a dialog
box, as shown in Figure 11.4, where you can select the fonts to remove. As with the Install
Fonts and Proof Fonts dialog boxes, you can select as many fonts as you want.
When you click Delete, the RIP removes the fonts you have selected immediately.
Warning: If you remove a font, and then need to process a job that uses it, you will first have
to reinstall it. There is no confirmation dialog box. Before clicking Delete be sure that you
have the original file from which you can reinstall the font.
Figure 11.4 Delete Fonts dialog box
11.9 Composite fonts (Type 0)

The RIP provides full support for composite fonts. Because of their size, composite fonts are
treated specially. You cannot install all of them using the Install Fonts option, for example,
and there are certain considerations you must make if they are to be used efficiently. See
“Downloading fonts to the RIP” on page 309 for information about installing composite
fonts.
Composite fonts are usually very large, and can consume much computer time and memory.
Whenever a character is encountered in a job, a RIP must find its definition in the composite
font, and then convert it into a bitmap, before it is printed or previewed. If a RIP does this for
every character in the job, it will be very slow.

11 Fonts
The RIP minimizes the number of character conversions it has to do by storing the results of
conversions in a RAM cache store. This means that the first time a character is seen, it is con‐
verted it into a bitmap and stored in the cache. When that character is seen next, the RIP does
not need to convert it again because it can find the result immediately in the cache store.
Significant savings in processing time can be made using this method, especially when deal‐
ing with frequently used characters.
The RIP is able to cache more character data when more memory is available to it. We recom‐
mend you allow extra memory in the range 16 MiB through 32 MiB. You will need more
memory still if you wish to cache several composite fonts. Try experimenting with memory
allocation, as requirements will depend on the fonts and types of job you have.
If you are going to use a composite font regularly, you should pre‐load it into the RIP. See
“Pre‐loading fonts” on page 310. Pre‐loading makes the RIP slower to start up, but saves a
great deal of time when processing jobs that use those fonts.
11.10 Font substitution

Generally, it is preferable to use the exact font that was used in the design of the document.
However, there are times when this is not possible; a font may be corrupt; or the original font
may not have been sent with the original file. In such cases the only solution is to substitute
with a font that is very similar in design to the original specified font. The customer may ask
you to do this to get the job done on time.
If substitution were not available, the RIP would do one of two things: error and refuse to
produce the job or substitute a default font, depending on the setting of the Abort job if any
fonts are missing option, see “Abort the job if any fonts are missing” on page 156. Either result
may be unacceptable.
One solution is to open up all the pages in the original application program and search and
replace every occurrence of the problem font. This is not ideal as it is time consuming; you
may not have the original application and if you miss one or two occurrences where the font
was used, the processing time would be wasted.
Having the RIP do the substitution for you “on the fly” is the best solution because all occur‐
rences of a font are guaranteed to be substituted.
In the RIP, the file SW/Config/FontSubstitution is automatically run as the RIP boots. You
can configure the following information in that file:
• Default font to use.
• Default CID font to use.
• Font substitution table.
• CID Font substitution table.
In all cases the FontSubstitution file has many comments and is intended to be self‐docu‐
menting.

A font substitution mechanism has been added which is similar (and in addition), to the
existing font substitution mechanism (defined by entries in the SW/Config/FontSubstitu-
tion file).
Whereas the existing substitution mechanism is unconditional, the new mechanism only
attempts a substitution if the initially given font name cannot be found. However, if a condi‐
tional substitution is made, a message is displayed on the monitor indicating the substitu‐
tion:
Warning: font <-name-> not found, using <-name-> instead
For example:
Warning: font Arial not found, using ArialMT instead.
You can silence this message by uncommenting the line in SW/Config/FontSubstitution
which specifies the /SilentCondFontSub key.
For more information see the Conditional Font Substitution section in the SW/Config/Font-
Substitution text file.
11.10.1 Changing the default CID font

While CID‐Bullet remains the default CID font for the Harlequin MultiRIP, the DroidSans‐
Fallback font is provided as part of the SW folder for evaluation.
This alternate default CID font can be used by editing SW\Config\FontSubstitution to:
$error /SubstituteCIDFont { pop /DroidSansFallback } bind put
While DroidSansFallback provides potentially usable output for cases where a CID font is
not available and the encoding to be used is supplied, there are instances where that encod‐
ing information is not defined. In such cases using DroidSansFallback is quite likely to lead
to the wrong glyph being used.
11.11 The HqnFontSetStubs start up files

The Sys/ExtraStart/10HqnFontSetStubs and Sys/ExtraStart/20HqnCIDFontStubs
files are run by the RIP at startup and perform the following functions:
Sys/ExtraStart/10HqnFontSetStubs
Generates stub fonts for FontSet resources. The stub fonts will be
installed on the %fontset% pseudo‐device.
Sys/ExtraStart/20HqnCIDFontStub
Generates the CID‐keyed resources for newly‐installed, and previ‐
ously undetected CID fonts and CMaps.
Either of these files may be removed if the functionality is not required. The numeric prefix to
their names is to force a particular running order; FontSet stubs should be created before CID
font stubs, because FontSet stub files may be CID fonts. The files in Sys/ExtraStart are run
in alpha/numeric order.

11 Fonts
11.12 Font backup

The font backup utility allows you to easily transfer fonts from your existing RIP to a newly
installed RIP.
To use font backup, select a default Page Setup and RIP the file:
SW\Utilities\BackupFonts.ps
This creates a file which effectively contains backups of font files, (and some other files) from
the SW folder.
A message appears in the monitor window informing you of the name of the PostScript lan‐
guage file created.
When you have installed your new RIP, you should run this PostScript language file to install
those font files on your new RIP.
11.13 Font Emulation

When fonts requested by the job are unavailable to the RIP, some work flows benefit signifi‐
cantly from being able to produce acceptable, readable copy using another font. This is par‐
ticularly true with rapid turnaround work flows typical of digital printing. To achieve this,
emulated fonts are used to produce suitable facsimile text based on the characteristics of the
font that is being emulated in terms of style, spacing, height and width. In this way, a suitable
readable font with similar characteristics of the target font is used in the place of a missing
font.
Font Emulation is often acceptable when digital printing, and can be preferable to the file not
being produced at all.
Font Emulation is available and has the following characteristics:
• The ability to recognize the missing font by name.
• A database of style, spacing, height and width for each font name.
• The database currently contains over 1600 specified fonts.
• Font Emulation only supports the standard Latin characters.
11.13.1 Using Font Emulation

Font Emulation is enabled by checking the Enable font emulation option in the Page Setup
Options dialog.
Once enabled, Font Emulation currently catches references to over 1600 fonts. The type of
font that can be emulated is not important because fonts are matched by name. If the font
name is in the database the font can be emulated. See “Modifying the Font Emulation data‐
base” on page 318 for information on how to modify the font database.
Note: CID Fonts are not emulated.

If a request for a font returns an error, or anything other than the requested font, Font Emu-
lation first looks up the font name in the FontEmulation dictionary, and then, if necessary,
may go on to look up the font in the supplied database on disk.
If Font Emulation fails to emulate a font (for whatever reason), the RIP will behave as if Font
Emulation had not been switched on. That is, if the RIP is configured to abort jobs when a
font is missing, the job will abort; if the RIP is configured to substitute Courier for the missing
font, Courier will be used.
There are two situations when fonts are emulated these are: when the font requested is not
found or when a font error occurs. The following sections describe the two scenarios:
11.13.1.1 Font not found

Font Emulation will be used for PostScript language and PDF files if:
1. The required font is not embedded in the job and
2. The required font is not installed in the RIP and
3. The required font is not handled explicitly by font substitution.
Font Emulation will only regard font substitution as successful if the font name
returned by any substitution is exactly the same name as the requested font. Therefore,
in most cases Font Emulation will override font substitution. If however Font Emula‐
tion fails, the font previously selected for substitution will be used.
Currently there is not automatic way of excluding fonts selected for substitution from
being emulated. If you want to use font substitution instead of the emulated font, that
font will have to be explicitly disabled in the /SW/Config/FontEmulation file.
4. Font Emulation is enabled and
5. The required font is not disabled in /SW/Config/FontEmulation file and
6. The required font is defined or aliased in /SW/Config/FontEmulation or defined in
the Font Emulation database.
11.13.1.2 Font error

Font Emulation will be used for PostScript language and PDF files if:
1. A font error is encountered attempting to use a font embedded in a job or installed in
the RIP (this includes the error produced when selecting Abort the job if any fonts are
missing in the Page Setup Options window) and
2. Font Emulation is enabled and
3. The required font is not disabled in /SW/Config/FontEmulation file and
4. The required font is defined or aliased in /SW/Config/FontEmulation or defined in
the Font Emulation database.
Note: PDF files usually include a PDF FontDescriptor for each font required by the PDF
file, even for fonts which are not embedded. If Font Emulation is employed for a PDF file, the

11 Fonts
FontDescriptor in that PDF file will be used in place of the emulation data in the RIP. Also,
the FontDescriptor can be used even if the font is not defined in the Font Emulation data‐
base or /SW/Config/FontEmulation file.
11.13.2 Messages
When a missing font is successfully emulated the following message appears:
%%[ Warning: Font <...> emulated. ]%%
Note: <...> is the name of the missing font.
If Font Emulationʹs attempt to get the required font returned an error, and the font is unable
to be emulated, the following error is generated:
%%[ Error: Font <...> not found. (Emulation unknown) ]%%
However, if the font returned is not what was asked for (for example, Courier), and the font
cannot be emulated, the following warning is output but the RIP will continue to use what‐
ever font was returned:
%%[ Warning: Font <...> not found. (Emulation unknown) ]%%
That is, if a font is missing and it cannot be emulated, an error is only generated with emula‐
tion switched on if there would have been an error with it switched off.
If the missing font cannot be found in FontEmulation or the database, the following message
appears:
%%[ Error: Font <...> not found. (Emulation not known)]%%
If emulation is switched off for a particular font, the following message appears:
%%[ Error: Font <...> not found. (Emulation disabled)]%%
If there is an error in the Font Emulation dictionary the following message appears:
%%[ Error: FontEmulation syntax /<...> invalid value. ]%%
In the unlikely event of an internal emulation font being replaced by a normal font, the fol‐
lowing message appears:
%%[ Error: Font <...> not found. (FontEmulation installation}]%%
11.13.3 Modifying the Font Emulation database

You are able to add to or modify the Font Emulation database using the file SW/Config/Fon-
tEmulation:
• Aliasing of a font in the database so an identical font with a different name can be
emulated.
• Switching Font Emulation off for a specified font. This is useful if a corporate logo is
using a font in the database.
• Override a font definition in the database.

• Add a new font definition to the database.
Note for OEM: For more information see the Harlequin Technical Note “Hqn065—
Using and modifying Font Emulation”.

11 Fonts

12
Calibration
This chapter discusses calibration of output devices. Calibration involves the measurement of
test images produced on an output device and the use of those measurements to produce sta‐
ble images with good tonal values: here, good means consistent and usually linearized (in
some measurement system). Some devices have a published specification that you can use in
place of measured data: this is true of many printing presses. In demanding applications, you
may use several different calibrations on the same device, according to the settings on the
device or within the RIP.
This chapter describes how you can produce suitable test images (called targets or test
strips), measure their characteristics, then enter or edit calibration data, while Chapter 5,
“Configuring Output Formats”, describes how you can choose different calibrations when
producing output.
A mechanism is provided that enables a third‐party application to push calibration sets into
the RIP. It is intended to replace the method used by some vendors to emulate the processing
performed by Global Graphics’ Genlin tool, and to avoid the need for a final manual step to
import the calibration data. Calibration sets may be submitted as a PostScript language file to
the RIP, calling the PushCalibration procedure in the HqnPushCalibration procset. Call‐
ing this procedure does not trigger any raster output, and files may be submitted through
any input channel configured on the RIP, such as hot folders, Unix‐style sockets and so on.
For more information on this see the “Push Calibration” Harlequin Technical Note 081.
From HMR v10.1r1 features are added to allow for the calibration of objects based on the
screening used for those objects. This is often important in flexographic printing. For more
information see “Features introduced for flexographic printing” on page 356.
12.1 Why calibration is needed

Regardless of the accuracy of an output device, the media and other consumable items can
vary and have an effect on the output. For example, an imagesetter may produce an accurate
and stable exposure of the media on which it is imaging but the reaction of that media varies
from paper to film, and from one media manufacturer to another. Also, laser dots are never
square (as in an idealized raster), they usually overlap, often cannot resolve a single pixel,
and cannot always be turned off between adjacent pixels. Similarly, in direct output devices,
overlap of toner dots in laser printers or ink spreading in inkjet devices often produces a
deviation of some kind between required gray levels and those actually output.

12 Calibration
Whatever the physical reason, the result is variability or non‐linearity and some adjustment
is almost always necessary to compensate for these physical artifacts. This is called calibra‐
tion.
Note: In almost all output devices, a solid (100%) black area prints as a 100% black area, and
white always prints as white. Any failure to achieve this degree of faithful reproduction usu‐
ally indicates a problem or maladjustment in the output device, which you must cure before
attempting calibration.
Consider the irregular solid line in Figure 12.1. It shows an example of the kind of response
typically seen from red‐sensitive paper on a Helium/Neon‐based imagesetter. The diagonal
dotted line represents the theoretical line that would be shown for a perfect material. The
arrowed lines show how if you request a 50% tint you will actually see something like a 65%
tint on paper, when measured with a densitometer.
When setting flat tint areas for monochrome print work, variation in gray level is often
immaterial because the relatively small tonal variations encountered will not be visible to an
untrained eye. But as soon as scanned images are introduced into monochrome work, it
becomes apparent that highlight and shadow detail is lacking and, typically, that the image is
darker than expected. The higher the halftone frequency used, the more the shadow areas
will fill in and highlights will lighten—and the more necessary calibration becomes.
Color process work brings the problem into flat tint work as well, because variations of only
a few percent from the requested value in just one of the color plates can throw the final
apparent color well away from that intended.
Note: Calibration is important in color work, but it is not a complete answer. Calibration is
sufficient only where the originally requested colors are prepared with the final output
device in mind; calibration can adjust the individual color values but not the hues of those
colors. A color management system is required to make adjustments which change hues, as
for example in digital proofing.

The RIP allows calibration sets to be built for particular configurations. By choosing appro‐
priate calibration sets, you can make the RIP correct for variations caused by different output
devices, line frequencies, exposure values, dot shapes, and negative / positive setting.
100
Gray level measured from paper ( % )

80
60
40
20
20 40 60 80 100
Gray level requested ( % )
Figure 12.1 Response of red-sensitive paper on a Helium/Neon-based imagesetter
12.2 Calibration and linearization

Linearization is a special case of calibration, commonly used when producing output on an
imagesetter.
Linearization is the process of adjusting values on output so that the result is proportional to
the values requested, in some suitable measuring system. On film, this is usually a matter of
ensuring that the gray levels produced are the ones you request in halftone dot area cover‐
age. For example, if you ask for a 42% tint in your page make‐up application then, after lin‐
earization, the output device produces that 42% tint correctly.
Note: Calibration can only provide the desired output to the accuracy with which you can
measure gray levels, and with which the output device can produce them. See “Assessing
attainable accuracy” on page 338 for details.
12.2.1 Non-linear devices

It is an established industry practice to accept non‐linearity in the transfer from film to print‐
ing press. Frequently, whoever performs the scanning or layout design uses their judgement
to introduce a compensatory adjustment in the scanner settings or choice of tints, basing the
compensation on the kind of printing press to be used.
Calibration is still a valuable process in this scheme but the purpose is to produce a known
and repeatable non‐linear transfer.

12 Calibration
It is possible to create a single calibration set that compensates for the combined characteris‐
tics of an imagesetter and a printing press, but this scheme is inflexible and clumsy where
several imagesetters and presses may be used in various combinations. Also, you cannot
account for absolute density variations.
A more flexible approach, and one provided by the RIP, is the ability to produce and use a
calibration curve for each color of a printing press, applied separately from film linearization.
This improves the accuracy and ease of compensating for the dot gain of, for example, Harle‐
quin Dispersed Screening (HDS). HDS screens gain more on press than conventional screens.
Calibrating the press for use with an HDS screen replaces a laborious and approximate com‐
pensation previously possible only by changing the film linearity settings or scanning with
HDS in mind. Note that although an imagesetter is not a multi‐color device, you can create a
separate calibration curve for each color, to take account of the different screen angles.
See “Press calibration” on page 339 for details of press calibration.
12.3 Calibration in the Harlequin MultiRIP

The calibration facilities allow several ways of working:
• You can measure calibrated or uncalibrated targets.
This means that you can print a calibration target with the previous calibration applied
and enter only the values that are in error—possibly saving time and materials. Alter‐
natively, you can start again with an uncalibrated target as if no calibration exists. See
“Establishing a workflow” on page 334 for a discussion of the advantages and advis‐
able controls.
• You can create a separate calibration curve for each channel of multicolor devices, for
example color ink jet printers and printing presses. If the output device or printing
press supports additional colorants, you can create separate calibration curves for spot
colors.
Although an imagesetter is not a multi‐color device, you can create a separate calibra‐
tion curve for each color, to take account of the different screen angles.
• If you are preparing a job for a printing press, you can create separate calibration
curves for output to film and output to a printing press. If you are not using Harlequin
ColorPro, you can retarget a job from its intended printing press to another printing
press, using a separate calibration set to remove the compensation for the gain of the
intended press. See “Press calibration” on page 339 for a discussion of the background
issues.
Note to OEMS: OEMs can configure the Harlequin MultiRIP to use a different calibra‐
tion target for each output device.
• Tone Curves allow you to make another set of color adjustments, in addition to the
device calibration and the press calibration. See “Tone curves” on page 339 for details.
• You can use different measuring systems, as appropriate for the kind of output device
and measuring instruments.

Additionally, these features are arranged so that is easy to add and use the advanced facilities
provided by the ColorPro options. The extra facilities and changes of procedure associated
with ColorPro are described in the separate Harlequin ColorPro User’s Guide.
12.3.1 Accessing calibration functions

The Harlequin MultiRIP Output menu contains the Print Calibration and Calibration Manager
commands. The Calibration Manager is also available from an icon button alongside the Cali-
bration drop‐down list in the Edit Page Setup dialog box.
Use the Print Calibration command to display the Print Calibration dialog box. From here, you
can print test strips (targets) which enable you to measure the characteristics of your output
devices.
Note: If calibration strips are used the Overprint preview option is disabled. See “Notes on
Overprint preview” on page 397.
Use the Calibration Manager command to display the Calibration Manager dialog box. This
allows you to create and edit calibration sets using measurements from test strips or pub‐
lished figures, and to enable or disable the use of particular calibration sets. The consequence
is that you can adjust for day‐to‐day or printer‐to‐printer variations in ink density and simi‐
lar variations in the exposure of imagesetters and platesetters.
12.3.2 Calibration sets

A calibration set is a piece‐wise linear curve that maps requested tint levels to actual tint levels
and has some associated information including the intended output resolution, exposure, dot
shape, range of screen frequency, and negative / positive settings that the calibration set has
been prepared for. Whenever you select one or more calibration sets in the Edit Page Setup
dialog box, the RIP uses those calibration sets to output jobs.
12.4 Example procedure

The following procedure outlines basic cases in which you can create and apply a calibration
set for a simple monochrome or color device driven directly by the RIP. The same principles
apply to more complex cases involving color devices and printing presses.
12.4.1 Devices and requirements

Although an imagesetter is not a multi‐color device, you can create a separate calibration
curve for each color, to take account of the different screen angles.
To create calibration sets, you need a reliable and accurate densitometer that is reflective for
paper and transmissive for film. The densitometer that you select should ideally display dot
coverage in percentage terms, rather than simple density readings, since calculating coverage
by hand is time‐consuming and prone to errors.

12 Calibration
12.4.1.1 Devices requiring exposure settings

The procedure for a device such as an imagesetter needing a correct exposure setting is:
1. Where appropriate, establish the correct exposure for the device.
2. Print and measure a calibration target.
3. Use an Edit dialog box to enter the data and label it with the information describing its
use. You may also want to inspect the resulting curve and smooth or edit the data val‐
ues. This is where you name the calibration set.
4. Apply the calibration set you have created and check that it provides good output.
Section 12.4.2 through Section 12.4.5 describe these steps in more detail.
12.4.1.2 Devices without exposure settings

The procedure is simpler for a device that does not have an exposure control, such as a color
inkjet printer supplied with reference calibration sets.
Note: It is very unlikely that you will achieve good results if you try to use an inkjet printer
without a reference calibration set (or other control of ink delivery). The typical response of
an inkjet printer in its raw state is to produce very dark images and deliver so much ink that
there are severe problems with drying time or ink running across the printed page.
Supplied reference calibration sets or calibration profiles define an ideal or ‘reference
printer’. Using a reference calibration set greatly improves output, but the response of your
printer (the ‘user printer’) may differ from the reference printer because of small but inevita‐
ble variations between printers. You may be satisfied with the reference calibration. To obtain
the best output you can calibrate the user printer so that it responds in the same way as the
reference printer; this produces your own calibration set that you can use in your Page Setup,
and edit or update as required.
When you create a Page Setup the Calibration entry must match the combination of device,
media, and resolution being used. This is true for both supplied calibration profiles and your
own calibration sets.
Note: You can tell apart supplied calibration profiles and calibration sets that you have cre‐
ated because most supplied calibration profiles appear in the Edit Page Setup dialog box
with parentheses ( ) around the name shown in the Calibration list. See the documentation
for the relevant output plugin if you are in any doubt about identifying the entries in the
Calibration list.
The Page Setup you use to print a target can use either kind of Calibration entry:
• To create your own calibration set for a device for the first time your Page Setup must
use a supplied calibration profile for the device.
• To edit your own calibration set your Page Setup must use that calibration set.

Once you have identified or created an appropriate Page Setup, follow the steps below to
print a target using this Page Setup:
1. Use the menu option Output > Print Calibration and choose your Page Setup in the From
Page Setup(s) list.
2. Choose the type of target that you wish to print from the Print For menu. Process
Colors only is often suitable. See “Print Calibration dialog box” on page 343 for
details of all these options.
3. Prepare your printer—for example by loading the correct paper and click Print uncali-
brated target. (Enable output in the Output Controller if necessary to get a printed tar‐
get.)
Note: You must print the target on the paper for which the calibration profile or set was
created in order to obtain an accurate calibration set.
4. Wait for this target to dry thoroughly before attempting to measure it. Even when a
target appears dry, It can take ten minutes or more for some combination of inks and
media to stabilize completely so that the colors are no longer changing and the target is
unaffected by handling.
You can then follow the rest of this overall example procedure from “Creating a calibration
set” on page 330.
12.4.2 Choosing the correct exposure

For devices such as imagesetters where calibration is performed with respect to dot area cov‐
erage, the first step is to ensure that your output device is set up with the correct exposure.
Attempting to calibrate an imagesetter with badly adjusted exposure settings will waste a lot
of time and film, and may lead to undesirable effects at plate‐making time, such as variable
dot gain. Run a series of test pages at varying exposures to determine the setting required to
give a solid black and a clear white.
You are likely to need to select a different exposure for each combination of media and reso‐
lution. Halftone frequency and dot shape will not affect required exposures significantly.
However, the media and the chemistry of the developer used can make a big difference: sta‐
ble developer chemistry is very important for accurate calibration.
12.4.2.1 Printing exposure tests

Choose an appropriate Page Setup. This should set the correct output device, output resolu‐
tion, and negative / positive settings, dot shape, and screening details if appropriate. The dot
shape and screening details are set in the separations style of the Page Setup. The exposure is
unimportant at this stage: you will override it to make the test print. “Creating a calibration
set” on page 330 describes how to create a calibration set for this Page Setup.
Note: If you are using a drum device with variable film feed, you will usually want to rotate
the page or select film saving when printing test strips. See “Advanced Media Saving” on

12 Calibration
Choose Output > Print Calibration. The RIP displays the Print Calibration dialog box, shown in

Figure 12.2.
Figure 12.2 Print Calibration dialog box
Select an appropriate Page Setup in the From Page Setups list.

Note: If you forget to choose a Page Setup, the RIP uses the one that you chose last time you
used the Print Calibration command. If you have not used the Print Calibration command in
this RIP session, the first Page Setup in the list is used. To change the order of this listing, see
“Reordering Page Setups” on page 93.
Note: Some settings in the chosen Page Setup are ignored or altered—notably those in a
ColorPro color management option that would change the color of a graphic object.
Each button creates a slightly different target (test strip) or series of targets. To create the
appropriate series of targets for the example procedure, you need to set up some values and
then click Print exposure sweep.
Note: If your output device does not support software exposure control, run the tests manu‐
ally instead, according to your output device manufacturer’s instructions. Typically: set the
exposure manually, click Print uncalibrated target, and repeat for each exposure value.
Print exposure sweep uses the values in the associated From, To, and Step text boxes to print
test strips at each of several exposures in the range.
For HMR 10.1r2 the following restrictions are placed on the page setups containing groups
that can be used to print calibration strips.
• It is not possible to print either uncalibrated or calibrated device targets from page
setups containing a group for the Device.
• It is not possible to print calibrated press setups from page setups containing a group
for the ActualPress.
Therefore, if none of the buttons are enabled in the Print calibration dialog you should check
whether the page setup contains groups.
For more information on Groups see “Calibration groups” on page 356.

12.4.2.2 Messages
Calibration and color management is setup as normal when running a calibration target. This
is different to previous behavior where it was not setup. At the start of the target procset,
everything that has to be turned off is turned off.
The target procset now gets information about its environment from PostScript language
data in setcalibration and various color management operators. Therefore, calibration
and color management must be setup normally for this information to be present.
A manifestation of this is that when running calibration targets the normal messages for cali‐
bration and color management are displayed, followed by a number of extra ‘switched off’
messages, for example:
Setup loaded: "Default Page Setup"
Starting Job On, 24 April, 2010 10:27:13 AM
Using Color Setup "testing"
Using calibration for device "Glossy Photo Hvy 720"
Color management switched off for calibration job
Tone curve calibration switched off for calibration job
Intended press calibration switched off for calibration job
Actual press calibration switched off for calibration job
Device calibration switched off for calibration job
Running Uncalibrated Target for Default CMYK + spot colors target:
Only the relevant messages appear, that is, if color management is not enabled, its ‘switched
off’ message will not appear.
12.4.2.3 Acceptable exposure values

The ranges of values that you can enter into the From, To, and Step text boxes are dependent
on the output device. On several types of device, the values do not form a continuous range.
Read the manual for your output device carefully before entering any values.
The Harlequin MultiRIP makes exposure tests over a range of exposure values by starting at
the first exposure value that you want to produce, and then at regular steps up to and includ‐
ing a last exposure value. For example, if you want to print test pages at exposure settings of
120, 125, 130, and 135, then type 120, 135, and 5 into the boxes. Typically, each test page is just
over 2 inches long.
Care: If you are using an output device where increasing exposure values do not necessarily
mean increasing laser intensity smoothly at the film surface, take care in selecting the settings
for this dialog box. If necessary, print out two sweeps—for example, 225 through 230 and 100
through 120.
12.4.2.4 Checking the target

Each of the test pages should look like that in Figure 12.3 unless you choose a composite
‘Separations, Screening & Color’ Style in which case you will output a vertical exposure test
page with all colors on a single page. In addition, if you choose CMYK halftone output you
will produce four individual test pages, one for each separation. (Test pages designed for use
with densitometers that move the media automatically may look slightly different, often hav‐

12 Calibration
ing one strip of patches for each color, and it is possible to have custom targets supplied with
each output device driver.)
Figure 12.3 Uncalibrated exposure sweep test page
If you have a densitometer, select the correct exposure by reading the density values of the
two squares labeled D Max/Min on each of the test pages from your exposure sweep. (Mea‐
sure both squares to check for a uniform exposure across the page.) Optimum density varies
from material to material, but generally a densitometer reading of between 3.5 and 4.0 is
acceptable for film, and between 1.8 and 2.0 for paper. (The densitometer should of course be
switched to give density readings rather than dot percentage readings.)
If you do not have a densitometer, you can still use this page to select an approximate expo‐
sure setting: study the fine detail in the bottom left of the page, and select the exposure that
gives clear, fine white detail in black areas and vice versa. As an additional guide, you should
be able to tell the difference between the 0% and 2% tint panels, and between the 98% and
100% panels. (These figures are for film or bromide: inkjet output can be black from the 80%
patch upwards.)
Keep the strip that you decide has the right exposure: you can measure values from it to cre‐
ate the calibration set. If you think a value falling between those used in your exposure sweep
might be better, print a new target at that exposure. For example, set Exposure in the Edit
Page Setup dialog box and then use Print uncalibrated target. You can only set the Exposure in
the Edit Page Setup dialog box if your output device supports software exposure control, oth‐
erwise the option is grayed out.
12.4.3 Creating a calibration set

You can create a calibration set after you have measured data from a target or obtained it
elsewhere: for example, from a manufacturer’s specification for the device.
Choose Harlequin MultiRIP > Page Setup Manager. The RIP displays the Page Setup Manager.
Select the Page Setup for which you printed the exposure test (or single calibration target)
and click Edit. In the Edit Page Setup dialog box, set the Exposure to the chosen value. If your
output device does not support software exposure control, the Exposure option is grayed out
and you may have to set the exposure manually.
Click the Calibration Manager button to open the Calibration Manager, shown in Figure 12.4.
This button is next to the Calibration and Tone Curves drop‐down lists.
Calibration sets are grouped by device and by color space. When you open the Calibration
Manager from the Edit Page Setup dialog box, the RIP displays the calibration sets for the
current device and current color space, if any have been created. The choice of separations

style determines the color space. When you first open the Calibration Manager after install‐
ing the RIP, the list box is empty.
If you open the Calibration Manager using the Output > Calibration Manager command, select
the appropriate device from the Device drop‐down list and, if necessary, select a color space
from the Color Space drop‐down list.
Figure 12.4 Calibration Manager dialog box
The column headings are various properties of a calibration set. The first column in the list is
the name of the calibration set, the second is the group to which the calibration set belongs,
and the last column is the edited or unedited status of the calibration. Each of the remaining
columns in the list corresponds to the name of one of the Warning / Selection Criteria in the
Edit Calibration dialog box. See “Calibration Manager dialog box” on page 345 for full
details.
Click New to create a new calibration set for the first time. The RIP displays an appropriate
version of the Edit Calibration dialog box.
Subsequently, you will probably edit the set, as described in “Editing calibration sets” on
page 334.

12 Calibration
12.4.4 Entering the data

When you edit a calibration set, the RIP displays the dialog box shown in Figure 12.5.
Figure 12.5 Edit Calibration dialog box
If you leave the Edit calibration dialog by selecting Cancel the new values will not be saved
and the calibration will work as before. If however, you decide to save the new values the cal‐
ibration will work using the default curve and will produce more accurate results.
When you click New to create a new calibration set, you enter the Edit Calibration dialog box
for an uncalibrated target with all Warning / Selection Criteria boxes empty. The Warning /
Selection Criteria list the resolution, dot shape, screen frequency, and so on that this calibra‐
tion set is intended to work with.

At least, you must:
• Name the new calibration set.
• Show what kind of values you are measuring.
• Provide data values.
You should also use the Warning / Selection Criteria boxes to show which settings the
calibration set is intended to work with.
“Edit Calibration dialog box” on page 349 describes how to use all the items in this dialog
box, but this short procedure mentions the essential items:
1. Type a name into the Name text box.
2. Choose the type of measurement you are making from the Measurements as pop‐up
menu drop‐down list.
3. Measure the dot coverage percentages from densitometer readings taken from the
target that you chose in the procedure “Choosing the correct exposure” on page 327
and enter these values into the labeled boxes for calibration data. (The Import button
allows you to import data values taken from a file, which can be generated by a sepa‐
rate program, Genlin. See Appendix C, “Using Genlin” on page 427 for use of the pro‐
gram and see page 354 for details of how to read the file.)
Note: Each value you enter must be consistently greater than the preceding value (or
less than it if you are using a negative film or meter).
The Smooth button allows you to smooth the ends of the graph (and by doing so, the
values of the calibration set) in small steps. If a set of values are out of range or non‐
monotonic a warning will appear when you try to exit from the dialog.
4. In the Warning / Selection Criteria panel, enter the settings used to create the target: reso‐
lution, dot shape, screen frequency, exposure, and say whether it applies to both nega‐
tive and positive settings.
Note: If you create a calibration set from the Edit Page Setup dialog box, you need only
select the Warning / Selection Criteria check boxes. The RIP takes the default settings
from the Page Setup you are editing.
Click OK to save the calibration set.
You can create a new calibration set, or save all the changes you have made to date by click‐
ing OK in the Calibration Manager.
You can create or edit a calibration set in the Calibration Manager, even if you do not want to
use it in the current Page Setup. Once you have saved the new calibration set by clicking OK
in the Calibration Manager, it will remain even if you Cancel the Edit Page Setup dialog box.
If you opened the Calibration Manager from the Edit Page Setup dialog box, you can also
save the changes by clicking Select. In addition to saving the changes, using the Select button
displays the selected calibration set in the Calibration control in the Edit Page Setup dialog
box.

12 Calibration
If you click Cancel in the Calibration Manager, you discard all changes to calibration sets that
you have made since you opened the Calibration Manager.
When you edit a calibration set for color data, the procedure is very similar, except that you
must enter data for each color channel. Note that although an imagesetter is not a multi‐color
device, you can create a separate calibration curve for each color, to take account of the differ‐
ent screen angles.
12.4.5 Applying the calibration

You must select a calibration set from the Calibration drop‐down list in the Edit Page Setup
dialog box in order to use it. Subsequently, you can save the Page Setup and recall both the
Page Setup and its corresponding calibration set as required.
Select your new calibration set in the Edit Page Setup dialog box, and click OK to save your
changes and close the dialog box. Click OK in the Page Setup Manager.
Return to the Print Calibration dialog box, choose the Page Setup in which you have chosen
the new calibration set, and click Print calibrated target. You should see improved tonal ren‐
dering in the calibrated target.
Measure the tint values on this calibrated target. If the values are wrong in any patches,
reread these tint patches on the original exposure sweep target, and edit the values in the cal‐
ibration set again.
12.5 Editing calibration sets

The procedure described in “Example procedure” on page 325 is adequate for creating new
calibration sets. This section describes how you can choose a strategy to keep calibration up
to date, choose which calibration sets to use, and edit existing calibration sets.
There are three more general sections: “Consistency of calibration” on page 337, discusses
establishing and maintaining calibration; “Tone curves” on page 339 describes tone curves
calibration; and “Press calibration” on page 339 describes press calibration.
For details of the individual dialog boxes, see “Print Calibration dialog box” on page 343,
“Calibration Manager dialog box” on page 345, and “Edit Calibration dialog box” on page
349.
12.5.1 Establishing a workflow

There are three possible workflows for maintaining calibration:
• Historical record.
• Recalibrate every time.
• Adjust for drifts in calibration.
It is usually best to use the same method for any one device. It is possible to change from one
to the other, but you may see values in the Edit Calibration dialog box which, though correct
predictions, are not values you recognize because they have been calculated by the RIP.

Historical Sometimes it is desirable to keep a historical record of calibration sets.
In this case, an uncalibrated strip or target is printed on each occasion
when calibration is carried out, and a new calibration set created (with
the New button). The new calibration set must be selected explicitly in
the Edit Page Setup dialog box each time.
Recalibration This is the conventional method. Here an uncalibrated strip is printed
each time calibration is required. On the first occasion, a set is created
with New. On subsequent recalibrations, Edit from uncalibrated target is
selected and the values in the dialog box changed to reflect the new
readings from the strip. Then a calibrated strip is printed and the lin‐
earity of the result is checked, and if the linearity is unsatisfactory
another uncalibrated strip is printed to correct the flaws. (The new cal‐
ibration values are in the existing set, so there is no need to select a
new calibration set in the Edit Page Setup dialog box.)
Adjustment Here a calibrated strip is printed on each occasion (except the first
when an uncalibrated strip is printed to enter the values with New).
Edit from calibrated target is selected. This should then show the perfect
values. If the device has changed, these values will be a little in error
and the new values can be entered. A second calibrated strip can be
printed to check the result. (Again, the new calibration values are in
the existing set, so there is no need to select a new calibration set in the
Edit Page Setup dialog box.)
Note: When working in density rather than percent dot, it is not imme‐
diately obvious what the correct values should be; Edit from calibrated
target provides this information.
However, whatever method is adopted, the most important rule is to match the edit com‐
mand to the type of target. To be explicit:
• When entering measurements using uncalibrated test strips, always do so with Edit from
uncalibrated target (or New).
• When using calibrated test strips, always do so with Edit from calibrated target.

Calibration will be completely wrong if you do not follow this rule.
12.5.2 Variations on the Edit Calibration dialog box

When you edit a calibration set, the RIP displays the dialog box shown in Figure 12.5, page
332. This dialog box lists the resolution, dot shape, screen frequency, and so on that this cali‐
bration set is intended to work with. You can change these settings as necessary. See “Edit
Calibration dialog box” on page 349 for details of all controls.
There are variations on this dialog box for calibrated and uncalibrated targets and for tone
curves, printing presses, and other devices. These variations include the nature of the values
you enter to define the curve and the color channels you can select.

12 Calibration
The title of the dialog box changes to show the kind of target and the device. The general
form of the title is:
Edit <calibrated/uncalibrated> target for <Device name>
<calibrated/uncalibrated>
depends on which edit button you clicked in the Calibration Manager.
<Device name>
is the selection in the Device drop‐down list in the Calibration Man‐
ager.
When you edit the calibration set for a printing press, the differences are:
• The presence of a Press drop‐down list in the Warning / Selection Criteria panel. In this
case the default calibration set is determined by the selected profile.
• You can specify the usual Warning / Selection Criteria options, except Use for Pos & Neg
is always checked and disabled.
• The types of measurements available in the Measurements as drop‐down list.
When you edit the calibration for tone curves, the differences are:
• For tone curves you can specify the usual Warning / Selection Criteria options, except
Use for Pos & Neg is always checked and disabled.
• The Force solid colors option is unavailable.
12.5.3 Choosing and labeling calibration sets

It is important to choose a calibration set that is appropriate for the job you are processing. If
you set the Warning / Selection Criteria for a calibration set, the RIP warns you if the settings
in the Page Setup or job conflict with these criteria. By setting a Page Setup option, you can
tell the RIP to abort any job that fails the criteria. See “Warning / Selection Criteria panel” on
Name the calibration set carefully, so that you can identify all the parameters associated with
it. For example, it may not be sufficient to name the calibration set with the chosen resolu‐
tion, since the dot shape and line frequency could also affect the calibration.
Most settings have obvious single values. Screen frequencies and positive / negative settings
need some discussion.
Screen frequencies are given as a range to indicate the range of frequencies for which the set
is valid. It is a good idea to start by working out which frequencies you expect to use—for
example, 85, 100, 112, 120, 133, 150, 175 lpi, and so on. You can then create ranges centered on
each of these values—for example, 75 to 93 lpi, 93 to 106 lpi, and so on. You do not have to
create calibration sets for the full range of frequencies—you may find, for instance, that the
lower frequencies do not need calibration, either because the output device is fairly accurate
at these values, or because the work you do at those frequencies does not demand accurate
output. Also, it may be that the same calibration set will apply to a wide range of frequen‐
cies—for example, 100–300 lpi.

You must inform the RIP about the various combinations of positive and negative output and
measuring devices.
The Measurements as drop‐down list allows you to tell the RIP which densitometer mode you
used when performing your density readings. Some densitometers read in positive dot, others
in negative dot (that is, a clear area may read 0 (zero) or 100).
For a monochrome device, you can specify what kind of output you are measuring using the
Negative media check box.
The Use for Pos & Neg check box allows you to record whether the RIP can use this calibration

set for both positive and negative output, or only one. The default setting of this box
(selected) is usually the best to use, but for very accurate calibrations, apply this setting only
to Euclidean dot shapes. (See Chapter 6, “Screening” for a description of Euclidean screen‐
ing.) When this check box is not selected, the RIP uses the calibration set only for positive or
negative, as set in Negative media.
12.5.4 Saving calibration sets

Click the OK button to save the calibration set. You can then edit a different calibration set,
create a new calibration set, or save all the changes you have made by clicking the OK button
in the Calibration Manager. If you opened the Calibration Manager from the Edit Page Setup
dialog box, you can also save the changes by clicking the Select button. In addition to saving
the changes, the Select button displays the selected calibration set in the Edit Page Setup dia‐
log box.
If you click the Cancel button in the Calibration Manager, you lose all the changes to calibra‐
tion sets that you have made since you opened the Calibration Manager.
12.6 Consistency of calibration

Once you have produced a number of calibration sets for a device, you must be sure that they
continue to be accurate to an acceptable degree, and that you use them appropriately. This
section describes what to do and check in routine use.
12.6.1 Checking calibration

Once you have produced a calibrated output successfully, you need only check that the cali‐
bration remains stable. Do this at suitable time intervals, which may vary from twice a day to
once a month—depending on your requirement for accuracy and what you learn about the
stability of your systems.
Even if you check calibration sets only occasionally, always check them when your imaging
or processing environment changes—for example, when you load film, ink, or ribbon from a
new production batch, or change your processor speed or temperature. In many cases, it may
also be advisable to check exposure settings.
To check the calibration, click Print calibrated target in the Print Calibration dialog box and
measure the density of the tint panels.

12 Calibration
If the value for any tint panel drifts outside your acceptable range, you can use data from the
calibrated target to correct the calibration set. You need record only the values that are in
error. Display the Calibration Manager dialog box, select the calibration set, and then click
Edit calibrated target. In the Edit Calibration dialog box, enter the newly measured value or
values. (Alternatively, you can click Print uncalibrated target in the Print Calibration dialog
box, read all the densitometer values from that target, and then use Edit uncalibrated target to
edit the calibration set appropriately.)
12.6.2 Assessing attainable accuracy

It is relatively easy, using these procedures, to maintain the accuracy of calibration data on an
imagesetter using film. This accuracy can be within 2% of a perfect result. The accuracy
obtainable with bromide paper is far lower, and it is not feasible to maintain densities closer
than about 5%. (One reason for having a less accurate requirement for bromide paper is that
two densitometers are likely to show much larger differences when measuring the same
piece of paper, than when measuring the same piece of film.)
When assessing your required level of accuracy, take into account the accuracy of the imag‐
ing engine itself: an imagesetter rated as having a variation of less than 2% across the film can‐
not be expected to be able to produce work calibrated more closely than this.
Some reasons for inaccurate imaging are:
• A coarse screen may not be able to reproduce an exact percentage value or may pro‐
vide varying readings depending on where in a patch a density reading is taken.
• Values intermediate between patch values are interpolated. This process is never per‐
fectly accurate.
• Some imaging technologies produce variations in tones depending on where in the
page the tones are located, and some produce output that depends on the tones in
neighboring areas of the page.
Other, variable, factors that can significantly affect calibration results include the following:
• The temperature (especially the consistency of the temperature) at which the imageset‐
ter and the film processor are maintained.
• The length of time and the temperature at which film, paper, or ribbons are stored.
• Whether the processor is used for other materials (for example, duplication film) as
well as imagesetter film.
• The time between photographic processing and measurement. Many films have a colo‐
rant that fades rapidly after processing.
• The time and storage conditions between printing and measurement. The output from
inkjet and dye‐sublimation printers can alter significantly over a period of weeks, or
even hours if subjected to bright sunlight.
Reasonable calibration can normally be achieved easily, but for very high quality calibration
a considerable amount of care in setting up and controlling the imagesetting environment is
required.

12.7 Tone curves
Tone curves allow you to make another set of tone or color adjustments, in addition to the
device calibration and the press calibration. In a properly controlled workflow you should
have little need to use tone curves but you may find that they offer a quick and effective way
of working around short‐term difficulties such as lack of calibration facilities or badly formed
jobs that you cannot easily correct in the job.
For example, you may have to process a particular set of images where the correct calibration
does not produce an acceptable printed result. There are two common cases. You may be able
to produce a tone curve using exact data, perhaps coming from a known setting in scanning
or later processing. Alternatively, you may wish to emphasize a color or tonal range in
response to artistic direction, such as a request to boost the mid‐tone magenta component by
10%.
In all cases, the tone curve is an exact record of what you have done, kept separate from the
device and press calibrations.
12.7.1 Creating and using tone curves

To create tone curves, select the Tone Curves device in the Calibration Manager. Create the
calibration set for the tone curves in the usual way, entering data values for the patches and
possibly using Smooth.
You apply tone curve calibration sets using the Tone Curves drop‐down list in the Edit Page
Setup dialog box.
For the Harlequin MultiRIP tone curves behave in the opposite sense to device and actual
press calibration curves. This normally means that you enter higher values where you wish
to see more output.
For example, assuming a positive‐reading system where 0% is no output and 100% is full
density or coverage, enter values higher than the nominal values of the patches to produce
more output for a given input.
12.8 Press calibration

Press calibration allows the RIP to make press adjustments to the density of the ink on paper
on a printing press independently from the intermediate medium (usually film) used to pre‐
pare printing plates.
Press calibration can also be set up to work in absolute density measurements instead of half‐
tone dot area coverage, which means the actual color can be predicted rather than just its
relationship to the maximum and minimum densities, as on film.
Press calibration provides these facilities:
• The press can be put into the same state as some reference state.
Though this can often be achieved by adjusting press controls, the RIP provides a finer
degree of tuning than just the maximum density or midtone controls common on the
press.

12 Calibration
• The press can be accurately tuned for Harlequin ColorPro.
• An adjustment can be made for a different press from the one for which the job was
originally prepared.
This might be needed because it really is a different machine, or because the dot‐gain
characteristics have changed over time: for example, as the blankets have worn.
• An independent adjustment can be made to compensate for changes to the job after
scanning and so on, which affect the gain on press, such as substitution of HDS
screens.
• The gain of the press can be expressed in relative terms.
This form is common in manufacturers’ documentation: for example 20% at 70%, rather
than the more common measure on film as 70% reads 90% (which is equivalent).
• Readings can be estimated from a small number of data points supplied by the manu‐
facturer.
12.8.1 How does press calibration work?

Conventionally, a color job is prepared by combining scanned pictures with application‐gen‐
erated text and graphics. In this process there are two assumptions made:
• The film to which the resulting raster will be first directed is linearized, that is if the job
requests a 25% gray value, a densitometer would read 25% on that area of the film.
• The press will gain further—a lot further usually—and the scanner operator takes this
into account when preparing a scan. This means the scanner operator must know or
guess the gain of the target press. It also means that the colors in application‐generated
graphics are similarly produced by guesswork, experience, or by reference to samples
printed on a similar press (previous work, or more likely chosen from swatches in an
appropriate PANTONE Color System or from a system with a similar intent).
The consequence is that if the gain of the press is not as expected, then the job will not print
correctly. This might be because:
• It is not the press originally intended.
• The dot gain has changed (or was never known).
• The dot gain was assumed for some particular rendering process, which has changed.
For example, you may be using a HDS screen which gains more on press than conven‐
tional screens. The film can be linearized as normal, and a further adjustment made to
account for the difference between the HDS screens and the conventional screens. By
separating the two adjustments, it is now possible to linearize to film again without
having to repeat the whole process.
Whichever of these reasons holds, the job has the gain of the press already accounted for.
This means that the overall effect of calibration in the output path is to first apply any pri‐
mary calibration to remove compensation for the gain of the intended press, and then to
compensate for the gain of the actual press.

Note that the intended press calibration is not available when ColorPro is enabled. Instead,
ColorPro provides several options for processing color data ahead of the transfer to press:
these options include emulating the output of one press on another type of press. For details,
see the separate Harlequin ColorPro User’s Guide.
For this reason, the process is split in two:
1. You give the gain (expressed as a calibration set) of the intended press, which may be
one of:
• A standard press
Some standard presses are built in to the Harlequin MultiRIP.
• A variation on a standard press
A typical variation is, for example, an extra 5% gain at 50% over SWOP Type 1
printing but with essentially the same shape of gain curve. You can create such cali‐
bration sets in the RIP by extrapolation from the standard curves provided with
the RIP.
• A real press
This press might be one of a group of similar presses, another of which may be
used to print the job. Alternatively, this same press may actually print the job, but
can no longer print with the same gain as assumed when making the scans.
2. You give the gain of the actual press. The calibration here is expressing the adjustment
needed to put the press back into its reference state (what the press looked like when
first calibrated), which is not usually a linear state, but the characteristic dot‐gain curve
of a printing press.
The RIP can then do the calculations which account for the difference. This separation allows
the actual press behavior to be accounted for without needing to remember what differences
to apply manually.
12.8.2 Alternative uses of press calibration

It is also possible to work in two alternative ways, which are uncommon at present, but
which we expect to become more common in the future:
• Scan to linear
Here the scanned images and application graphics are produced assuming the mea‐
sured response of the press, rather than the film, will be linear. The RIP provides a spe‐
cial (None) calibration set which can be used as the intended press for use in this
situation.
• Press is linear
Here the press is indeed set up to produce a linear response, but the job is not expect‐
ing this. In this situation, the (None) calibration set would be chosen for the actual
press, or more likely some calibration set, derived from (None), that will bring the
press back to its required linear state. This is similar to printing to a full‐color desktop
printer.
Of course, it is possible to work with both of these ways simultaneously.

12 Calibration
A special case of linear scans is device‐independent color data—images where the colors are
expressed in CIE L*a*b* for example, or held on Photo CDs in YCC format. Here, Harlequin
ColorPro is required to accurately reproduce the intended color, and in this case only the
actual press calibration set is used. This is also the case if CMYK colors are converted to
device‐independent colors first by ColorPro—in that case the gain incorporated in the job is
accounted for during the conversion by ColorPro.
Lastly, note that press calibration is not a substitute for ColorPro. Calibration can compensate
for changes in response of the individual process colors, but it cannot account for variations
in colors of inks and dyes. Therefore if the actual and intended presses are significantly dif‐
ferent processes (a proofing device and a press for example, or two entirely different kinds of
press), the colors cannot be accurately reproduced using only calibration.
12.8.3 Direct to press

There are two ways of calibrating for working direct to press.
• You can assume a linear imagesetter and calibrate for the actual press as normal. In
this case, set the device calibration to linear: (None).
• You can assume a linear actual press and calibrate for the device as normal. In this
case, set the actual press calibration to linear: (None).
12.9 Using a combination of calibration sets

If you are printing to a direct output device, the Page Setup can include a calibration for the
output device and a tone curve calibration. The RIP applies any calibration sets specified in
the Page Setup in this order:
1. The Tone Curves calibration.
2. The device Calibration.
If you are preparing a job for a printing press, the Page Setup can include an imagesetter cal‐
ibration, a tone curve calibration, and calibrations for the intended and actual presses. The
RIP applies any calibration sets specified in the Page Setup in this order:
1. The Intended Press calibration (to remove compensation for the gain of the intended
press).
2. The Tone Curves calibration.
3. The Actual Press calibration (to compensate for the gain of the actual press).
4. The device Calibration (the calibration for the imagesetter).
The Intended Press calibration is not available when ColorPro is enabled. Instead, ColorPro
provides several options for processing color data ahead of the transfer to press: these
options include emulating the output of one press on another type of press. For details, see
the separate Harlequin ColorPro User’s Guide. The calibration set specified in Actual Press is
always used.
The default curve, which is a device correction curve, is applied before any other calibration.

12.10 Print Calibration dialog box
Choose Output > Print Calibration to display the Print Calibration dialog box, as shown in
Figure 12.2, page 328.
You can select which Page Setup to apply while printing a test strip or exposure sweep by
choosing an entry from the list in this dialog box. If you select several entries then, when you
click the button to print the appropriate target, the RIP prints one test strip or exposure
sweep for each Page Setup you have selected.
Note: Some settings in the Page Setup are ignored or altered—notably those in a ColorPro
option that would change the color of a graphic object.
There may be different, distinct targets for each output device or type of device.
If the output format supports additional colorants (spot colors), you can choose to print the
calibration for Process Colors only, Spot Colors only, Process & Spot Colors, or for
Monochrome only by selecting from the Print for drop‐down list. The output format is deter‐
mined by the separations style of the Page Setup.
The Monochrome only option supports calibration of a monochrome device such as an imag‐
esetter. Choose this option to print a single calibration strip for a Page Setup that normally
generates separations. (This ability removes any need to produce a Page Setup used only for
calibration.)
12.10.1 Buttons
Clicking a button prints at least one calibration target, and more if you have selected several
Page Setups using the From Page Setups list, as described in “Other controls” on page 344.
The options are:
Print uncalibrated target

Prints a target without using a calibration set—even if the selected
Page Setup has one or more calibration sets associated with it.
Print calibrated target

Prints a target using the calibration set or sets associated with the
selected Page Setup. If the output device has not changed since the cal‐
ibration set was created then the nominal density values and the mea‐
sured ones should be the same.
Print uncalibrated press target

Prints a target for a printing press without using a calibration set. You
must select a Page Setup that produces separated output.
Print calibrated press target

Prints a target using the calibration set or sets associated with the
selected Page Setup. You must select a Page Setup that uses an Actual
Press calibration set and that produces separated output. See “Press
calibration” on page 339 for more details.

12 Calibration
Note: The Default CMYK targets supplied with the RIP for Uncalibrated Target and Uncali‐
brated Press Target have the same number of patches.
Print exposure sweep

Uses the values in the associated From, To, and Step text boxes to print
test strips at each of several exposures in the range. This button prints
an exposure sweep for each selected Page Setup, so be careful you do
not produce more targets than you intend. This prints an exposure
sweep without using a calibration set—even if the selected Page Setup
has one or more calibration sets associated with it.
12.10.2 Other controls

These controls affect the contents and number of calibration targets produced by the buttons
described in “Buttons” on page 343.
Print for Choose the set of colors you wish to have printed on print test strips.

You may see just one option, usually Process Colors only, in this
list if your output device and the selected Page Setup do not support
spot colors.
If the output format supports additional colorants, you can also choose
to print the calibration for Spot Colors only, Process & Spot Col-
ors, or for Monochrome only. The output format is determined by the
separations style of the Page Setup.
From Page Setups

Select one or more Page Setups from this list, if desired.
From / To / Step
Print exposure sweep uses the values in these text boxes as, respectively,
the first, last, and increment values of exposure when producing an
exposure sweep. Take care to enter values so that the complete sweep
corresponds to valid exposure values for your output device.
For example, values of 100, 120, and 5 produce a sweep with expo‐
sures of 100, 105, 110, 115, and 120.
To recap, the From box is the first exposure setting, the To box is the last
exposure setting and the Step box is the size of the step. With values of,
From 100, To 150 and Step 5. You will get 11 exposures from 100 to
150 in steps of 5.
Change the Step 5 to Step 10 and you will get 6 exposures from 100
to 150 in steps of 10.

12.11 Calibration Manager dialog box
Click the Calibration Manager button in the Edit Page Setup dialog box or choose Output > Cal-
ibration Manager to display the Calibration Manager dialog box, as shown in Figure 12.4, page
331.
This dialog box helps you create new calibration sets and manage your existing calibration
sets. You can edit sets to keep them accurate by entering data from new targets or to adapt a
copy of an existing calibration set: for example, to make it apply to a related group of set‐
tings. Finally, you can delete any entry in the list by selecting it and clicking Delete.
Calibration sets are grouped by device and by color space. When you select a device from the
Device drop‐down list, the dialog box shows a list of calibration sets for that device and the
currently selected color space. If necessary, select the appropriate color space from the Color
Space drop‐down list.
The list of color spaces contains all the color spaces in which a separations style is defined for
the device. For example, if the device has separations styles defined in the Monochrome and
CMYK color spaces, then you can create calibration sets in the Monochrome or CMYK color
space.
Most entries in the Device list are direct output devices—imagesetters, platesetters, proofing
printers (and some preview options and file formats)—but there are also special entries for
Printing Press and Tone Curves.
The ways in which you create and use calibration sets for these types of entry vary.
Direct output devices
The way to create the calibration set is to print and measure a calibration target, as
described in this chapter.
To use a calibration set, in the Edit Page Setup dialog box, you can choose any calibra‐
tion set that was defined for the current device and current color space, in the Calibra-
tion drop‐down list. The choice of separations style determines the color space.
Although an imagesetter is not a multi‐color device, the calibration set for an imageset‐
ter contains a calibration curve for each color specified in the separations style, to take
account of the different screen angles used for these colors.
Note: A special example is the CIP3 output plugin. Its behavior with respect to calibra‐
tion is like that of a printing press, because its purpose to provide ink‐key data for use
with printing presses.
Printing Press
You can use this special device to calibrate the transfer from film to press. In general,
you do not create calibration sets for a press—though this would be possible, but
expensive, once you had created a calibrated output path to film or plate. A more
common way of working is to adjust the press to conform to one of the standard refer‐
ences such as SWOP (CGATS TR001) or a BVD‐FOGRA standard and to use the corre‐
sponding calibration profile as supplied with the RIP.

12 Calibration
You apply a calibration set for the press that you are using by choosing its name in the
Actual Press drop‐down list in the Edit Page Setup dialog box. You can also adjust a job
prepared for a different press; do this by choosing a supplied profile or measured cali‐
bration for that different press in the Intended Press drop‐down list, and making the
normal choice for the press that you are using in Actual Press.
Tone Curves
This special device allows you to make another set of color adjustments in addition to
the device calibration and press calibration. Typically, you might create a tone curve
calibration by estimating the required change at one or two tonal values and then
extrapolating and smoothing to obtain the other data values.
You apply a tone curve calibration set using the Tone Curves drop‐down list in the Edit
Page Setup dialog box.
For the special devices, Tone Curves and Printing Press, the Color Space listing contains
all the color spaces for which a profile exists.
To edit an existing calibration set, select it in the list and then click either Edit from
uncalibrated target or Edit from calibrated target, as appropriate.
12.11.1 List headings and entries

The column headings are the various properties of a calibration set. The first column in the
list is the name of the calibration set, the second is the group to which the calibration set
belongs, and the last column is the edited or unedited status of the calibration. Each of the
remaining columns in the list corresponds to one of the Warning / Selection Criteria in the
Edit Calibration dialog box.
The values in the columns for Warning / Selection Criteria show the intended values for use
of each calibration set, as set in the Edit Calibration dialog box. The RIP will warn you if you
select the calibration set for a Page Setup with conflicting values. You should create a calibra‐
tion set for each combination of media and settings for resolution, dot shape, range of screen
frequencies, exposure, and negative/positive that you expect to use with each kind of device.
Use narrow ranges if you want high accuracy.
In the columns for Warning / Selection Criteria, you may see the following entries:
(Any) Shows that any value is allowed, so the RIP will not warn if you select
the calibration set. This corresponds to clearing the check box for the
warning criterion in the Edit Calibration dialog box.
(n/a) (not applicable)
Shows that the type of entry is not relevant to the device. For example:
Exp (exposure) is (n/a) if the device does not support exposure
control.
The individual columns are as follows, with the names used in the Edit Calibration dialog
box following in parentheses.

Name The name of the calibration set.
Resolution The resolution setting.
Dot shape The halftone screen dot shape or spot function.
Freq (Screen freq)

The halftone screen frequency.
Exp (Exposure) The exposure setting, if software controllable by the RIP. For example,

this option is not available for the None or Preview devices.
+ / - (Use for Pos & Neg)

This tells you whether the calibration set can be used for both positive
and negative output, as set by the state of the check box labeled Use for
Pos and Neg in the Edit Calibration dialog box.
The possible entries are:
Y if you can use the calibration set for both
N if the calibration is for only one of positive or negative
Profile (ColorPro only) or Press
Entries in the Profile column are n/a except when ColorPro is enabled,
when each entry shows which profile to associate with the calibration
set. When Printing Press is selected in the Device drop‐down list,
this column is labeled Press, but the behavior is the same. The default
calibration set is determined by the selected profile.
Note: A profile is used in ColorPro options to define the color perfor‐
mance of a combination of output device, media, and colorants.
If you create calibration sets in the RIP without ColorPro and subse‐
quently enable ColorPro, the RIP associates the Linear profile with
the existing calibration sets.
Status The Status column tells you about the source and whether the current
data for the given calibration set came from an uncalibrated target or a
calibrated target.
The possible entries are:
C for data from a calibrated strip
U for data from an uncalibrated strip
E if you have edited the data since entering the Calibration
Manager
D if you have viewed the default curve without editing it
See “Establishing a workflow” on page 334 for a discussion of why
you might use different types of target.

12 Calibration
E is an important entry in the Status column because it shows that you have uncommitted
changes for that calibration set, which affects the valid commands and the values you see in
the Edit Calibration dialog box.
If you select a calibration set with status E, you can only further edit the values in the same
way, so only the edit button that you have already used on that set is enabled. If you edit the
set, you see the entries you made in the previous edit.
When you click OK or Select in the Calibration Manager, the RIP commits the changes in all
edited calibration sets. Once committed, the status reverts to C or U, both edit commands are
enabled, and you see the perfect curve when you next view the calibration curve using Edit
from calibrated target. (Perfect, in this context means linear only in some measurement
systems.)
Once you have committed changes, the RIP can show you either the calibrated or the uncali‐
brated curve, for any future updating of the calibration.
Note: The same calibration set can have status U or C depending on the last target (and the
corresponding edit command) used to update it.
12.11.2 Buttons
Most buttons operate on multiple calibration sets. Only the two edit buttons require just one
selected calibration set.
Edit from uncalibrated target

Click this button to enter the Edit Calibration dialog box for an uncali‐
brated target produced on an output device or printing press.
Edit from calibrated target

Click this button to enter the Edit Calibration dialog box for a cali‐
brated target produced on an output device or printing press.
New Click this button to create a new calibration set. You enter the Edit Cal‐
ibration dialog box for an uncalibrated target with all Warning / Selec-
tion Criteria boxes empty. At least, you must name the new calibration
set and provide data values.
Copy Click this button to copy a calibration set. The RIP creates a new name
for the copy by adding characters (for example, ~[1] or ~[2]) after the
original name. If the name is longer than about 13 characters then you
can see the added characters only in the Name field of the Edit Calibra‐
tion dialog box, where you can also edit the name to be more meaning‐
ful.
Delete Click this button to delete the selected calibration set or sets. The RIP
generates a warning if the selected calibration set is used in a Page
Setup.

Note: You cannot delete a calibration set if you open the Calibration
Manager from within the Edit Page Setup dialog box.
OK Confirms the changes you have made and exits the dialog box.
Select This button is available if you opened the Calibration Manager from
the Edit Page Setup dialog box and if a calibration set is selected.
The Select button confirms the changes you have made and closes this
dialog box. In addition, using the Select button displays the selected
calibration set in the Edit Page Setup dialog box.
Cancel Closes the Calibration Manager, canceling all changes made since you
displayed this dialog box.
12.12 Edit Calibration dialog box

Figure 12.5, page 332, shows the Edit Calibration dialog box.
There are various ways of entering this dialog box, and corresponding variations in its
contents.
12.12.1 Entry methods and variations

There are three ways to enter the Edit Calibration dialog box, corresponding to buttons in the
Calibration Manager:
• New
• Edit from uncalibrated target
• Edit from calibrated target
These ways of entry allow you to follow most working practices. The choice is yours.
When you use the New or Edit from uncalibrated target buttons, the RIP creates a calibration
curve directly from the uncalibrated data values you enter.
When you use the Edit from calibrated target button, the RIP creates a calibration curve more
indirectly. In some circumstances and with some devices, this indirect approach can lead to
values that never settle to an error too small to measure; you may find that the residual errors
are acceptable or you may prefer to use Edit from uncalibrated target.
One way of regarding the process for Edit from calibrated target is to say that the RIP uses the
data values you enter from a calibrated target to detect imperfections in the existing calibra‐
tion and adjusts the calibration to remove them. Typically, these imperfections and the corre‐
sponding adjustments are small (compared to those for uncalibrated targets) and may
provide a better calibration curve than working from uncalibrated targets. Another advan‐
tage of working from a calibrated target is that it may allow the use of one fewer target—sav‐
ing both time and media.

12 Calibration
The RIP is supplied with default calibration curves for some output devices, each curve rep‐
resenting the linearized state of a typical device of the same kind. If you are using ColorPro,
the default calibration set is determined by the profile. Without ColorPro, the RIP uses the
Linear profile.
There are two special devices, shown in the Calibration Manager as Tone Curves and
Printing Press. When you edit a calibration set for one of these devices, the Edit
Calibration dialog box offers slightly different options (as described in “Variations on the
Edit Calibration dialog box” on page 335).
12.12.2 Checks in the Edit Calibration dialog box

There are various checks on the validity of the calibration curves as you change settings or
enter data, and more as you exit the dialog box. The RIP displays an appropriate warning
message if any of the checks suggest a problem.
12.12.3 Warning / Selection Criteria panel

It is important to choose a calibration set that is appropriate for the job you are processing. If
you set the Warning / Selection Criteria for a calibration set, the RIP warns you if the settings
in the Page Setup conflict with these criteria. In addition, when processing the job, the RIP
warns you if the settings in the job conflict with those in the calibration set. By setting the
Abort job if calibration is on, and the selected cal set does not match job option in the Page Setup
Options dialog box, you can tell the RIP to abort any job that fails the criteria. See “Abort if
calibration on, and the selected cal set does not match job” on page 156 for details. Otherwise
the RIP displays the warning messages in the Harlequin MultiRIP window.
Most of the controls in this panel are paired: a check box and a setting control. To make the
calibration set apply to a particular value or limited range of values for the setting, select the
corresponding box and then enter the value or values. If you do not select the box, the setting
is not tested and the Calibration Manager shows (Any) in the column for that setting.
Note: If you create a calibration set from the Edit Page Setup dialog box, the RIP takes the
default settings for the Warning / Selection Criteria from the Page Setup you are editing.
The Warning / Selection Criteria are:
Profile (not illustrated)
This warning criterion is available only with ColorPro and appears
only if your output device has more than one profile available. There is
no check box associated with Profile: if present, the profile is always
used as a criterion. The choice of profile determines the default calibra‐
tion set.
Press (not illustrated)
This drop‐down list appears in the Edit Calibration dialog box only if
you are editing the calibration for a printing press. There is no check

box associated with Press: if present, the press profile is always used
as a criterion. The choice of press profile determines the default cali‐
bration set. If ColorPro is not enabled, the RIP uses the Linear profile.
Resolution The resolution setting.
Dot shape The halftone screen dot shape or spot function.
Screen freq The halftone screen frequency. You can enter the lower and upper lim‐

its of a range of frequencies and choose the units in the accompanying
drop‐down list.
Exposure The exposure setting, if software controllable by the RIP.
Use for Pos & Neg

Select this box to show that the calibration set is suitable for both posi‐
tive and negative output. (This can apply only to monochrome
devices.)
Also select the Negative media box if you are measuring from negative
output, and use the Measurements as drop‐down list to show whether
you are measuring with a positive or negative reading densitometer.
12.12.4 Other controls

Name The name of the calibration set. If you alter the name shown here you
are renaming the set, not creating a new set.
This box is empty if you enter this dialog box by clicking the New but‐
ton in the Calibration Manager. You must enter a name before leaving
this dialog box.
Channel This drop‐down list contains the names of the channels defined in the
calibration set. Depending on the device, there may be one or several
channels. A monochrome device has a single channel, while a color
device has several channels labeled with the names of the colors. For
example: Cyan, Magenta, and Yellow are possible channels for a 3‐
color device. If the output device can support additional colorants, you
can add a channel for a spot color. The channel (Other colors in
job) allows you to specify a calibration curve for any spot colors that
do not have a separate calibration curve. Note that although an image‐
setter is not a multi‐color device, you can create a separate calibration
curve for each color, to take account of the different screen angles spec‐
ified in the separations style.
You must specify a separate calibration curve for each process color
channel to produce a valid calibration set. The RIP reminds you to
view the data for each channel to assess if it needs editing, as described
in “Exiting the Edit Calibration dialog box” on page 355. Note that you

12 Calibration
can also Copy the data from one channel to another channel.
The RIP does not allow you to change to another channel if the calibra‐
tion curve for the current channel is unreasonable. One example of an
unreasonable curve is a non‐monotonic one that rises but then falls
before rising again. In such a case, the RIP warns you and prompts you
to correct the curve before you can change to another channel.
Add To add a channel for a spot color, click the Add button. In the Add
Channel dialog box, select the name of the spot color from the drop‐
down list and click the OK button. The list of spot colors contains all
the spot colors named in the separations styles for the selected device
and color space.
Note that in the special case of the Tone Curves and Printing Press
devices, the list includes all the spot colors named in separations styles
for any device in the selected color space. This is because tone curve
and press calibration can be used with any Page Setup.
Copy If the data for one channel is similar to another channel, you can copy
the data and then edit it, rather than having to enter it again. For exam‐
ple, to copy the data from the Cyan channel to the Magenta channel,
first select the Magenta Channel and click the Copy button. Then, in the
Copy Channel Data dialog box, select the Cyan channel from the drop‐
down list and click the OK button.
For some devices, for example with an imagesetter, you might feel that
the calibration of the black channel is also adequate for the color chan‐
nels. In this case, use the Copy command to copy the black channel
data to the other channels.
Delete You can delete any spot color channel from the Channel drop‐down list
by selecting the spot color channel and clicking the Delete button. If
you have not defined any spot color channels, the Delete button is not
available.
Measurements as
Use this drop‐down list to declare what kind of measurements you are
entering in the data boxes. The entries available in this drop‐down list
can vary with the type of output device. Two examples are Status T, a
standard measure of absolute density, and % Dot, the area coverage of
halftone output.
Note that if you choose to edit a different Profile which uses an alterna‐
tive measurement system, a Measurement system...not found
warning is displayed and the correct system for the newly chosen pro‐
file is automatically selected in this menu.

Max density (not illustrated)
This control allows for conversion between percent dot and density. It
appears only for the Printing Press device and for ColorPro profiles
that require it to appear.
12.12.5 Values
You can enter values in any form offered to you in the drop‐down list labeled Measurements
as. Examples are:
• Percent dot (0 through 100%)
• Dot Gain (relative values expressed in  values from a perfect transfer curve)
• Status‐T Density
• Visual or ISO Visual (which is the same as the Visual channel of Status‐T)
• L* (from CIE L*A*B*)
12.12.6 Test strips and data boxes for patches

Each output device can have its own pattern of test strip and there can be varying numbers of
patches on test strips for different devices. If the target uses fewer patches than the maximum
(36) then the remaining data boxes appear empty and unlabeled.
You can exit this dialog box only when all labeled boxes have entries. You can provide entries
by typing, by using Extrapolate, or by using Import and a file of data values.
12.12.7 Controls
Negative media Select the Negative media check box to show that you are measuring
data from negative output media. Leave it clear when you are using
positive media.
Force solid colors

This check box is available only when you are using halftone devices.
When you select this box, any color in a job that uses the maximum
density of any channel is represented by the maximum amount of that
colorant available on the output device: this guarantees a solid color
that is the maximum deliverable by the output device, rather than a
lower density color (achieved by screening) that calibration has estab‐
lished as 100%.
The default setting of this option is selected and should be left for
work on most presses—this will ensure that colors defined as solid in
the incoming PostScript language file will be imaged as solid. For Gra‐
vure work this option should be unchecked.
This option does not apply to calibration test strips, only jobs.

12 Calibration
For example, this is a desirable setting where you wish to avoid
screening black text, but using it means you do not have an exact colo‐
rimetric match for the color when using ColorPro. See also the Harle‐
quin ColorPro User’s Guide.
Smooth This button smooths the values near the ends of a curve: typically, to
approximate a smooth curve where the limited resolution of a measur‐
ing device may have truncated similar values to be the same.
Extrapolate This button is enabled when you are calibrating for a printing press or
when the output device supports extrapolation. There also needs to be
at least one empty data value.
You can use Clear to empty all data values, enter a limited number of
values, and then press Extrapolate to have the RIP calculate the remain‐
ing values. A typical source of values is a manufacturer’s data sheet,
for example, giving press gain in the form: a gain of 15% at 50%.
In rare cases, extrapolation may not be able to produce a reasonable
curve: the RIP displays an error message to tell you if this has hap‐
pened. (One example of an unreasonable curve is a non‐monotonic
one that rises but then falls before rising again.)
Clear Click this button to clear all the boxes. This is intended as a prelimi‐
nary to entering data in a small number of boxes and using the Extrap-
olate button to calculate values for the other boxes.
Reset Reset deletes all entered data for the calibration set and displays the
default curves for the device (and profile, if ColorPro is enabled). For a
multi‐channel device, it resets all channels; not just the channel whose
curve is displayed.
Import To import the data from a file rather than typing numbers into the
boxes, click the Import button. The RIP displays the Import Measure‐
ments dialog box, shown in Figure 12.6.
Figure 12.6 Import Measurements dialog box

Note: The data in the file is provided in the correct format by a sepa‐
rate utility program, Genlin, which supports the use of various auto‐
mated densitometers. See Appendix C, “Using Genlin” on page 427
for details.
The import file contains measured data for some or all of the channels
in the calibration set. For each calibration channel, you can choose to
import the measured data for that channel, to import data that was
measured for a different channel, or to leave the current data for the
calibration channel unchanged. By default, the RIP uses the measured
data for a channel, where available. If there is no measured data for a
channel, the RIP defaults to the (No Change) option.
The Calibration Channel column contains the names of all the process
and spot color channels defined in the calibration set, including the
(Other colors in job) channel, if appropriate. When you select the
Channel drop‐down list in the Edit Calibration dialog box, you see the
same list of defined channels. (You can define a spot color channel
using the Add button in the Edit Calibration dialog box: see page 352
for details.)
The drop‐down list under the Measured Channel column contains the
names of all the measured channels in the import file, together with
the (No Change) option.
To change the setting for a particular calibration channel, select the
corresponding row and then select the name of a measured channel or
(No Change) from the available list. For example, select the Yellow
row and then select Cyan from the drop‐down list to import the data
measured for the Cyan channel to the Yellow calibration channel. A
more realistic example might be to select an available measured chan‐
nel, perhaps Default, for a Black or Gray calibration channel when
the measurement file does not identify the data in the way expected by
the RIP.
Note: The RIP may detect a mismatch between the expected device,
profile or measurement system and display a warning dialog box. This
protects you from importing incorrect data.
12.12.8 Exiting the Edit Calibration dialog box

You must specify a separate and valid calibration curve for each process color channel to pro‐
duce a calibration set, unless you want to accept the default curve. The RIP carries out checks
on the data before it saves the calibration set.
If you exit the Edit Calibration dialog box without editing any calibration data, the RIP closes
the dialog box and saves the calibration set with a status of D. This shows that you have
viewed the default curve without editing it.

12 Calibration
If you have edited the data for one of the process color channels, but not all of them, the RIP
warns you and asks for confirmation that you want to exit without editing the other chan‐
nels.
In this context, “editing the data” for a channel means at least viewing the data to assess if it
needs editing. The RIP keeps a record of which process color channels you have edited and
queries you if you have not edited all of them.
For example, if you edit only the Cyan channel of a 4‐color device, the RIP will query you
about the Magenta, Yellow, and Black channels. The following message is typical:
You haven’t viewed the following channels: Magenta, Yellow, Black. Finish
editing anyway?
The RIP does not allow you to save an unreasonable curve. One example of an unreasonable
curve is a non‐monotonic one that rises but then falls before rising again. If you try to save an
unreasonable curve, the RIP warns you and prompts you to correct the curve before you can
save it.
12.13 Features introduced for flexographic printing

This section discusses the calibration features introduced from HMR v10.1r1 to allow for cal‐
ibration of objects based on the screening used for those objects.
12.13.1 Calibration groups

In flexographic printing it is often important to ensure that the screening specified within a
job is applied, using different screens for different objects within the file. This implies a need
to apply different calibration for those different objects, based on the screening that’s used.
HMR v10.1r1 introduces the idea of calibration groups. Each calibration set can be allocated
to a group; if not explicitly allocated they will be in the Default group.
When calibration groups are in effect, the RIP will select the best calibration set from the
group to use for each object and colorant channel on the page, based on comparing the Warn‐
ings / Selection Criteria settings for the calibration sets to the properties of each object.
If, for example, different objects on a single page use different dot shapes, a calibration group
can be used to ensure that the appropriate calibration set is applied to each object.
Figure 12.7 Edit uncalibrated target dialog box showing Groups

A group is created by entering a new name into the Group field, or a pre‐existing group may
be selected from the Group drop‐down menu.
Figure 12.8 Calibration Manager dialog box showing groups
In this example the calibration drop‐down menu in the page setup dialog can be used to
select one of:
Figure 12.9 Selecting a calset or group from the Page setup
• None ‐ shown as (None).
• An individual calibration set from the Default group shown as Calset in Default—
names are shown without surrounding square brackets.
• A calibration group (other than Default) shown as [GroupTest2]—names are shown
with surrounding square brackets to indicate that they are groups rather than individ‐
ual calibration sets.
This is designed to allow those users who don’t want to use groups to continue to use calibra‐
tion in exactly the same way as with previous versions.
If a calibration group is selected, the RIP will automatically select the best calibration set
within that group for each object in the file, based on the screening specified for that object.
The identification of the preferred calibration set uses the Warning / Selection Criteria from
each calset.
When setting up a group, and you prefer a job not to fail if it cannot find a calibration set, it
can be useful to have a member of the group configured with no or limited selection criteria.
In this way, if the job requests a screen selection not configured in the group the RIP has a
fallback option.

12 Calibration
For HMR 10.1r2 the following restrictions are placed on the page setups containing groups
that can be used to print calibration strips.
• It is not possible to print either uncalibrated or calibrated device targets from page
setups containing a group for the Device.
• It is not possible to print calibrated press setups from page setups containing a group
for the ActualPress.
Therefore, if none of the buttons are enabled you should check whether the page setup con‐
tains groups.
12.13.2 Bump-up curves

The Harlequin MultiRIP has had the ability to apply special handling to the shadow end of
the tone curve in calibration for many years. The introduction of HMR v10.1r1 adds the abil‐
ity to control the highlights as well. This is only available for a press curve (actual or
intended). You may choose to use an actual press curve based on a linear press specifically to
apply a bump‐up curve.
Figure 12.10 Bump-up curve controls
Three controls are provided:
Zero output below
Any input tone number below this value results in zero tone output.
Minimum non‐zero output
Any input tone value greater than the “Zero output below” number
that would result in an output tone value below this number will be
increased to this number.
No bump‐up above
The effect of the bump‐up is tapered to join the linear curve at this
input tone value.
The graph to the right shows an indication of the effect of the values entered.

The RIP connects the points on the curve using straight lines. The purpose of this option is to
allow adjustment of the highlight values in flexographic printing. One bump‐up curve is
used for all color channels.
Unlike a normal calibration curve for which the RIP may slightly smooth the values for per‐
formance reasons, with a bump‐up curve the RIP will preserve sharp changes in output
value.
If present, the bump‐up curve is applied to each colorant channel after the appropriate colo‐
rant curve has been applied.
12.13.2.1 Example bump-up curves

A bump‐up curve which gives zero output below 0.4%, a minimum non‐zero output of 10%
and is linear from 30% is specified in the dialog as:
Figure 12.11 Bump-up curve example 1
A bump‐up curve which gives 10% output for any input value below 10%, and is linear
above 10% is specified in the dialog as:
Figure 12.12 Bump-up curve example 2
12.13.3 The EskoPNDSN PDF extension

The RIP can read and obey the EskoPNDSN extension used to select non‐standard spot func‐
tions in PDF files. If the EskoPNDSN key is present in a PDF job, two controls and a look‐up
table are provided as a way of handling this in the RIP.

12 Calibration
See “The EskoPNDSN look‐up table” on page 360.
The two controls are on the Edit Style dialog in the RIP:
Figure 12.13 Edit style dialog with EskoPNDSN key controls
The default behavior is for the EskoPNDSN key to be ignored because Override dot shape in

the job is checked. In this case the dot shape specified in the dialog is used.
The Ignore proprietary selection keys option only applies when Override dot shape in Job is
unchecked, and Abort if proprietary selection value is unknown only applies when Ignore propri-
etary selection keys is unchecked.
When Override dot shape in Job is unchecked and the Ignore proprietary selection keys option
is also unchecked, any EskoPNDSN key encountered is honored and the look‐up table is
used. See “The EskoPNDSN look‐up table” on page 360.
When the Ignore proprietary selection keys option is checked, whatever dot shape specified in
the job will be used and any EskoPNDSN key is ignored.
The Abort if proprietary selection value is unknown option determines what the RIP will do
when it cannot find a match in the look‐up table. When checked the RIP will abort the job.
When unchecked the RIP will fall back to using the Dot shape specified in the dialog.
12.13.3.1 The EskoPNDSN look-up table

When the RIP encounters an EskoPNDSN key in a job it can be configured to use a look‐up
table. If the EskoPNDSN key is present its value is searched for in this look‐up table. The
value returned is a halftone name supported by the RIP which defines the screen that should
be used. That is, the look‐up table allows you to adjust the relationship between a requested
spot type and the actual spot type used for output.
The look‐up table is configured in the /EskoPNDSNMappings dictionary in the file:
SW/Sys/ExtraStart/ProprietarySelectionMapping

The following is an example mapping file:
statusdict /EskoPNDSNMappings <<
% Add mappings here of the form:
% /EskoPNDSNvalue /RIPInternalSpotFnName
/CustomName1 /Round
/CustomName2 /Euclidean
>> put
where the example CustomName1 and CustomName2 Esko dot shapes are mapped to the RIP
internal dot shapes of Round and Euclidean.

12 Calibration

13
Color Separation
This chapter describes some basic concepts of color reproduction and the related parts of the
Harlequin MultiRIP.
The concept of color separation is no longer restricted to producing separated output. When
processing any job, the RIP creates a separation for each process colorant and also, where
appropriate, for spot colorants. The output format determines whether the separations are
printed together as a composite, or separated. By configuring these separations you can con‐
trol the printing of individual colorants in the job. Although there is only one separation in
the monochrome color space, the RIP provides the same options for configuring that separa‐
tion.
which can be used in several Page Setups. A separations style is defined for a specific device,
color space, and output format. Selecting a separations style in the Edit Page Setup dialog
box determines the color space of the Page Setup.
These are the related parts of the Harlequin MultiRIP:
• The Separations Manager and Edit Style dialog box. See “Creating and managing sepa‐
rations” on page 380 for details of the choices you make for all separations. (See Chap‐
ter 6, “Screening” for details of the screening options for halftone separations.)
• The Color Setup dialog box. See “Color Setup” on page 391. This dialog box contains
the controls for black generation and undercolor removal, trapping, and overprinting.
• Use of the Output Controller to view superimposed color separations. See “Pages in
the Output Controller” on page 403. The Output Controller is available in either of the
multiple modes.
This chapter describes how you can define separations styles, while Chapter 5, “Configuring
Output Formats”, describes how you can choose different separations styles when producing
output.
13.1 Introduction
To produce a color image, many reproduction systems take advantage of the fact that there
are small sets of colors that, when mixed in the correct proportions, can produce any of a
very wide range of other colors. For example, combinations of red, green, and blue inks

13 Color Separation
(commonly known as RGB), or cyan, magenta, and yellow inks (CMY), can between them
produce thousands of different hues.
Color printing more commonly uses CMY colors, with the addition of a black ink to account
for imperfections in the printing process. This manual uses the term CMYK for the system of
color representation using these four inks (Cyan, Magenta, Yellow, and blacK). These inks are
the commonly used process colors. There are several other terms in common use, some terms
using B for Black or referring to the order of printing each ink by reordering the letters:
YMCK, YMCB, and KCMY are typical.
Black ink is used for several practical, economic, and quality reasons:
• Black appears very often: for example, in text.
• Black ink is cheaper than colored inks.
• Mixing CMY inks produces an impure black, probably tinged with brown, and can
result in objectionable colored fringes on small objects such as characters in body text.
Additionally, one application of black ink replaces three applications of colored inks so
drying time can be reduced.
• Black can be used to extend the range of colors and tints available from mixing CMY
inks.
There are ways to improve reproduction quality or economy beyond the levels possible with
CMYK process inks. There are two general approaches: to vary the number of process inks
(extended gamut or N‐color printing), or to add spot colors. Each approach has its own advan‐
tages.
13.1.1 Alternative process color systems

N‐color printing uses a different number of process colors: fewer for economy in simple jobs
such as forms printing or more for high quality. For high‐quality printing, or extended gamut
color, at least two distinct types of color schemes are growing in popularity: for convenience
in this discussion we shall call them distinct colorant and photo‐ink.
Distinct colorant printing uses a combination of different process colors. For example, in the
PANTONE Hexachrome Color Selector system there are six inks: cyan, magenta, yellow,
black, orange, and green. (Other schemes of six or seven distinct colors are possible but this
system is well known.) These colors are chosen as a set to provide a wider gamut than pro‐
vided by colorants in the established CMY or CMYK schemes so, for example, the cyan in a
six‐color system is unlikely to be the same as the cyan in a typical CMYK system. To avoid
confusion a different naming scheme is needed. There is not a single fixed set of names:
HexC or HexCyan are equally valid names for the cyan ink and may be used by graphics
applications creating jobs.
Photo‐ink technologies use a different approach. There are different densities (light and dark
versions) of one or more colorants. A capable system is then able to use the light ink in high‐
light areas and the dark ink where more colorant is required. A typical set of colors is light
cyan, dark cyan, light magenta, dark magenta, yellow, and black. As in distinct colorant sys‐
tems, these are not the same inks as used in the CMYK system and it is important to distin‐

guish between the two systems. Various naming schemes are possible: a possible example is
PhotoCyan Light, PhotoCyan, PhotoMagenta Light, PhotoMagenta, PhotoYellow, and Photo‐
Black.
The Harlequin MultiRIP provides facilities for screening and calibrating both of these color
systems, but the actual availability for use of a distinct colorant or photo‐ink color space
depends upon there being an installed output plugin using the new software facilities. Also,
some configuration of the files in which the RIP stores colorant databases may be needed
before first use. For example, the Harlequin MultiRIP allows for jobs to use any of the differ‐
ent color naming schemes discussed for distinct colorant and photo‐ink systems and to link
these to the internal naming scheme used by the RIP. Each new naming scheme requires
some configuration.
13.1.2 Spot colors

Spot colors are used in a job when a particular color is used very heavily or must have a better
quality than is available by mixing the process colors. Typical uses of spot color include col‐
ored text, company logos, and colors that are outside the range available from mixing pro‐
cess colors. Spot colors may also be used to define effects other than coloring: for example, to
place varnishes and glues.
13.1.2.1 The PANTONE MATCHING SYSTEM

®
The Harlequin MultiRIP is able to make use of the PANTONE MATCHING SYSTEM. Colors
are identified as M (matte), C (coated) and U (uncoated). For example, PANTONE 533 M, PAN-
TONE 533 C, and PANTONE 533 U. Previously, Pantone colors were identified as CV (coated)
and CVU (uncoated). For example PANTONE 533 CV and PANTONE 533 CVU.
The Harlequin MultiRIP is able to make use of the PANTONE Goe coated and PANTONE
® ™ ®
Goe uncoated color system.
™
All the Pantone Databases can be found in SW\NamedColor.
To use the PANTONE MATCHING SYSTEM the color names must match exactly the names
used in the job. For information on how to include color separations see “Producing separa‐
tions” on page 385.
As previously stated, all the Pantone Databases are in SW\NamedColor.
The PantoneProcess database is found in the SW\NamedColor\Examples folder. To make
this database work, it must be referenced in one of the files in SW\NamedColorOrder. You do
this by editing the Intercept, Recombine and Roam files. If you want to produce all Pantone
colors by their CMYK equivalents, put PantoneProcess before PantoneU in the files. Putting
PantoneProcess at the end of the file (that is, after PantoneMatte) will mean only the PC
Pantone colors will be found (that is, PantoneU and PantoneV colors will still be converted to
XYZ).
336 new colors from the March 27th 2012 update to PANTONE Plus Series Solid Color publi‐
cations are added to the PantonePLUSCoated and PantonePLUSUncoated named color
databases.

13 Color Separation
13.1.3 Named colors

Note to OEMs: All material from here to the end of this section is intended for OEMs
and evaluators only. It can be removed from user manuals.
The aim of any NamedColor database is to provide the RIP with a way to transform a color,
defined as an amount (ranging from 0.0 to 1.0) of a single color with a given name, into a dif‐
ferent color value defined in a given PostScript language color space.
The Harlequin MultiRIP’s mechanism relies on an ordered sequence of databases and
procsets, which are provided in a RIPs SW directory. Specifically:
SW\procsets\HqnColorDatabase
This procset is designed to help simplify the most common forms of
NamedColor database by providing much of the PostScript language
code required, leaving the NamedColor file itself to just pass a config‐
uration dictionary to the HqnColorDatabase /initialize procedure,
followed by the names and color values.
Note to OEMs: All the Pantone NamedColor resources provided with the RIP are
based on this procset. For more information on HqnColorDatabase see
the Extensions manual.
SW\procsets\HqnNamedColor
This procset is what the RIP invokes when it wants to find out if a
named color is to be intercepted. That is, transformed to another color
space.
SW\NamedColor
This directory contains the database files that contain the named color
values for instance:
PantoneCoated, PantonePLUSCoated, KnownColors
Defines common alternate process colors: Red, Green, Blue—if
required, these can be added to this list. For instance, some have added
Violet, Green, and so on.
IllustratorColors
Defines different values for the alternative process colors and some
additional shades such as Gold and Grass Green.
The NamedColor database options such as PantonePlus and Panto-
neGoe are recent additions.
SW\NamedColorOrder
This directory contains files that determine the search order for look‐
ing up the NamedColors and their color values. Resources are defined
for:
Recombine—defines the order of database lookup used to determine
colors when pre‐separated jobs are recombined.

Intercept—defines the order used when ColorPro color management
is used and treat spot colors as cmyk is not selected.
Roam—defines the order of database lookup used for Roam of pantone
colors.
PantoneStandard—defines the older of database lookup used when
Use Pantone PLUS is NOT selected in the ColorPro Setup dialog.
PantonePLUS—defines the order of database lookup used when Use
Pantone PLUS is selected in the ColorPro Setup dialog (the default).
An OEM can add their own files and/or augment the supplied files in NamedColor directory.
If you need to do anything more than this, such as providing color values in other color
spaces (such as, /DeviceN, as might be required for a extended gamut devices), you are
required to write the NamedColor resource from scratch.
13.1.4 Harlequin Color Editor

When a job containing a spot color is printed on a CMYK device—or to CMYK or CMYKOG
(for example) including spots as well as process separations for something like an offset
press—the appropriate equivalent CMYK values are obtained from either:
• the alternate space in the spot color definition in the PostScript language or PDF
• a NamedColor lookup table.
For commonly used colors the NamedColor route is preferred, because many tables are pro‐
vided for a lot of Pantone colors in XYZ, meaning that they can be transformed through the
output profile for the device/media resulting in a better match to the “real” Pantone inks than
a CMYK value calculated for some (more or less) random printing condition.
There are, however, certain instances where perhaps the match from the RIP is not quite as
good as it might be on some media or you donʹt actually want an accurate match for other
design reasons. To facilitate this the Harlequin Color Editor is added to the RIP to allow mod‐
ification (or to override), the spot color lookup tables to achieve a more desirable result.
Note: Before using Harlequin Color Editor your LDK security key must be updated.
A likely intended workflow is:
1. Create a new database.

13 Color Separation
2. Add an override for a standard Pantone color:
a. Add a color
b. Enter in the colorʹs name.
c. Click Lookup to set the values to those of the “standard” color (that is, the first
occurrence of it in the Intercept Named Color Order).
d. Click Print to print a target, which has the color value in the middle and variants
around it. Note that the Lab step setting controls how different the surrounding
patches are.
e. Examine your print in the correct environment.
f. On the Edit Named Color dialog click on the patch from the 3 x 3 “Choose” grid,
corresponding to the best printed patch. This will update the color values to match
your selection.
g. Click Print again, and repeat as necessary.
3. When you are happy with your color click Update to save it.
4. Drag and drop the new database to the top of the Intercept Named Color Order list and
then save and close the dialog by clicking OK.
Note: This is an example process for illustrative purposes. You can use the Harlequin Color
Editor in any way that suits your workflow and environment.
The following is a more detailed explanation of the process.

1. Create a new database. Select Color > Color Editor to display the editor dialog:
Drag and drop between columns
Drag and drop

to re-order list
Figure 13.1 Harlequin Color Editor dialog
The Harlequin Color Editor has three lists: top left is the list of Named Color databases
which make up the Intercept Named Color Order (as specified in \SW\NamedColorOr-
der), top right is the list of your other Named Color databases (as specified in
SW\NamedColor). The lower panel displays the list of colors in the selected database (if
any).
You can drag databases between the top two lists to amend and reorder the Intercept
Named Color Order.

13 Color Separation
You create a new database by clicking New. On selection the following dialog is dis‐
played:
Figure 13.2 New Named Color DB dialog
Enter a name and select a color space from the drop‐down list. Force upper case is

selected by default and forces all names are to be converted to upper case for matching.
Select OK to continue to create the database. Selecting Cancel aborts the process.
If you have created a database in error you can select it and click Delete to remove it.
Note: Databases supplied with the RIP cannot be deleted.

2. Add an override for a standard Pantone color:.
a. Select the database to which you want to add a color and click Add. This displays
the Add Named Color dialog:
Figure 13.3 Add Named Color dialog
b. You can add a new name for a color or more likely you would add the name of an
existing color (for example PANTONE 1‐1‐1 U).
c. If you have added the name of an existing color click Lookup.
Figure 13.4 Displaying a match for PANTONE 1-1-1 U

13 Color Separation
In the above example the lookup has found a match in the database. If no match is
found a message is displayed.
d. Choose a Page setup and if you require a wider range of color increase the Lab step
value. Then click Print. Note that once Print is selected the “Choose” grid changes to
a darker shade of gray.
e. When you have your print you should examine it in the correct lighting environ‐
ment. Select the color which most closely matches your requirement and note its
position on the grid.
f. Click the corresponding position on the Add Named Color dialog. When you do
this note that the XYZ values will change to values of the selected grid position:
Figure 13.5 Showing new XYZ values after “choosing” a patch
If you are happy with the color click Add to save it to your database. Otherwise, select
Print and choose another patch color which more closely suits your requirements. You
can iterate through this procedure until you find exactly the color you want.
3. If you want to edit an existing color, maybe because the media has changed, you can
select it and use the Edit button. When you re‐display the Add Named Color dialog
using the Edit button, the Add button is now displayed as Update. Again, select Print,
choose a closer match from the print out and click the corresponding square on the
dialog followed by Update.
4. Drag and drop the new database to the top of the Intercept Named Color Order list and
then save and close the dialog by clicking OK.
13.1.5 Types of color jobs

There are two common types of color jobs:
• All the color information is in one job. This is a full‐color job, also known as a color
composite.

• The color information has been separated into a page for each color ink. This is a prese‐
parated job. These pages may be parts of one job or separate jobs.
Composite jobs offer the greatest flexibility in handling jobs and targeting them to different
output devices, but many workflows are built around preseparated jobs. The RIP can recom‐
bine many preseparated jobs, provided that the separations are supplied as one job. (“Color
PostScript language jobs” on page 378 and “Preseparated jobs” on page 379 describe the
details of using composite and preseparated jobs with the RIP.)
13.1.6 Harlequin MultiRIP

You can produce output from documents for use in CMYK color printing. You can also pro‐
duce output for other color systems, such as RGB and N‐color, and output for jobs that
include spot colors. The Harlequin MultiRIP accepts either full‐color jobs or preseparated
jobs as input, and outputs them correctly.
The Harlequin MultiRIP also provides some extensions to the PostScript language specifica‐
tion: for example, the ability to recognize spot colors in documents defined using the Post‐
Script Level 1 language.
13.1.7 Harlequin ColorPro

Harlequin ColorPro extends the color handling capabilities of the RIP. For example, you can
use ColorPro to intercept CMYK color definitions and convert them to device‐independent
color using input profiles. The extra facilities and changes of procedure associated with
ColorPro are described in the separate manual Harlequin ColorPro User’s Guide.
13.2 What color separations are

Color printing using this color‐mixing method is done using color separations. These are sets
of single‐color images that yield a full‐color image when combined appropriately. Figure 13.6
shows how four single‐color images can be combined to produce an image in different col‐
ors. In this grayscale figure, different shades of gray represent the various colors.

13 Color Separation
Separations produced in four process colors
Cyan Magenta Yellow Black

The Magazine
a weekly review
Overlay process yields full color images
The Magazine
a weekly review
Figure 13.6 How separations can form a color image
The image in the figure shows the cover page of a fictional magazine. It is mostly black, but
has a small color illustration on the right that consists of some land (in green), over which
there is a road (in pure black), and in the sky (not colored) the sun (in pure yellow) is shining.
Color images are not produced from separations by mixing inks before application to the
page. Instead, the illusion of a full‐color image is produced by seeing different proportions of
the four inks laid together on the page. Each separation adds one color component to the
image—cyan, magenta, yellow, and black in turn—and, when they are overlaid correctly,
they form a full‐color image.
A color separation is, strictly speaking, a monochrome (that is, one color) image. It is called a
color separation because it is the result of separating one color from the others in the color sys‐
tem. For example, the yellow separation in CMYK is a version of the image that shows only
the yellow part of it, separated from the cyan, magenta, and black. (You can control how col‐
ors will be separated from the others in an image.)
Seen in isolation, a single separation may not look much like the full‐color image of which it
will form a part but it is usually possible to identify some features of the final image. In
Figure 13.6, the yellow separation shows the sun, which is pure yellow. It also shows a small
amount of yellow in the ground part of the image, which will combine with the cyan separa‐
tion to form the grass color. However, it does not contribute to the road or the text, and so it is
empty in those places.

13.2.1 Knockouts and overprinting
Suppose we have a very simple image that is a pure magenta background with a pure yellow
square in the middle. The separations produced will be those in Figure 13.9.
Separations for a yellow square on a magenta background
Figure 13.7 Color separations for a simple image, with knockouts
Since the yellow and magenta inks can portray yellow and magenta quite adequately on their
own, the cyan and black separations are empty.
The yellow separation shows a square in the middle and nothing else. The square signifies
the presence of yellow in the image at that point. The magenta separation shows a white
square on a magenta background. So, magenta will be printed in every part of the image
except for that square.
Because magenta will not be printed in the white square, only yellow will appear there when
the separations are put together. This is important, since if magenta was printed there too, it
would mix with the yellow, and produce a square that was not pure yellow, but red. Equally,
no other inks will overlap the magenta background, because no separations other than the
magenta one contribute any color to that region.
An area of a separation that is made empty so that it does not interfere with a graphic object
represented by a color or colors in other separations is called a knockout. This is because the
colored area has been knocked out of the separation.
One problem with using knockouts is that if the separations are not overlaid accurately
enough, there may be a white gap at the edge, as shown in Figure 13.8. This effect is the prod‐
uct of misregistering the separations, that is, misaligning them when they are combined. Nev‐
ertheless, in cases where printing one ink on top of another would produce the wrong color,
producing separations with knockouts is essential. Generally, graphic and page design appli‐
cations produce knockouts automatically.
Inaccuracies caused by misregistered knockouts can be overcome by using special printing
effect such as trapping. The RIP provides some support for trapping. See “Trapping features”
on page 402.

13 Color Separation
Figure 13.8 Misregistered separations with white gaps
Suppose we have another simple image that is a pure magenta background with a black
square in the middle. Figure 13.9 shows the separations that can be produced.
Separations for a black square on a magenta background
Figure 13.9 Color separations for a simple image, with black overprinting
In this case, we do not need to make a knockout on the magenta separation, because the black
ink should be strong enough to overcome the influence of the magenta ink beneath it. So we
may choose not to let the black separation cause a knockout in the magenta separation. This
effect is called overprinting, and is the opposite of a knockout. Overprinting eliminates the
risk of finding gaps in the final output, but cannot be used unless the overprinted ink is
strong enough to overcome the effects of the ink or inks beneath it. When overprinting is not
possible, trapping remains a possibility.
13.3 Producing color images from separations

In the RIP, depending on the output format, you can print separations together as a compos‐
ite page, colored separations, or each separation as a monochrome page.
If you print a set of monochrome separations for use in the printing process, these separa‐
tions can be put together to form a color image. The separations are carefully placed one on
top of the other until all the color details can be seen. How is this achieved?

Typically, color pictures do not consist only of areas drawn in full‐intensity primary colors.
Most of the picture is usually be in various shades and tints. Most printing presses require
screened halftones, so these varying intensities are achieved by using halftone dots. Each sep‐
aration, therefore, is usually composed of a pattern of halftone dots. (See Chapter 6, “Screen‐
ing”, for details of halftoning.)
In halftoning strategies, continuous tone gray or colored images are imitated by combining
dots of different sizes and colors. They are combined in such a way that, to the human eye,
they mix, and the observer sees the intended color image.
To ensure that the colors combine correctly, the positions of the dots on each separation are
calculated carefully. The grids, or halftone screens, for each separation are aligned at differ‐
ent angles, to avoid moiré patterns.
Once each separation has been produced, the final image can be constructed by printing the
separations directly on top of each other. The intermediate stages are progressive proofs. In the
CMYK model, this is usually done by printing yellow first, then magenta, cyan, and finally
black. Figure 13.10 and the following figures show the stages involved when printing color in
this way for the example image in Figure 13.6, page 374.
Blank paper Yellow separation Yellow
Figure 13.10 Yellow separation
Figure 13.10 shows how yellow ink for the yellow separation is printed on blank paper. You
can also preview separation printing on screen in the RIP. See “Roaming separations” on
page 403.
Next, the magenta ink for the magenta separation would be printed on the paper, but since
the separation is empty for this image, nothing is printed.
Yellow Magenta separation Yellow + Magenta
Figure 13.11 Yellow and (empty) Magenta separations

13 Color Separation
Next, the cyan ink for the cyan separation is printed. To the eye, the pattern of cyan and yel‐
low dots in the area of land will appear green as simulated in Figure 13.12.
Yellow + Magenta Cyan separation Yellow + Magenta + Cyan
Figure 13.12 Yellow, Magenta, and Cyan separations
Finally, the black ink for the black (K) separation is printed. All of the separations have been
combined, producing a full‐color image as simulated in Figure 13.13.
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Yellow + Magenta + Cyan Black (K) separation Full CMYK image
Figure 13.13 Yellow, Magenta, Cyan, and Black separations
13.4 How color separations are produced

Each job may specify color images in one or more different color spaces, for example: CMYK,
RGB (red, green, and blue), HSB (hue, saturation, brightness), or an N‐color space. No matter
how a job is specified, the RIP separates that job into one output format, to suit the output
device. Again, in this discussion we will concentrate on CMYK separations as an example.
13.4.1 Color PostScript language jobs

Composite color jobs are not described as a series of separations. Instead, each object on the
page is described just once, in full color.
Importantly, the PostScript language method of describing color is device independent. That is,
no matter what color space is used to describe an image, it can be rendered on any properly
color‐calibrated output device that your RIP supports. The same color job can thus be used to
produce, for example, full‐color output on an RGB color printer, or a set of monochrome sep‐
arations ready to be used in the printing process. Some devices, typically desktop printers
and proofing systems, can accept continuous tone input.

Note: If you have ColorPro available, you can apply it to CMYK separations as well as to
color composite CMYK jobs. The separations must be suitable for use with the Recombine
preseparated jobs option described on page 388.
The RIP can take full‐color jobs as input, and interpret them once to produce separation
information for each color in the space. In CMYK, this creates four monochrome output
pages, each corresponding to a different color separation. When the full‐color image is to be
produced, the colored parts of a separation show where inks should be applied, and the
white parts where not. Alternatively, the RIP can print the separations together as a compos‐
ite.
13.4.2 Preseparated jobs

Having the RIP produce separations from composite color jobs is not the only means of pro‐
ducing separations. The job could be separated into one or more PostScript language docu‐
ments before it reaches the RIP. This might be done by the application program in which the
job was composed, or by a special separator program that took the output of the composition
program and produced PostScript language separations from it.
However, these methods are not optimal. If you preseparate the job, you commit yourself to
printing the job on a device that can recombine the separations it produced: the documents
become device dependent. A process that commits a job to a particular device is not desirable,
because you may need to output your job on a number of different devices. The RIP can
recombine certain classes of preseparated jobs: see the description of the Recombine
preseparated jobs option on page 388 for details.
There some circumstances where you must use recombination with preseparated jobs in
order to use features of the RIP, and some of these circumstances apply even when you wish
to produce separations. These features are:
• Output to a composite proofing (or final output) device.
• Color management, using ColorPro.
• Trapping, with the in‐built options in the RIP.
• Output to progressive separations.
• Output of separations in a different order.
All these features require the RIP to have access to the complete color of all objects on a page.
To ensure that this is possible for preseparated jobs, select Recombine preseparated jobs.
Alternatively, where other settings in the Page Setup prohibit recombination, select Reject
preseparated jobs.
Note: Both colored separations and progressive separations require the output color space to
match that of the separations. For example, it is not possible to produce colored separations
or progressive separations from a job preseparated to CMYK if the output device uses the
PhotoInk color space.
The RIPs separation facilities allow you to preserve device independence in your jobs right
up until you wish to interpret it for output on a particular device. However, you can present

13 Color Separation
device‐dependent, preseparated jobs to the RIP if you wish, and it will process and output
them correctly.
13.5 Creating and managing separations

which can be used in several Page Setups. A separations style is defined for a specific device,
color space, and output format. Selecting a separations style in the Edit Page Setup dialog
box determines the color space of the Page Setup.
Separations styles are created and managed in the Separations Manager.
13.6 Separations Manager dialog box

The Separations Manager appears when you click the Separations Manager button in the Edit
Page Setup dialog box, or choose the Color > Separations Manager command.
Figure 13.14 Separations Manager dialog box
The Separations Manager displays a list of all existing separations styles for the current
device, showing the name of each separations style, the corresponding color space, and the
output format.
To display the list of separations styles for a different device, select a device name from the
Device drop‐down list. When you use a device for the first time, the RIP generates a set of
separations styles for that device. Some devices can support simple styles only. Others, like
TIFF, can produce many different styles, so the names of the styles are chosen to avoid
ambiguity.
You can edit these separations styles to suit your installation or create new ones.
13.6.1 Controls and actions

The controls below the list allow you to create separations styles, and to edit, copy, or delete
existing separations styles.
Edit Select a separations style and click this button to edit it in the Edit Style
dialog box. A shortcut is to double‐click a separations style.

Note: To rename a separations style, copy it and save the copy with the
desired name, before deleting the original.
New Click this button to create a new separations style. The New Style dia‐
log box appears, as described in “New Style dialog box” on page 382.
Once you have set the color space and output format, you cannot
change them for the named separations style.
Copy Select a separations style and click this button to edit a copy. The New
Style dialog box appears, as described in “New Style dialog box” on
page 382.
Delete Select one or more separations styles and click this button to delete
them together. You cannot delete a separations style if it is used in a
Page Setup.
You cannot delete the only separations style in a list.
Select This button is available if you opened the Separations Manager from
the Edit Page Setup dialog box and a separations style is selected.
The Select button confirms the changes you have made and exits the
dialog box. In addition, the Select button displays the selected separa‐
tions style in the Edit Page Setup dialog box.
You can also select separations styles and reorder them by dragging them to new positions in
the list. The order in the Separations Manager is the order of appearance in menus where you
choose a separations style.

13 Color Separation
13.6.2 New Style dialog box

The New Style dialog box appears when you click the New or Copy button in the Separations
Manager.
Note: If you clicked Copy to display this dialog box, you can change only the style name: this
ensures that the new style is a true copy of the original. Once you have named the copy and
clicked Create, you can modify individual settings in the Edit Style dialog box.
Figure 13.15 New Style dialog box
Style name Type in a name for the separations style. The style name must be

unique and can be up to 30 characters long.
Color space Select the color space from the drop‐down list. You can select any color

space known by the RIP, not just the color space of the target device.
Monochrome, RGB, and CMYK are always available. If you have
installed an N‐color device, you can also use its color space, even if
you are not printing to that N‐color device. This choice determines the
process colorants specified in the separations style. The output format
specifies how the colorants will be printed on the output device.
Output format Once you have selected the color space, select an output format from

the drop‐down list. This specifies how to generate the output on the
target device. The available options depend on the selected output
device and the setting for Color space. For example, with a typical
CMYK device operating in its own color space, you can generate out‐
put as monochrome separations, as colored separations (either single
or progressive proofs), or as a composite. For an RGB output device,
you can convert CMYK or N‐color separations to RGB output, and so
on. When an arrow appears in the output format name, it indicates
that the color space does not match that of the output device.
Note: Once you have set the color space and output format, you cannot change them for the
named separations style.

Click the Create button to open the Edit Style dialog box, described in “Edit Style dialog box”
on page 383. Click Cancel to discard your changes immediately.
13.6.3 Selecting several separations styles

You can select multiple separations styles when you want to delete or reorder them. Use the
following keys:
Shift
To select a block of separations styles that appear together in the list, select the first style in
the block, then, while holding down the Shift key, select the last style in the block.
Ctrl
To select several separations styles, regardless of whether they form a continuous range, hold
down the Control key while selecting the styles you wish to delete.
13.6.4 Closing the Separations Manager

You must close the Separations Manager before you can use any tool bar buttons or menu
options in the RIP.
Click OK to confirm all the changes you have make in the Separations Manager and Edit Style
dialog boxes. The OK button saves the changes you have made and closes the Separations
Manager. If you opened the Separations Manager from the Edit Page Setup dialog box, you
can also save the changes by clicking the Select button. In addition to saving the changes, the
Select button displays the selected style in the Edit Page Setup dialog box. Click Cancel to dis‐
card all changes.
Note: If you open the Separations Manager from the Edit Page Setup dialog box, changes that
you make in the Separations Manager are independent of the Edit Page Setup dialog box. For
example, if you create a separations style, and close the Edit Style dialog box with OK, and
the Separations Manager with OK or Select, the new style will remain even if you click Cancel
in the Edit Page Setup dialog box.
13.7 Edit Style dialog box

The Edit Style dialog box appears when you create or edit a separations style in the Separa‐
tions Manager. It contains the options related to separations and, where appropriate, to
screening. There are two forms of the dialog box:
• If the output format of the separations style supports screening controlled by the RIP,
the Edit Style dialog box contains options that allow you to set up defaults and over‐
ride the screening parameters requested in a job. See Chapter 6, “Screening” for a
description of these screening options: try starting with Figure 6.2, page 169.
• Otherwise, a more compact dialog box displays only the options for separations, as
shown in Figure 13.16. This form of the dialog box suits contone output and also
output to devices and processes that do their own screening.

13 Color Separation
The remainder of this section describes the separations options appearing in both forms of
the dialog box.
Note: There are also controls for black generation for CMYK output and overprinting in the
Color Setup dialog box, accessed from the Color Setup Manager or the Separations, Screening,
and Color section of the Edit Page Setup dialog box. (See “Color Setup” on page 391.) Also,
trapping options are available from the Separations, Screening, and Color section of the Edit
Page Setup dialog box. (See “Trapping features” on page 402).
Figure 13.16 Edit Style dialog box
This dialog box contains a list showing the separations that the RIP can produce. There are
initially separations for the process colors in the selected color space. In Figure 13.16 there are
separations for the four process colors in the CMYK color space.
If the chosen output format supports additional colorants, you can control the printing of
spot color separations using the (Other colors in job) entry, or you can add a separation
for a specific spot color.
You can rename or delete spot color separations. You cannot delete the standard process color
separations from the list, nor can you change their names. You may, however, ask the RIP not
to produce a certain separation.
For particular jobs, you may want to vary the settings in the interests of efficiency or to
ensure compatibility with PostScript language code that uses Level 1 operators. For example,
the default settings produce separations for all process colors, so you may want to turn off
some process colors if a job is mainly defined in spot colors. Also for example, if you need to
reprint just a single separation (and it is not saved in the Output Controller), you can turn off
all the other separations.
The Print option in the Edit Style dialog box determines which separations are produced. The
RIP produces all those separations marked as Yes and the non‐blank separations marked as
Not Blank.
Note: If you are printing a preseparated job, and you wish to not produce some separations,
select Recombine preseparated jobs, even if you then wish the RIP to produce output separa‐
tions. The RIP produces all separations of a preseparated job except when recombining.

If you are producing screened separations, you can control the screening of process and spot
colors by using the screening options in the Edit Style dialog box. See Chapter 6, “Screening”
for a description of these options.
Note: The separations shown in this dialog box always take effect for jobs that do not specify
their own separations. If the job attempts to specify separations, you must select the Override
separations in job check box if you want to produce the separations shown here.
13.7.1 Producing separations

The boxes below the list of separations allow you to control the printing of process color sep‐
arations and change the ink type. If the chosen output format supports additional colorants,
you can also control the printing of spot color separations. Any spot color not explicitly listed
is controlled by the (Other colors in job) settings. With the default settings, if a job calls
for spot colors not named in the list of separations, the RIP converts those spot colors to the
appropriate combination of process colors.
To change the settings for an existing colorant, select the colorant from the list and edit the
values in the boxes below.
Note: If the output format of the separations style supports screening, you can also change
the screen angle of the process color or spot color separation. See Section 6.5.1, “Changing
angles for separations” for details.
Separation The name of the separation. To rename a spot color separation, type
the new name into the text box. You cannot rename process color sepa‐
rations.
Warning: The name you enter for the spot color must match the one
used in the job in every respect: upper and lower case, use of embed‐
ded space characters and any trailing CV or CU suffixes. For example: a
typical Pantone specification is PANTONE 386 CV but applications may
report this in different ways.
Print If this option is set to Yes, a page will be produced for the separation,
even if the separation is blank. If this option is set to No, the page will
be omitted, although any effects it might have on the others are still
calculated. You might use this feature to suppress process color sepa‐
ration for a job using spot colors only. If the option is set to Not Blank,
the RIP will produce a page for that separation as long as the separa‐
tion is not blank.
For example, to produce only the process colors and convert all colors
defined as spot colors in the job to process colors, set each process
color to Yes and set (Other colors in job) to No. These are the
default settings.

13 Color Separation
To produce a separation for every spot color requested in the job and
for each of the process colors, set each process color to Yes and set
(Other colors in job) to Yes. Then any calls for unlisted spot col‐
ors in a particular job mean that the RIP produces the required separa‐
tions automatically for that job.
Warning: When Simple Imposition is being used, the Print option must
be set to Yes if you wish to see color patches on either the proofing or
the plate colorbars. Using the Not Blank option will omit color
patches for that color.
If you want to produce a separation for a specific spot color and to con‐
vert all other spot colors which may be included in the job to process
colors, set the specific spot color to Yes and set (Other colors in
job) to No.
Of these ways, the one you choose is likely to be dictated by the char‐
acteristics of your output device and process, such as the number of
inks available in one pass.
Angle This box appears only if you are editing a halftone (screened) style.
Enter the screen angle you want to use for this separation. See “Screen
angles” on page 175 for more details of screen angles.
Note: This box defines a default value, used if the job does not set its
own screen angles. If you wish to use angles entered here even when
the job requests other values, select the check box Override angles in
job, also in this dialog box.
Note: If you have one of the optional TrapPro features enabled, you can create sets of trap‐
ping rules and apply them within the RIP. TrapPro and the Ink Set Manager options are fully
described in the separate TrapPro User Manual.
New Use this button to add a separation for a spot color to the list. A new
row appears in the list of separations. Type the name of the spot color
into the first text box below the list, to replace the text New Color. If
required edit the settings for Print.
Warning: The name you enter for the spot color must match the one
used in the job in every respect: upper and lower case, use of embed‐
ded space characters and any trailing CV or CU suffixes. For example: a
typical Pantone specification is PANTONE 386 CV but applications may
report this in different ways.
Cyan/Magenta/Yellow/Black drop down

This option appears only if you are editing a halftone (screened) style
and using Harlequin Cross‐Modulated (HXM) screening or Harlequin
Dispersed Screening (HDS) along with additional spot colors. See
“Edit Style dialog box” on page 169 for more details of screen angles.

For commercial print work, the use of two spot colors printing in the
same location on the page is rare. However, when producing packag‐
ing a lot more spot colors can be used, often overlapping.
From HMR v10.0r1 the Edit style dialog, when using HXM or HDS,
allows the selection of an equivalent angle for each named spot color.
For example, you can specify that “Pantone Reflex Blue” should use
the “cyan” angle, and “My Red” should use the “magenta” angle. You
cannot enter a specific angle for each spot color but you can select
either cyan/magenta/yellow/black from the drop‐down menu. The
default value is as black. For more information on HDS see “Harlequin
Dispersed Screening (HDS)” on page 193. For more information on
HXM screening see Technical Note 077.
Delete Use this button to delete the selected spot color separation. The separa‐
tion disappears from the list. You cannot delete process color separa‐
tions.
13.7.2 Other options

There are some other controls in the Edit Style dialog box, not linked so closely to individual
separations.
Override separations in job

The separations shown in the Edit Style dialog box always take effect
for jobs that do not specify their own separations. If the job attempts to
specify separations, you must select the Override separations in job
check box if you want to produce the separations shown here.
Use Level 1 spot colors

Spot color is not a standard part of the PostScript Level 1 specification.
It is a widely used convention that was defined later. If you wish to
separate composite jobs using this spot color convention, select this
box.
Warning: We strongly advise you not to select this box when defining
a separation style to which you will supply preseparated jobs. The box
is only enabled if you using a CMYK separation style and not recom‐
bining, but you might use a style with these settings and submit prese‐
parated jobs in order to override screen angles or other settings. (You
cannot select this box when you are using a monochrome separation
style or you have selected the Recombine preseparated jobs box.)
When you select this box, the RIP converts conventional representa‐
tions of spot colors in PostScript Level 1 language documents to the
current PostScript Language compatibility level. By default, the RIP con‐
verts the spot colors to LanguageLevel 3. To convert the spot colors to
LanguageLevel 2 style, change the PostScript Language compatibility
level in the Page Setup Options dialog box.

13 Color Separation
This check box has an effect only when producing spot colors.
Override angles in job

This box appears only if you are editing a halftone (screened) style.
Select this box if you want to ignore any screen angles set in the job.
See “Screen angles” on page 175 for more details.
This option is automatically selected when Recombine preseparated
jobs is checked.
Reject preseparated jobs

If you select the Reject preseparated jobs check box, the RIP will not
process preseparated jobs. If this check box is selected, then the
Recombine preseparated jobs check box is disabled.
Recombine preseparated jobs

The Recombine preseparated jobs check box allows you to recombine
certain classes of preseparated jobs. Recombining may be useful or
necessary in a variety of cases: for example, when proofing on a full‐
color device or retargeting from one kind of final output device to
another kind. See “Recombination” on page 389 for details of the suit‐
able jobs.
This option will activate Recombine 2.
Note: When using this option, the RIP cannot paint partial page buf‐
fers; expect jobs with pages requiring large amounts of memory to fail
if you have not allocated enough physical memory.
Enable screens for spot colors

Before v10.0r1 only the Default screen was available for spot colors.
From v11.0r1 you can select either a C, M, Y, K or the Default screen.
The Enable screens for spot colors option only becomes available when
HDS and Threshold screens (such as HXM) are selected and when a
spot color is added as a color separation by using the New button. The
Screen drop‐down menu is only enabled when the spot color is
selected in the dialog and now contains a Default screen as well as the
process colors.
When Enable screens for spot colors is unchecked the RIP reverts to its
previous operation. That is, only the Default screen is used for a spot
color.
Because this only applies to Threshold and HDS screens, it does not
apply to Core Module screens. If a modular screen is selected for a
spot color, the RIP ignores the selection.

13.7.3 Recombination
The Harlequin MultiRIP provides a single method of recombination known as “Recombine
2”. Recombine 1 is replaced completely with Recombine 2 which uses both object and raster
methods where appropriate.
Recombine version 2 provides the following main benefits:
• Improved accuracy of object placement.
• Improved accuracy of the recombined color.
• Considerable performance improvements for complex jobs.
• Improved accuracy of color management—color management happens after over‐
prints and recombination has occurred.
The additional functionality may result in a performance overhead proportionate to the area
covered by those objects present in separations which are not being output and instead con‐
verted to process.
Recombine 2 is active as the default.
There are some limitations on the jobs that the RIP can recombine. There are also some
classes of jobs where you should make additional settings.
The limitations listed below apply to Recombine 2:
• The job must consist of process separations, suitable spot colors, where suitable is
defined in this section, or both. (It is also possible to submit most composite jobs to a
Page Setup using recombination, but see the comments in “Recombination and com‐
posite jobs” on page 390. This ability minimizes the number of Page Setups that you
must create and maintain but has no intentional effect on the composite jobs.)
• The names of suitable spot colors must be unambiguous. If the job supplies a CMYK
equivalent for a spot color and the name is recognized by the RIP, that is sufficient for
use with recombine.
• When the job does not contain a process equivalent for a spot color, recombine can still
be used if the RIP can find a correct equivalent name in a RIP named color database.
The RIP searches several files in the SW/NamedColor folder for an equivalent. These
files define several commonly used names, including: other process colors, such as
Red, Green, and Blue; spot colors produced by some common job‐creating applica‐
tions; and the CV and CVU names defined in PANTONE Colors.
Note: Some common names—for example, Pink or Mauve—can have slightly varying
definitions in different jobs, because either the creating application or the designer has
used a conflicting definition. One solution is to add a CMYK equivalent in the job
where such a name occurs.
In short, CMYK equivalents for spot colors must exist either in the job or in a RIP
named database.
• The job must contain all the required separations in one file or connection. It is not pos‐
sible to recombine jobs where each separation is in its own file.

13 Color Separation
• Where the job contains more than one set of separations, separations from each set (or
page) must appear contiguously—for example each page (or set) should appear in the
order, KCMYDE (where D and E represent spot colors). That is, KCMYDE for the first
page, KCMYDE for the second page and so on. The pages must not appear ordered by
colorant. For example: the order KKK…CCC…MMM…YYY… DDD… EEE… is not
allowed. Where there is only one set (or page) of separations in the job, the order of
separations in the job is unimportant: for example, CMYKDE and KCMYED are both
acceptable.
• When Recombine is enabled and a preseparated PDF job is provided that contains
SeparationInfo objects (a dictionary containing color separation information for the
page from PDF v1.3), the RIP will treat each set of separations as a logical page. For
example, a job containing 16 separations of CMYK, CMYK and so on, is handled as
four (recombined) pages. If SeparationInfo is missing or Recombine is disabled, the
RIP will treat the job has having 16 pages.
The additional settings for recombined jobs are:
• The Override angles in job option is automatically selected when Recombine
Preseparated jobs is selected. It is highly recommended you leave it selected. In the Edit
Style dialog box set the angle you require for each separation. See “Screen angles” on
• It is highly recommended that the Override dot shape in job option is selected.
• It is highly recommended that the Override frequency in job option is selected.
• You can also override other screening features if you wish.
Note: Multi‐page imposition cannot be used with recombine. However, Crop Marks, or other
uses of the One-Up, single-sided imposition scheme, (for example, when adding a color
bar), can be used with recombine.
13.7.4 Recombination and composite jobs

Recombination is a powerful capability of the RIP. In many cases, it is possible to submit both
composite and preseparated jobs to a Page Setup that has Recombine preseparated jobs
selected. However, there are cases where the nature of the job or other settings made within
the RIP mean that it is necessary to create separate Page Setups for composite and presepa‐
rated jobs.
13.7.5 Recombine 2 issues

This section contains points to note when using Recombine v.2. It uses much of the same code
as is used for PDF 1.4 Transparency and therefore has similar issues:
• Color management of DeviceRGB colors with equal color values, that is R=G=B, are
color managed using the CMYK input profile and not the RGB input profile for all
object types except images and shaded fills.

• When recombining preseparated files the Overprint process colors options have no
effect, even if selected.This means that the OverprintProcess, OverprintWhite,
OverprintGray and OverprintBlack user parameters are not applied to recombined
objects. Instead, the overprint effect is equivalent to the result of outputting the separa‐
tions of the job on a press. That is, the separations are individually processed (without
recombine) and the results are overprinted—much the same as using ROAM for all
separations for a given page together.
• When recombining composite files (that is, composite files that have been input to a
recombine setup), the settings of the Overprint process colors options in the GUI are
obeyed.
• If composite jobs are put through a recombined setup using Recombine v2 and color
management, the color management is implemented after any compositing for trans‐
parency and after any overprints have been resolved.
13.7.6 Closing the Edit Style dialog box

You must close the Edit Style dialog box to save your changes. You must also close the Sepa‐
rations Manager before you can use any other part of the RIP.
Click OK to confirm all the changes you have made in this use of the Edit Style dialog box,
including any deletions. This confirmation is provisional: you must also click OK or Select in
the Separations Manager to finally save your changes. Click Cancel to discard your changes
immediately.
13.8 Color Setup

If you wish to create a setup with Color management including, ICC profiles, custom render‐
ing intents or perform press emulation on a proofer, you should use the Harlequin ColorPro
option. This option is activated with an LDK product key. You should contact your dealer for
more information.
If you do have Harlequin ColorPro activated in your Harlequin MultiRIP and you wish to
create a setup with color management, you should consult the Harlequin ColorPro User Guide.
13.8.1 Define color setups (no color management)

Follow these steps to create a customized color setup. Note that a color setup corresponds to
a particular device and color space.

13 Color Separation
1. Choose Color > Color Setup Manager. The Color Setup Manager dialog appears.
Figure 13.1 Color Setup Manager dialog box
2. In the Color Setup Manager dialog box, select the device for which you want to create a
color setup. If you are creating CMYK Separations (halftone), you should select
Printing Press in this option.
3. If necessary, select the color space for which you want to create this color setup. Note
that when you create a Page Setup, the separations style you choose determines the
color space of the Page Setup.
4. At this point you have the option to select either, New ‘No Color Management’ setup, or
New ‘ColorPro’ setup (which is only available as a layered option). If you can select New
‘ColorPro’ setup, you should consult the Harlequin ColorPro User Guide for more details.
Figure 13.2 New Color Setup dialog box

The following tables describe the options available in this dialog.
Table 13.1 Input Document Controls in the New Color Setup dialog box
Fields Description
Override color Select this check box to override any color manage‐

management in job ment supplied in the job and use the options set in
this dialog box.
If you do not check this box, the Harlequin
MultiRIP searches the job for a color space array,
embedded ICC profile, or a color space resource. If
there is such an element, the Harlequin MultiRIP
uses it to transform the relevant object on the page
and then treats the object as defined in device‐inde‐
pendent color. See Appendix B, “Jobs Containing
Color Management Data” for details.
Note: A PDF/X‐3 file containing an OutputIntents
dictionary will be color managed using the ICC pro‐
file indicated by the OutputIntents dictionary, as
long as the job uses a device independent color
space and the Override color management in job
option is not selected.
Override overprint A PostScript language operator called
mode in job setoverprintmode which is the PostScript
language equivalent of the PDF gstate OPM flag.
If an object is set to overprint and OPM or
setoverprintmode is on, the Harlequin MultiRIP
drops any colorants which have a zero value. This is
called “implicit overprinting”.
If the Override overprint mode in job option is
checked, the Overprint process colors option
(described below) is always honored and any
overprintmode and OPM parameter in the job is
ignored. If it is not checked, any overprintmode
and OPM parameter in the job will be used and the
Overprint process colors setting will be used as the
default value.

13 Color Separation
Table 13.1 Input Document Controls in the New Color Setup dialog box (...continued)
Fields Description
Overprint process If this option is selected and overprinting is

colors switched on for an object, the RIP overprints any
process color component defined as 0 in the CMYK
color space, or as 1 in the RGB color space. That is,
the component is treated as transparent.
When this option is not selected, a process color
component produces a knockout on the separation.
However, if overprinting is switched on for an
object, the RIP overprints colorants that are explic‐
itly set to overprint using the Harlequin extension
to setcmykcolor.
Drop white objects When Overprint process colors is selected, Drop white
objects determines how the RIP handles white
objects: objects defined as 0 0 0 0 setcmykcolor,
1 setgray, or 1 1 1 setrgbcolor.
If this option is selected and overprinting is
switched on for that object, the white object simply
disappears from the separations.
If this option is not selected, the white object knocks
out underlying objects, even when overprinting is
switched on.
Overprint grays Select this object to enable the Cyan, Magenta, and
Yellow colorants to be overprinted rather than
knocked out when a color is specified as gray (with
the PostScript language setgray operator or spot
color converted to a gray level) and the job requests
overprinting. This behavior is not defined by the
PostScript language, and though it is unusual for a
job to rely on it, sometimes a job will assume this,
especially when the gray tint arises from a named
Black spot color which is converted to process.

Table 13.1 Input Document Controls in the New Color Setup dialog box (...continued)
Fields Description
Overprint gray Overprint behavior changed from Harlequin Multi‐

images RIP version 4.1 to 5.x and beyond. While the old
behavior is deemed incorrect, there is a desire to
selectively use the old behavior because of the un‐
predictability of some graphic applications and to
provide for end‐users the ability to handle legacy
work.
The user parameter is called OverprintGrayIm-
ages, with a default of true which when set over‐
prints gray images. If it is set to false, gray images
will knock out of CMY backgrounds.
Overprint 100% When this option is selected, the RIP overprints
black 100% black rather then generating knockouts in the
other separations. The black channel or separation
is generated as normal but, depending upon the
characteristics of the other inks, may need to be
applied last in the combination process so that it
overprints all colors necessary. If this option is
selected, overprinting occurs regardless of whether
overprinting is switched on for that graphics object.
There is no performance penalty incurred by using
this feature—in fact, it may be slightly faster to
overprint, given that knockouts do not have to be
calculated.
This feature only applies to black objects, not to
individual pixels of a continuous tone image that
happen to be 100% black.
Overprint preview Applying Overprint preview gives better quality
results with blended colors.
Note that Overprint preview is disabled when cali‐
bration strips are printed.
See “Notes on Overprint preview” on page 397 for
more information.

13 Color Separation
Table 13.2 Input Separation Detection angles in Job options in Color Setup dialog box
Fields Description
Cyan The angles specified in these fields help the
Magenta ColorPro application detect the individual plates
within a job. The default angles will usually work.
Yellow
Black If you do change one of these values, for example
Cyan to 30°, and the incoming job has Cyan at 15°,
you will encounter problems.
Table 13.3 Output Controls for RGB options in the New Color Setup dialog box
Fields Description
Black generation This is the process of computing how much, and

where, black should be added to the image.
This option determines how much black ink should
be used to reproduce colors. Select Ignore,
Minimum, Light, Medium, Heavy, Maximum or UCR
from the menu.
Undercolor removal (UCR) is the process of reducing
the amount of other colors present where the black
is added.
Override black Rarely, a job will specify black generation itself. You
generation in job can force the scheme set in the Color Setup dialog
box to override those set by the job, by selecting this
check box.
Max. ink This value constrains the maximum amount of all
four CMYK colors that will be generated in the
conversion process. Similarly, colors specified
explicitly as black are not affected by this.
Max. black This value is the maximum amount of black ink
that will be generated by the color conversion
process. Note that colors specified explicitly as
black are not affected by this setting.

Table 13.3 Output Controls for RGB options in the New Color Setup dialog box
Fields Description
Some applications, and especially Microsoft Word,
®
Convert RGB to
true black use RGB colors for everything, including solid
black—coded as 0 0 0 setrgbcolor (or 0 0 0 in a
DeviceRGB color space). You should choose this
option to force the RIP to intercept blacks coded in
this way and convert them to (0 0 0 1 in) a CMYK
color space.
After setting options in the New Color Setup dialog box, click Save As and assign a name to
this color setup. The Color Setup Manager dialog box displays the new color setup that you
have created. Note that you can also Edit, Copy, and Delete color setups from the Color Setup
Manager.
5. Click OK to confirm all the changes you have make in the Color Setup Manager and
New Color Setup dialog boxes.
The OK button saves the changes you have made and closes the Color Setup Manager. If you
opened the Color Setup Manager from the Edit Page Setup dialog box, you can also save the
changes by clicking the Select button. In addition to saving the changes, the Select button dis‐
plays the selected color setup in the Edit Page Setup dialog box. Click Cancel to discard all
changes.
13.8.2 Notes on Overprint preview

The Overprint preview option overcomes problems with color managing blended colors. In
this context, blended colors means both the compositing of transparency in PDF jobs, and
also the overprinting of opaque objects in PostScript language and PDF files.
In order to color manage blending correctly, the blending must be performed in the same
color space that the designer worked in when creating the job. For example, SWOP with a
range of Pantone colors. In theory, if this type of job is printed on a SWOP press that supports
all the Pantone colors present in the job, the rendering of the blends will be correct.
Problems arise when the job is printed to a device with different characteristics to the color
space the designer worked in. A typical usage is the need to color manage the job when print‐
ing to a proofing device. In this case, to reproduce the blending the designer intended, the
blending should be performed in SWOP with the result then color managed to the proofing
device. Historically, this has been difficult to do accurately without using a form of “double
pass” RIP processing. That is, the job is RIP processed once to (for example) TIFF, in which
the blending is in SWOP. The second RIP pass then color converts the TIFF and outputs the
result to the proofing device.
When the Overprint preview option is off, the Harlequin MultiRIP will perform color manage‐
ment of colors in the job before overprints. The RIP performs blending by using the available
information to make a “best guess” at the blended colors, but at a late stage in the RIP pro‐

13 Color Separation
cess and without full knowledge of the color values and other graphics state attributes. This
method usually makes the blended regions visible, although they are not correctly color
managed. And if spot colorants are converted to process colors, overprinting of these objects
is disabled by default.
When the Overprint preview option is selected, color managed blending is performed in a sin‐
gle pass of RIP processing with its obvious efficiency benefits. The Overprint preview option is
available on both ColorPro and No color management color setups.
The option is available in No color management setups to achieve better rendering of over‐
printed spot colors. For accurate proofing of jobs containing transparency and/or overprints,
it is recommended that the Overprint preview option is used.
Please note the following points when using Overprint preview:
• The definitions of tint transforms of spot colors in the job (which are used to derive the
CMYK equivalents) will only be used to derive the CMYK equivalent of the 100% color
value. Tints will be rendered with CMYK values derived from the 100% spot.
• If a job contains multiple color spaces of the same spot color, and where there are mul‐
tiple definitions of the tint transform, only the first tint transform encountered will be
used; as above.
• Overprint preview is forced on when used with recombine.
• Overprint preview may affect performance either positively or negatively since it is diffi‐
cult to predict how individual jobs will be affected.
• Overprint preview is disabled when calibration strips are printed.
13.8.3 Overprinting controls

Where 100% process black is present and in other circumstances, you may wish to perform
overprinting rather than causing knockouts in the other separations. This applies both to
composite color output and to screened output. (See “Knockouts and overprinting” on page
375 for an introductory discussion.)
13.8.3.1 Color managed overprints for DCS

DCS (Desktop Color Separation) jobs that contain spot color data must be overprinted for
good quality output. If the output device does not support those spot colorants, the resulting
output will be inaccurate, with a warning that the spot color is missing.
With the introduction of backdrop rendering the RIP has the ability to interpose a virtual
device which does support those spot colors, and where correct overprinting will result. The
RIP can then color convert the backdrop to the final output producing accurate results.
A way of using backdrop rendering is to set Recombine within the RIP user interface. For
more information see “Recombination and composite jobs” on page 390. You should note
that RIP performance is affected by backdrop rendering because the RIP implements color
managed overprints by compositing rather than direct rendering.

13.8.4 Black generation and undercolor removal
With regard to the CMYK color space, in principle, all colors can be represented with cyan,
magenta, and yellow. In practice, however, the theoretically correct combination of these
three colors will not produce the color expected when printed, because of the limitations of
inks.
To overcome this practical problem, pure black ink is used to improve color reproduction on
the printed page. This is the role of the K or black separation. Black is added to produce pure
black on the page, because using a combination of cyan, magenta, and yellow usually gives
dark brown, rather than black, when printed. Therefore, black text is printed with black ink.
Black is also added in color regions of an image to strengthen color tones. The application of
black can often be very effective for improving an image. The amount used can be varied
according to the effects you wish to achieve.
Black generation is the process of computing how much, and where, black should be added to
the image.
Note: If you have Harlequin ColorPro available, it is able to add black in ways more subtle
than the controls described here, using Color Rendering Intents. See the separate Harlequin
ColorPro User’s Guide for details.
When converting color descriptions expressed in RGB (or in HLS, device‐independent color,
or other spaces which end up as RGB) to CMYK for printing, the RIP must decide how much
of a color is to be represented by black ink, and how much by the others. Because a perfect
theoretical description of the color image is provided by the CMY components, if black is
added without the appropriate removal of some of the cyan, magenta, and yellow, the color
produced on the printed page will not be the one intended.
Undercolor removal (UCR) is the process of reducing the amount of other colors present where
the black is added. The legend ucr represents undercolor removal in the graphs later in this
section.
Note: The black generation settings in this dialog box operate in the RIP without Harlequin
ColorPro. With ColorPro enabled, an alternative method is normally used. The settings made
here are used with ColorPro only when sending RGB data direct to a four‐color device, with‐
out first converting to a device‐independent color space.
13.8.5 Black generation

You can specify how black generation and undercolor removal should be done in the New
Color Setup dialog box. The settings in this dialog box control the way the RIP will apply
black by constructing internal calls to the PostScript language operators setblackgenera-
tion and setundercolorremoval. The dialog box offers a number of black generation
schemes. Factors that you should take into account when selecting a scheme include the qual‐
ities of the various inks (discussed in “Ink densities” on page 401) and printing media.
The scheme used is controlled by the Black generation drop‐down list. The options are:
• Ignore

13 Color Separation
• Maximum
• None (the default)
• Light, Medium, and Heavy
• UCR
Sections 13.8.5.1 through 13.8.5.5 describe these options.
Rarely, a job will specify black generation itself. You can force the scheme set in the dialog
box to override those set by the job, by selecting the Override black generation in job check box.
13.8.5.1 Ignore
This option does not set black generation and undercolor removal. It replaces as much color
as possible with black, while maintaining the intended color, irrespective of ink densities.
Because no PostScript language code for performing undercolor removal is generated, it is
the fastest method.
13.8.5.2 Maximum
K, ucr
CMY
This option introduces a lot of black, taking into account the maximum black ink density.
Specify the maximum black ink density in the adjacent Max black text box as a percentage
value, as described in “Ink densities” on page 401.
13.8.5.3 None
CMY
K, ucr
This option performs no black generation or undercolor removal. Black is represented as a
mixture of cyan, magenta, and yellow, leaving only those colors expressed explicitly in the
PostScript language job as black—rather than as a mixture of red, green, and blue, or as
device independent color—to be rendered on the black separation.

13.8.5.4 Light, Medium, and Heavy
Light Medium Heavy
K K K
CMY ucr
CMY
ucr
CMY
ucr
These options introduce black gradually, according to exponential functions, with propor‐
tionately smaller amounts of black added and color removed for the lighter colors than the
darker ones. This is again subject to the constraints of maximum ink densities, specified in
the adjacent boxes. See “Ink densities” on page 401 for details of controlling these ink densi‐
ties.
13.8.5.5 UCR
K
CMY
ucr
Instead of an exponential curve, this option adds no black until the maximum colored ink
density is reached and then adds black linearly up to its maximum. The maximum colored
ink density is the maximum ink density value minus the maximum black density value. See
“Ink densities” on page 401 for details of controlling these ink densities.
13.8.6 Ink densities

Most of the black generation styles are affected by the ink densities set in the two Max ink
and Max black options in the black generation section of the Color Setup dialog box.
You should select these values with consideration for paper and press characteristics.
13.9 Color separation angles in job

The RIP sometimes needs to identify which colors are represented in jobs: for example, when
recombining a preseparated job. Often there are well structured identifiers that give the
answer directly and unambiguously, and most pre separated jobs have PlateColor comments.
Therefore, from v8.3 separation detection by angle has been turned off by default.
Where there is not an obvious identifier, most likely in legacy jobs, the RIP analyzes the con‐
tents of the job to decide a likely color. The screen angle is one of the items that the RIP ana‐
lyzes.

13 Color Separation
A switch labelled Detect input separations by screen angle on the New Color Setup dialog

(with or without color management), allows you to turn separation detection by angle on.
These are optional values in calls to the HqnSettings procset.
Set the Cyan, Magenta, Yellow, and Black text fields to the screen angles that the incoming job
uses for these colors.
Note: The angles in this section are the screen angles expected in the incoming job, not the
angles used for output. The angles used on output are set in the Edit Style dialog box, and
can be entirely different.
13.10 Trapping features

Trapping options are found in the Trapping section of the Edit Page Setup dialog box and
gives some control over trapping; that is, overprinting edges of objects in the output to avoid
white gaps showing when printed due to slight misregistration.
If your copy of the RIP has the one of the optional TrapPro features enabled, you can create
sets of trapping rules and apply them within the RIP. TrapPro is fully described in the sepa‐
rate TrapPro User Manual. (You must enable TrapPro by obtaining a keyword and selecting
the TrapPro item while following the procedure described in “Switching on HSL” on page
192 of this manual.)
Making full use of trapping in the RIP can require the choice of appropriate options both in
the applications creating the PostScript language job and in the RIP.
PDF jobs containing PJTF (Portable Job Ticket Format) structures that detail trapping param‐
eters are supported with respect to making the parameters available to TrapPro. Previously,
PJTF structures were ignored. Therefore, if TrapPro is enabled (that is, activated with an LDK
product key, not necessarily any parameters set established via the GUI), a PDF job contain‐
ing trapping parameters (via PJTF structures), will be trapped as dictated by those parame‐
ters.
13.10.1 Trapping and QuarkXPress

The Harlequin MultiRIP supports trapping facilities provided by QuarkXPress and its
settrap PostScript language extension.
QuarkXPress has the ability to generate arbitrary trapping. It can do so in either of two ways:
• By including explicit overprinted borders in the PostScript language page description
it produces. This method works on all RIPs but may produce large job files.
• By indicating that a capable RIP should generate the trapping. The RIP can do this if
you select the settrap (Quark) option. The QuarkXPress operator must use a printer
description file declaring that the RIP supports this feature. Using this option allows
QuarkXPress to generate more compact PostScript language code, which saves disk
space and may lead to faster interpretation by the RIP.

13.10.2 Controls in the Harlequin MultiRIP
The Trapping drop‐down list in the Trapping section of the Edit Page Setup dialog box always
provides the following options:
None This option performs no trapping.
settrap (Quark)
Use this option to have the RIP generate overprinted borders accord‐
ing to instructions embedded in suitable jobs by QuarkXPress. See
“Trapping and QuarkXPress” on page 402 for details of how to pro‐
duce suitable jobs.
If your copy of the RIP has one of the optional TrapPro features enabled, there may be extra
entries in this list and you also can create new sets of trapping rules that also become entries
in this list, as described in the separate TrapPro User Manual.
13.11 Pages in the Output Controller

In general, the RIP treats separations the same way whether they are the result of processing
a preseparated job or the result of separating a composite color job within the RIP.
Depending on the separations style, each page of a composite color job can produce several
pages, one for each separation. Once these pages are in the Output Controller, the RIP han‐
dles them in the same way as any other pages.
The pages are tagged with their color, which appears after the name in the Output Controller.
For example, the job picture.ps separated for CMYK printing would have four entries in
the queue, as follows:
picture.ps (C)
picture.ps (M)
picture.ps (Y)
picture.ps (K)
Cyan, magenta, yellow, and black are abbreviated to C, M, Y, and K respectively. Red, green,
and blue are abbreviated to R, G, and B respectively. Spot color separations are tagged with
the full name of the separation.
13.11.1 Roaming separations

When you view a separation on a color display, using Roam, it is displayed in the appropriate
color, at least until you choose to change that display color. The Roam window also displays
the title of the page, an abbreviation for the color, and the resolution. Cyan, magenta, yellow,
and black are abbreviated to C, M, Y, and K respectively. Red, green, and blue are abbrevi‐
ated to R, G, and B respectively. An asterisk character ( * ) indicates a spot color separation,
and a percent character ( % ) indicates grayscale.
Shift

13 Color Separation
You can view a block of several separations at once. Click to select the first one, then hold
down the Shift key and click to select the last one.
When you view multiple separations, the colors are overlaid to give an impression of how
they will look when combined on paper. For example, in a high‐resolution screened picture,
you should be able to see the rosettes of the screen pattern. (See Chapter 6, “Screening”, for
more discussion of viewing superimposed screens.)
You can roam a separation in a different color, which can be useful, for example, if you want
to see the differences between two separations of the same color. To highlight the differences,
change the roam color of one page and then roam the pages together. For details of changing
the roam color, see “Changing the color in Roam” on page 404
For more information on roaming, see “Roam and Preview windows” on page 101.
13.11.2 Roaming composite pages

When you view a composite page using Roam, by default the RIP shows all the separations
in the composite page together.
You can reduce the number of separations that you can see in the Roam or Reduced Roam
window using the Roam Options dialog box. See “Roam Options and Preview Options dia‐
log boxes” on page 102 for details.
13.11.3 Changing the color in Roam

You can inspect and change the colors displayed in the Roam window for the colorants in
individual separations and composite page buffers. To do this, select a page buffer in the
Output Controller, click Info, and in the Info dialog box click Change roam color. Figure 13.17
shows the dialog box that appears.
Note: You cannot inspect or change the roam color while you are roaming a page buffer from
any page in the same job.
Figure 13.17 Change Roam Color dialog box

The Change Roam Color dialog box appears with a table displaying all the colorants present
in the selected page buffer. The columns in the table are:
Colorant This is the name of the colorant in the page buffer. In a separation,
there is only one colorant. In a composite page buffer, all the included
colorants appear. (Typical composite page buffers contain only process
colors but, for a small number of output plugins, there can also be spot
colors.)
Red This is the red component of the roam color, in the range 0 (zero)
through 1.0.
Green This is the green component of the roam color, in the range 0 (zero)
through 1.0.
Blue This is the blue component of the roam color, in the range 0 (zero)
through 1.0.
Roam Color This is the name of the roam color. In an unchanged page buffer this is

the same name as appears in the Colorant column. In a changed page
buffer, the color is the last one chosen for this colorant. You can substi‐
tute any other color by choosing from a list of common colors or by
typing new values.
To change a color, first select it by clicking on its row in the table. The boxes at the foot of the
table display the RGB values and the name of the roam color for the selected colorant. You
can choose named colors from a list or specify any other color by RGB values:
• To select a named color, use the drop‐down list for Roam Color. The listed values are
any special colors represented in this page buffer, a list of default colors for the RGB
and CMYK spaces (Default Red and so on), and an entry called Other. You cannot
select Other: it shows only that you have edited the RGB values to a color not in the
list. To return to the original roam color for a colorant, use the list to select the name
that appears in the Colorant column.
• To specify any color not in the drop‐down list, edit the values in the fields for Red,
Green, and Blue. Once you have edited a value then, as soon as you move to another
field (or select a different row in the table), the Roam Color name for the edited colorant
changes to Other. If you want to edit another color, click on its row. (You can do this
for all colorants if you wish; each can have its own value for Other.)
Click OK in this dialog box and OK again in the Info dialog box to save your changes to roam
colors. Click Cancel in either dialog box to abandon your changes.

13 Color Separation

Appendix A
0 Troubleshooting
This appendix provides solutions to common problems that can occur when running the RIP.
The first sections contain information about the warning messages that can appear. They are
grouped according to where the messages appear in the RIP.
Section A.1, “Warning messages and what to do”, gives a list of some of the major error
messages that may occur when running the RIP. All of the messages in this section
appear in dialog boxes.
Section A.2, “Warnings in the Harlequin MultiRIP window”, describes the warnings
that appear in the system monitor. They are grouped according to the type of problem.
Section A.3, “Warnings within the progress box”, describes the messages that appear in
the progress box. The progress box is part of the Output Controller in either of the mul‐
tiple modes, or a separate window in either of the single modes. This list does not
include the warnings generated by output plugins.
The remaining sections provide additional information on specific topics.
“Page imposition and media saving” on page 415 contains information on imposition
and media saving.
“Seybold timings” on page 415 describes Seybold test timings.
“PDF troubleshooting” on page 415 describes solutions to problems when imaging PDF
jobs.
“Network troubleshooting” on page 420 describes solutions to network problems when
configuring the RIP.
“Spool folder problems and considerations” on page 421 describes how to set the access
permissions for the spool folder.
A.1 Warning messages and what to do

The following is a list of some of the major error messages that may occur when running the
RIP. All of the messages in this section appear in dialog boxes.

Appendix A Troubleshooting
A.1.1 Problems with starting the Harlequin MultiRIP

Table A.1 Start-up messages
Message Problem Things to try
The RIP failed on bootup An error has occurred Reset the RIP to the fac‐

while the RIP was starting tory defaults.
up.
The RIP startup failed An error occurred while Reset the RIP to the fac‐

starting up the RIP. tory defaults. Reboot the
machine. If this does not
help, reinstall the RIP.
A.1.2 Problems with resources
Table A.2 Resource messages
Could not access a The plugin driver for the Reset the RIP to the fac‐

resource for the current current device seems to tory defaults.
plugin device driver have been moved.
Move a copy of the device
driver into SW\Devices.
Could not access a Setup The setup file has been Reset the RIP to the fac‐

resource corrupted or is missing. tory defaults.
There are no devices There are no devices Reinstall the RIP.

installed in the setup file installed in the devices
folder.
A.1.3 Problems with files
Table A.3 File messages
Could not open the newly This probably means that Close some files.

created RIP setup file there are too many other
files open.
File too deeply buried The file pathname is too Move the file that you are

inside directories long for the RIP to cope trying to access to a point
Move it somewhere else with. higher up in the file
system so that the full
pathname becomes
shorter.

Table A.3 File messages (...continued)
Incompatible version of The setup file you are Find and install a copy of

the RIP setup file used/ using is associated with a the correct setup file that
Old RIP setup file used different version of the was supplied with the
software. version of the RIP that
you are running (this file
must be placed in the SW
folder) or reinstall the
RIP.
Problem finding file— The RIP cannot find a file. Try running a disk repair

maybe disk is damaged utility.
A.1.4 Problems with sockets
Table A.4 Socket messages
No communication Suspect a bad configura‐ Check that both applica‐

tion in the receiving or tions are using the same
sending application. port and that the sending
application is using the
expected protocol: basic
TCP/IP socket stream or
Xinet PapConnect, as con‐
figured in the Socket Con‐
figuration dialog box.
Next check the network
connectivity using ping
or an equivalent network
utility program.
Bad jobs at the receiving The sending application Check that the sending

end may not be using the cor‐ application is using the
rect protocol. expected protocol: basic
TCP/IP socket stream or
Xinet PapConnect. Check
that no other machine is
already using the same
port and sending some‐
thing that is not a Post‐
Script language job.
Check that the sending
application is using the
expected protocol.

Table A.4 Socket messages (...continued)
Missing, bad, or cor‐ The Socket plugin or the Check that the RIP Socket

rupted status messages at port is not configured plugin is configured to
the sending machine correctly. return the PostScript lan‐
guage standard output on
the correct port
(Address).
Check that no other
machine is already using
the same port and send‐
ing something that is not
the standard output from
a PostScript language job.
Poor transfer rates An inappropriate proto‐ Deselect the Xinet proto‐

col may be in use. col in the Socket Configu‐
ration dialog box and the
sending application.
Xinet PapConnect does
significant error checking,
which slows transfers and
may be unnecessary for
most jobs.
A.2 Warnings in the Harlequin MultiRIP window

The following warnings all appear as messages in the Harlequin MultiRIP window. Again,
the warnings are grouped here according to the type of problem.
A.2.1 Problems involving disk space
Table A.5 Disk space messages
Message Things to try
System warning—Insuffi‐ Create more free disk space before reprocessing the job
cient Disk workspace that gave the warning.
Error VMerror Offending This appears after a partial paint fails.
Command: renderbands
Make sure that compression is turned on in Configure
RIP.
If this does not help, free‐up some disk space.

Table A.5 Disk space messages (...continued)
System Warning: Free The RIP waits for some disk space to be freed.
disk space gone below
This is not a fatal error. It can happen, for example, if
requested limit
the RIP is outputting pages, or has pages waiting to be
output in the Active Queue. When these pages have
been output, they are deleted automatically and the
RIP continues with its current job.
If there are no pages waiting to be output, free up disk
space by doing some of the following things:
Delete some files.
Turn on page compression in the Configure RIP dialog
box.
Reconfigure the PageBuffers folder by placing it on
another disk with more free space.
Ensure that there are no locked pages in the Output
Controller.
A.2.2 Problems involving fonts
Table A.6 Font messages
Error: invalidfont; Check that the RIP has installed the font correctly.
Offending Command:
Try proofing the fonts using the Proof Fonts option on
<command>
the Fonts menu. If the font fails to proof it may be cor‐
rupt. If the fonts proof correctly, the job itself may be
corrupt.
If any job requires a particular font which is not
installed, the RIP attempts to use Courier as a substi‐
tute.
<FontName> Font not The font specified in the PostScript language file is not
found; using Courier actually loaded into the RIP. Courier is the default font
in this case.
Courier Font not found; If this message appears, the RIP currently has no fonts
using Courier loaded at all. Use Install fonts to install some fonts—
the minimum font set that must be installed is Courier,
Times, Helvetica, and Symbol. Alternatively, reinstall
the RIP.

A.2.3 Problems involving files
Table A.7 File messages
ERROR IN CONFIG FILE The RIP failed to finish interpreting the file.
For example, you will see this message if you try to
print a TIFF file that is corrupt, unsupported, or of an
unrecognized type.
This can also occur if a file in the spool folder is locked
by another application. Close the file and try again.
Inappropriate compres‐ This message appears if you try to print a file that has
sion an inappropriate compression format. For example, a
color or grayscale TIFF file with CCITT compression.
CCITT compression is only suitable for monochrome
TIFF files.
A.3 Warnings within the progress box

When appropriate, the progress box may show the following warning messages, together
with the accompanying icons. The progress box is part of the Output Controller in either of
the multiple modes, or a separate window in either of the single modes.
Output plugins can supply their own warnings and icons, which are not listed here.
Table A.8 Progress box messages
Buffer full
The page buffer on the output device is full
Buffer space low
The output device is running out of buffering memory
Busy
The output device is working on another job
Busy or off‐line
The output device is either busy or off‐line
Communications failed
Communication between the RIP and the output device has
either been broken or was never established
Cover open
The cover of the output device is open

Table A.8 Progress box messages (...continued)
Data transfer failed
Image data transfer between the RIP and the output device has
either been broken or was never established
Data underrun
The output device has not received data from the RIP when it
was expected
Deleted cassette
The required cassette has been deleted, in the Cassette Manager.
Ink low
The ink supply to the output device is running low
Ink out
The ink supply to the output device has been exhausted
Interface card failed
Communication between the RIP and the interface card in the
machine has either been broken or was never established
Invalid clipping
An invalid clipping was requested of the output device
Invalid resolution
An invalid image resolution was requested of the output device
Laser diode failed
The laser diode of the output device is not working satisfacto‐
rily
Low power
The output device is low on power
Misplaced cassette
The required cassette is in another output device.
Missing cassette
There is no cassette in the output device
No cassette
The input media cassette requested is not available
No power
The output device has no power

No take‐up cassette
There is no take‐up cassette for the output device
Not ready
The device is not ready, for an unspecified reason—perhaps
unknown or too complex to show. Look for an extra message in
the Monitor window.
Off‐line
The RIP cannot communicate with the output device
Page stop‐started
The RIP has supplied data quickly enough, but the device has
stop/started
Paper jam
Media has jammed in the output device
Paper low
The paper or film supply to the RIP output device is running
low
Paper out
The paper or film supply to the output device has been
exhausted
Printer caught up
There was a data underrun, and stop‐start was either not
selected or is not supported by the printing device
Take‐up full
The take‐up cassette is full
Take‐up space low
Space in the take‐up cassette for the device is running low
Toner low
The toner supply to the’ output device is running low
Toner out
The toner supply to the output device has been exhausted

Unknown error
An unknown condition has caused an error
Warming up
The output device is preparing itself for communication with
the RIP
Wrong cassette
The wrong cassette is in the output device
A.4 Page imposition and media saving

On wide printers, using the media saving option (described under “Printing effects” on page
140) can save both time and media. You must ensure that you set the media width for the cas‐
sette being used correctly, because it is the media width that is used to determine if the
rotated page would fit on the media. See “Monitoring media” on page 268 for details of how
to set this information.
Some pages may have surplus white space at the sides, and this could mean that film saving
will not rotate the page. You can force the rotation in the Edit Page Setup dialog box, and also
tell the RIP to center the page if appropriate, so that only the white space is clipped.
It is possible to set up automatic operations such as printing 4‐up or 8‐up. This is done by
adding fragments of PostScript language code into the system that specify where to lay out
the pages. This could, for example, automatically fill a large sheet of film with pages. This
form of imposition only works within a single job.
A.5 Seybold timings

The Seybold test timings have to cover a large range of resolutions, so, for example, two
printers, with resolutions of 2000 and 2540 dpi respectively, would be compared to one
another directly. However, remember that there is more data in a higher resolution bitmap—
a 2540 dpi bitmap contains 62.29% more data than a 2000 dpi bitmap. The time taken to gen‐
erate the 2540 dpi job, while probably not as much as 62% longer, is certainly substantially
longer.
If you really must reduce timings to be comparable across different resolution printers, the
only solution is to use the lowest resolution possible.
A.6 PDF troubleshooting

The methods of control provided by the PDF Options dialog box mean that it is possible to
reject PDF files that are valid, but that fail to meet strict criteria such as the PDF/X‐1 specifica‐
tion. It is also possible for PDF jobs to be badly constructed or for required external files to be

missing or in the wrong location. Always inspect the RIP Monitor window or log file if you
see problems with printed output.
You may see the following effects or messages.
No pages printed
Check in the PDF Options dialog box that the PDF job is of the required type (for Accept
type(s)) and that it contains at least one page matching the pages or ranges in the Pages
field.
Poor color matching
Check that you have an appropriate match of color spaces and management in the PDF
job and in the Page Setup in use. If the problem appears in an image, also check that it is
not a low‐resolution OPI preview being used to substitute for a missing OPI high‐reso‐
lution image.
Areas missing from the page or printed at low resolution
Check that any files referenced by OPI are present and that OPI is enabled in the RIP.
(Files referenced by OPI must be embedded in a PDF/X‐1 file.)
%%[ Warning: Skipping page 1 - not in requested page range ]%%
This is not an error. It is a reminder that the options chosen in the PDF Options dialog
box have caused a page to be omitted from the PDF job being printed. This omission
may be intentional.
%%[ Error: invalidaccess; Offending command: pdfexec ]%%
The PDF files may have been saved with security settings that require a password to be
entered for printing. Obtain the password (from the supplier of the PDF job) and enter
the password in the text field in the Password section of the PDF Options dialog box.
Passwords are case‐sensitive.
If you enter the correct password (in the Harlequin MultiRIP) and still see this error,
check that you have not entered one or more white space characters at the end of the
password. Another possible cause of this error is that the password uses characters
from an extended (non‐ASCII) character set. The way in which these characters are rep‐
resented can vary from platform to platform and the PDF password may have been set
on a platform different from the one on which you are running the RIP. Request a new
file using a simpler password.
Finally, the PDF file may be damaged. Try using another application to view or print
the file, taking note of any messages given by that application.
High resolution file is embedded in PDF job file.
This is not an error nor a warning. It is information about the structure of an OPI job.
This message is most likely to occur when processing a PDF/X‐1 job, but could occur for
a basic PDF file.

****** PDF/X-1 Error: text explaining the reason
The job is not a valid PDF/X‐1 job. See the following messages for explanations of the
various reasons that can appear in messages of this form. The RIP may be able to pro‐
cess the job as a PDF 1.3 file, if you have allowed this by a choice in the Accept type(s)
list.
Note: If you have used a creating or editing application that claims to be compliant
with PDF/X‐1:1999, you should report these errors and warnings to your supplier of
that tool. The RIP performs strict checking of referenced files as well as the basic PDF
content of a PDF/X‐1 job.
****** PDF/X-1 Warning: Clipped out 'stroke' operator in EPS
The job deviates from the file PDF/X‐1 standard—in this example because of a Post‐
Script language operator used in a referenced EPS file. (The operator is illegal in an EPS
file referenced from a PDF/X‐1 job but harmless in this context.) Any message starting
“PDF/X-1 Warning:” has some problem, for the reason given in the rest of the mes‐
sage, but will not cause the RIP to abort the PDF job.
****** PDF/X-1 Error: Invalid TIFF compression
An embedded TIFF file uses a compression method not allowed by PDF/X‐1. Many
TIFF files use LZW compression, which is not allowed. Ask the creator of the file to rec‐
reate the file using an allowed compression method; PDF/X‐1 allows an embedded
TIFF file to be compressed using the CCITT or (new) JPEG methods.
Note: The new JPEG method is given the TIFF tag value Compression=7 and is
expected to be adopted as part of the forthcoming TIFF 7 specification. The new
method was designed (by the Independent JPEG Group) to overcome severe problems
in the method of JPEG compression as described in the TIFF 6.0 specification, dated
1992. The old scheme used the TIFF tag value Compression=6 and several related but
separate fields.
****** PDF/X-1 Error: Vector painting operator in EPS: stroke
An embedded EPS file uses a vector painting operator. PDF/X‐1 does not allow embed‐
ded EPS files to contain vector painting operators: stroke, fill, show, and so on.
****** PDF/X-1 Error: Invalid alternativeSpace in Separation
colorspace
****** PDF/X-1 Error: Invalid base colorspace in Indexed colorspace
The PDF job uses an illegal color space. PDF/X‐1 places restrictions on the alternative
Space of Separation color space and the base color spaces of Indexed color spaces in
embedded EPS files.
****** PDF/X-1 Error: LZWDecode in EPS
An embedded EPS file uses LZW compression, which is illegal in PDF/X‐1.

****** PDF/X-1 Error: Missing Subtype in EF object
****** PDF/X-1 Error: Unknown Subtype in EF object
****** PDF/X-1 Error: Subtype incorrect for embedded file
The PDF/X‐1 file must specify the type of an EF object (embedded file) using the Sub‐
type key. The Subtype key can be TIFF, EPS, DCS, and so on. The RIP checks that the
Subtype key is present, is one of those allowed, and matches the actual type of the file.
****** PDF/X-1 Error: Invalid TIFF PhotometricInterpretation
The PDF job references a TIFF file of an illegal type. Embedded TIFF files must be
CMYK, monochrome, or gray scale. PDF/X‐1 does not allow RGB, Lab, or other color
spaces.
****** PDF/X-1 Error: PDF referenced from PDF/X-1
****** PDF/X-1 Error: JPEG referenced from PDF/X-1
The PDF job references a file type that is illegal for PDF/X‐1. The PDF/X‐1 standard
allows only TIFF, EPS, DCS, or TIFF/IT‐P1 files to be embedded.
The following messages can appear as Errors or Warnings. They appear as Errors if you
have set up the RIP to accept only PDF/X‐1 jobs.
In most cases, understanding the messages requires detailed knowledge of the PDF specifica‐
tion but all the messages indicate that the job is not PDF/X‐1 compliant. If you see these
errors when printing PDF/X‐1 jobs, you have two alternatives: one alternative is to ask for the
job to be re‐created in a form that is compliant with PDF/X‐1 and wait for that job to be sup‐
plied to you; the other alternative is to use a Page Setup that accepts basic PDF (using the
option Any PDF <= 1.3 as basic PDF) and print the non‐compliant version. (In rare cases,
there may be a more fundamental error in a PDF file that prevents you printing it at all; in
such cases, you must use a different PDF file.)
****** PDF/X-1 Error: unknown PDF/X version
****** PDF/X-1 Error: unexpected PDF/X version
****** PDF/X-1 Error: obsolete PDF/X version
****** PDF/X-1 Error: unexpected PDF version
The PDF version number is too low, too high, or otherwise unsuitable for use with this
version of the RIP and the settings in use.
****** PDF/X-1 Error: missing Info dictionary
****** PDF/X-1 Error: invalid Info dictionary
PDF/X‐1 jobs must have a valid Info dictionary.
****** PDF/X-1 Error: missing trailer ID key
PDF/X‐1 jobs must have an ID entry in their trailer object.

****** PDF/X-1 Error: invalid encryption
If encrypted, PDF/X‐1 jobs must have a blank User password.
****** PDF/X-1 Error: invalid operator
****** PDF/X-1 Error: invalid HTP in ExtGState
****** PDF/X-1 Error: invalid TR in ExtGState
****** PDF/X-1 Error: invalid RI in ExtGState
****** PDF/X-1 Error: invalid TransferFunction in halftone
****** PDF/X-1 Error: invalid colorspace
****** PDF/X-1 Error: invalid file compression
****** PDF/X-1 Error: invalid function type
****** PDF/X-1 Error: invalid halftone type
****** PDF/X-1 Error: invalid pattern type
PDF/X‐1 files have restrictions on the allowed PDF operators, parameters in the graph‐
ics state, transfer functions, color spaces, methods of compression, halftones, and pat‐
terns. The job has tried to use an invalid option.
****** PDF/X-1 Error: missing embedded font
PDF/X‐1 jobs can use only embedded fonts. The job has tried to use a font without
embedding it.
****** PDF/X-1 Error: invalid filespec
****** PDF/X-1 Error: invalid embedded filespec
Files referenced through OPI in a PDF/X‐1 file must be embedded within the PDF/X‐1
file itself. The job includes OPI references to files that are not embedded.
****** PDF/X-1 Error: invalid external file
PDF/X‐1 jobs can use external files only for OPI. The job has tried to use an external file
for some other purpose.
****** PDF/X-1 Error: invalid embedded file
PDF/X‐1 jobs can embed a limited number of file types. The job has a file specification
that is badly specified for Macintosh, UNIX, or DOS platforms, is not embedded, or
where the Subtype of the file indicates that the file is not TIFF/IT, EPS, DCS, or TIFF.
****** PDF/X-1 Error: invalid PS XObject
A PDF/X‐1 job cannot contain a PostScript language XObject (PostScript language code
embedded in the PDF page description).

****** PDF/X-1 Error: missing characterized printing condition
****** PDF/X-1 Error: multiple characterized printing conditions
All data in a PDF/X‐1 job must be prepared for exactly one characterized printing con‐
dition, which is identified using embedded ICC profiles. (A job can embed multiple
ICC profiles and each must contain a characterized printing condition but all condi‐
tions must be the same.) The RIP reports the first condition to the Monitor window, in a
message similar to this example:
Prepared for printing condition "CGATS TR 001".
A.7 Network troubleshooting

This section covers solutions to network problems when configuring the Harlequin MultiRIP.
A.7.1 Harlequin MultiRIP fails to publish

If the RIP is not publishing on the network, check the following.
A.7.2 Network connections

Ensure that the network cable is connected correctly to your PC. The easiest way to do this is
to check that the PC can see other things on the network. For example, are there any printers
on the network visible in the Print Manager? If not, check that connections have not been bro‐
ken due to connectors being removed.
Restart the RIP once you have checked the connections and corrected any problems with the
network cable. Start the RIP, make sure that there is a network channel defined in the Input
Controller that is On, and then choose Harlequin MultiRIP > Start Inputs.
A.7.3 Is the system software installed correctly?

It is difficult to check the correctness of an installation. If you have checked for faulty connec‐
tions, the most reliable procedure is to reinstall the software.
A.7.4 The Harlequin MultiRIP is not picking jobs up correctly

The software on either the printing PC or the RIP PC may need reinstalling. If the RIP is pub‐
lished on the network, but jobs do not get processed correctly, check the following:
Spooler problems
Some spoolers check for a specific product name. The RIP is set to
LaserWriter-Sim. If the spooler does not recognize this, it may not
send the job to the printer. This name has been chosen to minimize
such problems.

A.8 Spool folder problems and considerations
In cases where the spool folder is on a file server, you must ensure that the RIP has permis‐
sion to access the shared folder and all enclosed folders.


Appendix B
Jobs Containing Color
0
Management Data
Settings within the RIP, in the job, and in the images themselves can all control the processing
of images in a job. This appendix describes the settings that influence this processing and
explains which setting takes precedence in each particular case. “Summary of options” on
page 424 summarizes this information.
Important: Different rules apply when you are using Color. See the Harlequin ColorPro Users’
Guide for details.
If you are not using ColorPro, the RIP checks the following for Photoshop and PDF jobs, and
allows independent control of what happens.
When processing jobs containing Photoshop EPS images:
• Is the Override color management in job option selected in the Color Setup dialog?
• Does the image contain a PostScript language color space array?
• Is the UseCIEColor parameter set to true in the job?
See Section B.1 and Section B.2 for details.
When processing jobs containing PDF files:
• Is the Override color management in job option select in the Color Setup dialog?
B.1 Override color management in job not selected

The Harlequin MultiRIP checks for color management information in the image and the job
in the following strict order.
• If the image contains a PostScript language color space array (Photoshop EPS files
only):
The Harlequin MultiRIP uses the color space array (CSA) to transform the image. It
treats the image as a device‐independent color image.
• Otherwise, if the UseCIEColor parameter set to true in the job:
The Harlequin MultiRIP uses the DefaultGray, DefaultRGB, or DefaultCMYK color
space resources to transform the image colors. It treats the image as a device‐indepen‐
dent color image.

Appendix B Jobs Containing Color Management Data
Otherwise, if the UseCIEColor parameter is set to false or has no value in the job, the Harle‐
quin MultiRIP treats the job as CMYK or RGB.
B.2 Override color management in selected job

• If the current Page Setup does not use a color setup:
The Harlequin MultiRIP checks the setting of the UseCIEColor parameter in the job.
• If the UseCIEColor parameter is set to true in the job:
The Harlequin MultiRIP uses the DefaultGray, DefaultRGB, or DefaultCMYK color
space resources to transform the image colors. It treats the image as a device‐indepen‐
dent color image.
• Otherwise, if the UseCIEColor parameter is set to false or has no value in the job:
The Harlequin MultiRIP treats the job as CMYK or RGB.
B.3 Summary of options

Table B.1 Current Page Setup does not use a color management option
Override color Image contains a Job contains Result

management in color space array UseCIEColor set
job to
Selected True Use the DefaultGray,
DefaultRGB or
DefaultCMYK color
space resources to
transform image
colors
False Treat job as CMYK
or no value or RGB
Not selected Yes Use the CSA to

transform the image
No True Use the DefaultGray,
DefaultRGB or
DefaultCMYK color
space resources to
transform image
colors
False Treat job as CMYK
or no value or RGB
Settings within the Harlequin MultiRIP, in the PostScript language or PDF job, and in the
images themselves can all control the processing of images in a job.
Note: Some options apply only to EPS files produced by Adobe Photoshop.
“PDF color management” on page 425 describes the cases specific to PDF jobs.

B.4 PostScript language jobs and image files
The Harlequin MultiRIP checks the following when processing jobs containing Photoshop
EPS images or TIFF/JPEG images containing embedded ICC profiles:
• Does the current Page Setup use a color management option?
• Is the Override color management in job check box selected in the Color Setup dialog
box?
• Does the image contain a PostScript language color space array? (Photoshop EPS files
only)
• Does the image contain an embedded ICC profile?
• Is the UseCIEColor parameter set to true in the job?
B.5 PDF color management

PDF jobs can use a variety of color spaces, including device‐dependent spaces such as Devi-
ceCMYK.
Typically, when using device‐independent color spaces, PDF version 1.2 files use the Cal-
Gray and CalRGB color spaces and PDF version 1.3 files use the ICCBased color space but
these usages are under the control of the creating applications — see the Color tab in
Distiller 7.0.
Full use of device‐independent color requires ColorPro to be enabled.
Note: A PDF/X‐3 file containing an OutputIntents dictionary will be color managed using
the ICC profile indicated by the OutputIntents dictionary, as long as the job uses a device
independent color space and the Override color management in job option is not selected.
Note to OEMs: Photoshop images saved to EPS always include the input profile from
Photoshop, which a job may not want to actually have applied when
color managing. For details on overcoming this, see Appendix C of the
Extensions manual.
B.6 XPS color management

The XPS RIP component provides the following color management:
• An ICC v4 compatible color management engine is integrated within the RIP compo‐
nent. This allows color management of XPS Documents to an output color space.
• Input color is supported as described in the XPS Specification.
• Vector, text and image data defined in sRGB, scRGB, N‐Color and ICC tagged color
spaces is supported and color managed to the output space.
• For RGB output the output color space is sRGB.
• For output the output color space is SWOP (CGATS TR001).

Appendix B Jobs Containing Color Management Data
• Output color is 1 or 8‐bits per color per pixel.
• All XPS input image formats are supported.

Appendix C
0 Using Genlin
Genlin is a utility provided with the Harlequin MultiRIP to read calibration targets generated
by the RIP.
C.1 Introduction
Genlin supports these measuring instruments:
• X‐Rite 408
• X‐Rite DTP41 series
• X‐Rite DTP32
• X‐Rite DTP34
• X‐Rite DTP12
• X‐Rite 938
• Gretag Macbeth Eye‐One
• X‐Rite i1‐Pro 2
The remaining sections show how to set up and use Genlin, and how to troubleshoot any
problems.
• “Using Genlin” on page 427 describes set up and use
• “Troubleshooting” on page 432 describes troubleshooting
C.2 Using Genlin

The use of Genlin involves these stages:
• “Installing drivers for USB devices” on page 428. This stage is only necessary if you
wish to use a measuring instrument that connects to your computer via the USB port.
This includes variants of the DTP41, DTP34 and Eye‐One measuring devices.
• “Starting a work session with Genlin” on page 428. This section describes the connec‐
tions and checks to make before you start measuring targets.

Appendix C Using Genlin
• “Measuring each target” on page 429. This section describes the steps involved in
using Genlin to measure a target.
C.2.1 Installing drivers for USB devices

If you wish to use a measuring instrument that connects to your computer via the USB port
(includes variants of DTP41, DTP34 and Eye‐One), you must install some USB drivers for the
particular device, as described in the following procedure:
1. Plug the DTP41, DTP34 or Eye‐One measuring instrument into a USB port. On some
Windows machines, you may require administrator privileges in order to be able to
plug a device into a USB port.
If USB drivers are not already installed, Windows will automatically start the Found
New Hardware Wizard.
2. Select the Search for a suitable driver option in the Install Hardware Device Drivers page
and click Next.
3. Select the Specify a location check box in the Locate Drivers Files page and deselect the
other options.
4. In the Copy manufacturer’s files from dialog, click the Browse button and navigate to
the following folder:
For DTP41 and DTP34 devices:
<RIP installation folder>\Genlin\drivers\XrDtp
For Eye‐One devices:
<RIP installation folder>\Genlin\drivers\EyeOne
5. Click Open to return to the Copy manufacturer’s files from dialog and then click OK.
Windows will confirm that it has found drivers for the device.
6. Click Next to install the drivers.
Once you have you installed the USB drivers for your measuring device, you can use Genlin
as described in “Starting a work session with Genlin” on page 428.
C.2.2 Starting a work session with Genlin

Follow these steps to start a session using Genlin:
1. Connect your measuring instrument to the computer using a serial interface (typically,
the COM1 or COM2 communications port) or a USB port.

COM3 and COM4 communications ports are available for some setups so that a
Keyspan adapter can be used to get older devices to run under Windows 7 with 32‐bit
and 64‐bit systems.
USB support is available for the Eye‐One, DTP41, and DTP34 devices and requires USB
drivers to be installed, as described in “Installing drivers for USB devices” on page 428.
Note: When using the Eye‐One device, you must choose Custom from the Port menu in
the Configuration dialog box. This is because Genlin communicates with the device via
third‐party software.
2. If necessary, recalibrate the measuring instrument using the correct calibration plaque
or other white reference tool.
You should calibrate the first time you use an instrument with Genlin, or whenever you
change measuring instruments. You should also recalibrate the measuring instrument
after periods of storage or heavy use.
Note: When using the Eye‐One device, Genlin sends a request to the spectrophotometer
to calibrate itself so that Genlin can accurately read a new target. This means that you
must place the Eye‐One device on its holder, which contains a built‐in white reference,
whenever you begin the process of reading a target. Otherwise, Genlin will display a
Calibration failed... error message when trying to read the target, as described on
page 433.
3. Start Genlin by opening the application file located in the Harlequin MultiRIP folder.
On Windows this is genlintool.exe.
C.2.3 Measuring each target

Note: This procedure assumes that you printed an uncalibrated target.
Follow these steps to measure a target using Genlin:
1. Choose File > Configure to display the Configuration dialog box, as shown in Figure C.1.
Figure C.1 Configuration dialog box
Select your desired settings, as explained here, and then click OK.
RIP Folder Identifies the SW folder of the RIP installation that you are using to

print targets and import data.

You can read targets that have been created by the RIP running on
another computer if you have network access to the corresponding SW
folder. If you want to do this, click Change and use the file browser to
select the SW folder of the remote the RIP installation.
The default is the relative path to the SW folder of the the RIP with
which Genlin is supplied (as shown in Figure C.1).
Instrument A list of supported measuring instruments. Choose your desired mea‐
suring instrument and ensure that the correct Port setting is selected.
Measure Measurement types supported by your chosen measuring instrument.
Choose a suitable measurement type.
Media A list of types of media that targets are printed on, including press and
imagesetter media. Choose the type of media that your target is
printed on. For example, choose Press Paper when using a proofing
printer.
Port A list of the interface ports available on your computer. Choose the

port to which your measuring instrument is connected.
2. Choose File > Read Target, select the number of the target that you are reading (printed
as Reference Number: N on the target) and click OK.
3. In the Read Target dialog box, choose which channels you wish to measure, as well as
the filter type and measurement type that you wish to use.
Figure C.2 Read Target dialog box
To do this, select the channel you wish to edit and choose Yes or No from the menu
below the Read? column. If both your measuring instrument and target support more
than one measurement system you may also have a choice of alternative filters and
measurement types in the menu below the Measure As column. For example, choose
Cyan Status T (X-Rite), then click OK. See “Values” on page 353 for details of mea‐
surement types.

4. Measure the target by referring to the details for your type of measuring instrument. If
you have repeated problems reading a patch or strip see “Troubleshooting” on page
432.
In particular, you must follow the screen prompts to measure the target. Note that
when using the DTP32 and DTP34 devices you must click OK in the Confirm to proceed
dialog before loading the target. For DTP41 devices, you should click OK after inserting
the target.
Strip‐readers and other semi‐automatic instruments
Ensure that you scan the target in the right direction. When reading
strips, the instrument should be positioned so that approximately an
inch of blank paper is available at the end of each strip. Try to avoid
any marks outside the area of the patches, such as the strip numbers.
You may see a Bad reading message appear if the instrument has
been unable to correctly measure the strip: if so, click OK. If you wish
to retry reading the strip, click Yes, align the strip with the instrument
and click OK. Click No if you wish to abandon measuring the target.
Manual instruments
Follow the screen prompts to measure the target. If you are using a
manual instrument such as the X‐Rite 938 you will also see prompts in
the display panel of the instrument to read individual patches within
strips. For example, the prompt Move to: C100 means read the 100%
Cyan patch.
Choose File > Abort Target if you wish to abandon reading a target.
5. Click OK when you have finished measuring the target.
At this point, Genlin has created a data file containing all the linearization data for the target,
which you can import into the RIP. (The file is named import and is located in the caldata
folder within the RIP’s SW folder.)
6. Use the menu option Output > Calibration Manager and, in the Calibration Manager,
choose the appropriate Device and Color Space for the target. (See “Calibration Manager
dialog box” on page 345 for details of the Calibration Manager.)
7. The next action depends on whether you are updating an existing calibration set or cre‐
ating a new one. Choose the appropriate action:
• If you are updating an existing calibration set, select it in the table listing. This must
be the calibration set that you used to print the target. Click Edit from uncalibrated
target. The Edit Calibration dialog box appears. Go to step 8.
• Click New if you are creating a new calibration set. Then, if there are entries in the
Profile menu in the Edit Calibration dialog box, choose the supplied calibration
profile that you used to print the target. Enter a Name for the new calibration set.
You can use the same name as the supplied calibration profile, but omitting the
enclosing parentheses—( )—that supplied calibration profiles use; this makes the
link between the two profiles more obvious.

8. Click Import; see the description on page 354 for more details. After importing the data
and making any other settings, exit the Edit Calibration dialog box and Calibration
Manager by clicking OK.
Warning: You must read the values from the data file (or copy the data file to another loca‐
tion) before measuring another target for the same RIP installation. Genlin uses the same file
name for every data file so any existing measured data is lost when you measure a new tar‐
get.
Start again from “Measuring each target” on page 429 to read another target.
Note: If you no longer need to measure any of the targets that you have printed using the RIP,
you can choose File > Purge. This means that the numbering of targets can restart from 1.
C.3 Troubleshooting
This is a list of some possible error messages and symptoms that you may see, together with
suggestions for avoiding them.
C.3.1 Error messages

All error messages are preceded by the details of the measuring instrument. For example,
you might see this full message when there is a problem with an X‐Rite 938 instrument:
X-Rite 938 Error: No responding device attached to selected serial line
Error: Returned data not recognised

There is a mismatch between the Instrument setting in the Configuration dialog box and
the measuring instrument that you are using. Check that you are using the correct
Instrument setting for your instrument.
Error: Open (interface details) error 0
There is a mismatch between the Port setting in the Configuration dialog box and the
port interface to which your measuring instrument is connected. Try changing the Port
setting or connecting your measuring instrument to the specified interface port.
Error: The USB device cannot be found
This message appears if Genlin is unable to locate the chosen USB device. Ensure the
measuring device is connected to the USB port and is powered on. Ensure also that you
have selected the correct Instrument and Port in the Configuration dialog box.
Error: No responding device attached to selected serial line
Error: The USB device is not responding
Either of these messages may appear if the measuring instrument does not have any
power supply. Check the power supply to the measuring instrument and ensure that it
is switched on. If the problem persists there may be a fault with the power adapter or
cabling.

Error: Number samples received, but Number expected
This message appears if the Eye‐One software was unable to correctly detect the bound‐
aries of each of the patches on the calibration target. That is, the number of patches read
does not match the number of patches expected. You may have scanned the calibration
target too quickly or confused the software by scanning part of the number at the top of
a strip, and so on.
When reading strips, the guide should be positioned so that approximately an inch of
blank paper is available at the end of each strip. Try to avoid any marks outside the area
of the patches, such as the strip numbers.
Error: Calibration failed - place the device on its white reference and
start again
This message may appear when calibrating the Gretag Macbeth Eye‐One spectropho‐
tometer. You must place the Eye‐One device on its holder, which contains a built‐in
white reference, whenever you begin the process of reading a target. This allows Genlin
to accurately read the target. Refer to the documentation accompanying this device for
further details.
Error: Unknown
This message may appear if you have used the File > Abort Target menu option. This
message may also appear if the RIP is unable to recognize the error generated by your
measuring instrument. Check any display panel on a manual instrument for more
details.
In all cases, you will be asked whether you wish to re‐try measuring the target. If the
error persists, consider recalibrating the measuring instrument or following advice in
the “Symptoms” section.
C.3.2 Symptoms
Failure to communicate with the measuring instrument
This may be due to a mismatch between configuration settings and the actual instru‐
ment or interface port used. A break in cabling, or a failure in software between the
computer and the measuring instrument may also be the cause of a communication
failure. Check the connections and settings in the Configuration dialog box. If these
appear to be correct, try switching off or disconnecting the measuring instrument for 30
seconds and then reconnecting it.
Alternatively, Genlin may not be able to communicate with the measuring instrument
due to the re‐configuration of the interface port by another application. If you think this
is the case, close the application that you suspect is causing the conflict. If necessary,
shut down and restart your computer.

Failure to read the correct data from the target
A problem in this area is most likely to be a mismatch between the Target file selected
in Genlin and the type of target you are physically measuring. First make sure that the
number you select in the target list after clicking File > Read Target matches the refer‐
ence number printed on the target itself.
If recalibrating, you may have printed the target on the wrong paper type. Otherwise,
you may have read the wrong patches when using a manual instrument, or incorrectly
aligned the target when using a strip‐reader. Finally, the target may be incorrectly
printed or the measuring instrument may need recalibration.
Failure to transfer correct data to the RIP
Ensure that the RIP Folder specified in the Configuration dialog box is the path to the SW
folder of the RIP installation into which you are importing data.
If the RIP Folder is correct, this problem may be due to a problem with the content of the
caldata folder where target and import data is stored. This is very unlikely event but
if it happens, delete the caldata folder, which is a subfolder of the Harlequin MultiRIP
SW folder and print the target again.
Note: After deleting the caldata folder you cannot use Genlin to read targets created
before you deleted the folder—you must reprint the targets.
The reference number printed on the target does not appear in the list when you click
File > Read Target
This can happen if the target was printed using a different Harlequin MultiRIP installa‐
tion. Ensure that the RIP Folder setting in the Configuration dialog box is the correct
path to the SW folder of the RIP installation used to print the target.
This can also happen because the caldata folder was deleted between printing the file
and trying to read it with Genlin—reprint the target and measure the new print.

Glossary
This glossary gives a brief description of many of the important terms and concepts sur‐
rounding the Harlequin MultiRIP. Italics are used to indicate terms with their own entry else‐
where in the glossary.
active device
The active device is the imagesetter or other output device to which the RIP is sending
its output. This is the output device specified in the Page Setup for the job. See also
menu device.
anti‐aliasing
A technique in which intermediate colors or grayscale tones are used to visually
smooth boundaries between different colors. Anti‐aliasing is most useful at low or
medium resolutions and with boundaries between very different colors. The Harlequin
MultiRIP TIFF output plugin can perform anti‐aliasing, with a control offering choices
between more smoothing and faster preparation.
aspect ratio
The height‐to‐width ratio of a page.
banding
The white bands which can be produced if interpreted data is sent to certain kinds of
imagesetter too slowly (see also data underrun)—the result is that media continues to
feed through, but no image is available to print, leading to white bands in the output.
The RIP uses a printer buffer which ensures that data is sent to the imagesetter at a
steady rate, in order to reduce the chances of this problem occurring.
Banding will only occur in imagesetters which cannot stop–start successfully.
black generation
The process of adding black to CMYK images in variable amounts according to printing
effects required.

cassette
A container for output media. This cassette contains a roll of film or paper and is slotted
onto the top of an imagesetter in such a way that the media can be fed through. Some
versions of the Harlequin MultiRIP include the Media Manager which allows you to
monitor the amount of media left in many different cassettes automatically.
See also current cassette.
choke
The process of overprinting a small border on graphics to make them look smaller.
Spread and choke are often used as part of trapping to protect against misregistration of
color separations.
CIP3
CIP3 was a group called International Cooperation for Integration of Pre‐press, Press,
and Post‐press (CIP3). The CIP3 group developed the Print Production Format (PPF)
for files to contain information about print jobs including administrative data, informa‐
tion about inks and register marks, comments, and preview images. CIP3 has become
CIP4, and maintains a web site at http://www.cip4.org/.
CIP4 is a similar group called International Cooperation for Integration of Processes in
Prepress, Press, and Postpress, formed to continue the work of CIP3 and to develop a
new file format called Job Description Format (JDF).
CMYK
A color representation scheme (or color space) where cyan, magenta, yellow, and black
are combined to create full‐color images.
color separation
A monochrome image that describes a component of a color image that has been
described using a particular color space. In printing, images are commonly depicted in
the CMYK space, leading to four separated pages for each full‐color page.
color space
A scheme of representation for color images, such as CMYK or RGB. Colors are repre‐
sented as a combination of a small set of other colors, or by other parameters, for exam‐
ple: hue, saturation, and brightness (HSB).
composite font
A font which consists of more than 256 characters. Composite fonts are indispensable
for producing images which contain, for example, Japanese text. However, they need to
be treated as separate from ordinary fonts.

core RIP
The Harlequin MultiRIP PostScript language compatible interpreter. This is the pro‐
gram which takes PostScript language page descriptions as input and produces bit‐
maps as output.
crop marks
Marks, printed near the edges of an image, which indicate where the paper should be
trimmed.
current cassette
The cassette feeding media to the output device receiving commands. This can be the
active device (receiving a job) or the menu device (receiving commands from options in
the Device menu).
current device
The term current device is ambiguous, because it can refer to two different devices.
The active device is the imagesetter or other output device to which the RIP is sending its
output. This is the output device specified in the Page Setup for the job.
The menu device is the output device that provides the name of the Device menu, and
receives the commands generated by choosing options from the Device menu.
See also current cassette.
current color space
When you are creating or editing a Page Setup, the current color space is the color space
of the selected separations style.
data rate
The speed that an imagesetter receives data for imaging. It is important that the RIP
sends data to the imagesetter at approximately the data rate of the imagesetter, other‐
wise data underrun may result. You can find out the data rate for a particular imageset‐
ter from the instructions for that imagesetter.
data underrun
The result of a RIP failing to supply data to an output device quickly enough. If the
output device cannot stop / start successfully, banding or other effects will occur which
may cause a loss of output quality.
DCS (Desktop Color Separation)
DCS is Quark Inc’s method of image substitution in PostScript language jobs. The
Harlequin MultiRIP supports both DCS 1.0 and 2.0, and the similar OPI scheme.

device driver
A piece of software, often provided by an output plugin, that helps the RIP communicate
with a particular printer, imagesetter, or other output device. You can link the RIP with
any output device, given the correct device driver. This driver could have been pro‐
duced by you, or by Global Graphics. It is also possible to use device drivers for input
devices; see also input plugin.
device type
The Harlequin MultiRIP’s concept of a multiple device driver means that you can use a
single device driver to run several different imagesetters or other output device, rather
than requiring a separate device driver for each one. One multiple device driver can
run several imagesetters which have the same device type. The nature of the device
type depends on the multiple device driver, and is likely to consists of groups of image‐
setters. For instance, Ultre may be one device type, and Pelbox may be another.
DLD1 font
The Harlequin MultiRIP’s own font format, into which most fonts can be converted.
Operations with DLD1‐formatted fonts can be performed significantly faster than they
would be with normal font descriptions.
dot gain
A printing effect which results in dots being printed larger than they should be. It
occurs as a result of ink spreading on the printed page, and if not compensated for, can
lead to an image appearing too dark.
dot range
The range of numerical values used to represent color values.
Note: The value 0 may be associated with white and 255 with 100% black or the full
density of a particular ink, but this is not essential: in the MP data type, for example,
these end values can be associated with particular colors and the intermediate values
represent proportionate blends of these two colors.
See also TIFF (Tag Image File Format).
dot shape
The shape in which dots on the image are generated. See Chapter 6, “Screening”.
dpi
Dots per inch. A measure of the resolution of an output device. Dots per centimeter
(dpcm) and dots per millimeter (dpmm) are also offered by the Harlequin MultiRIP.

Encapsulated PostScript (EPS)
EPS is a subset of the PostScript language which allows images to be described in a
format which can be imported into other documents. EPS images are independent of
the format of the document, and so may be imported into documents using a wide vari‐
ety of applications, from within the application itself, or can even be imported into
other PostScript language page descriptions.
error diffusion
A technique that can be used to screen contone images into a halftone reproduction.
The technique works by calculating the error between the required (contone) value and
the achieved (halftone) value at each point (which might be a single pixel or a halftone
cell), distributing that error to neighboring points, and using the error to modify the
contone values for those points. This is repeated for the errors at all points. The result is
an irregular and non‐repeating screening pattern that shows very little color error.
Error diffusion is easy to implement on low resolution devices but can be difficult to
use for high resolution or color output, where the irregularity makes it difficult to pre‐
dict moiré or dot gain effects. Another problem occurs where the image is rendered in
bands, which may be processed in an order that is different to their spatial order: this
can lead to visible discontinuities.
The Harlequin MultiRIP does not support error diffusion directly but Harlequin Dis‐
persed Screening has some of the same “random” visual qualities while remaining pre‐
dictable with respect to behavior on physical output devices. Also, output plugins can
implement error diffusion screening in their output, while accepting contone page buf‐
fers from the RIP.
executive
A special mode in some versions of the Harlequin MultiRIP which allows you to type in
PostScript language code and to see the interpreted results. You should only use this
mode if you are familiar with the PostScript language.
exposure
Some imagesetters (for example, Pelbox) have an exposure setting which can alter the
strength of the laser which produces the image. In these cases, the exposure may be set
using the Edit Page Setup dialog box.
feature
A section of PostScript language code that may be automatically interpreted with any
job, specified using the Edit Page Setup dialog box.

font
A set of type characters for use in a textual printing job. Fonts typically contain alpha‐
betical and numerical type, as well as common special symbols (such as marks of punc‐
tuation). The Harlequin MultiRIP is supplied with the industry standard 35 fonts for
PostScript Level 2, and some special purpose fonts. Users can install third‐party fonts
as required.
halftone
A complex image which has been broken up into a series of very small dots so as to
reproduce it. A newspaper photograph is a good example of a halftone image. See
Chapter 6, “Screening”.
halftone cell
A single dot in a halftone image.
hard copy
A physical copy of a document, on media such as paper or film.
hardware feed
Some imagesetters will automatically feed through media whenever a job is completed.
In versions where the Harlequin MultiRIP’s media management facilities are available,
the RIP can take account of any devices that do this.
hinted font
When previewing images on a low resolution screen (or when printing them on a low
resolution printer) text can look odd when rendered, because of the size of the output
pixels becoming significant when compared to features in the characters. Hinted fonts
can improve the appearance of text rendered at low resolution or at very small sizes on
higher resolution devices.
This figure shows a simple example for the letter h in low resolution without hinting
(left) and with (right). Here, the hinting has balanced the width of the vertical strokes.
See also font.
HDLT (Harlequin Display List Technology)
Provides a programmatic interface for customization between interpretation and ren‐
dering. HDLT appears as a layered option but is most likely to be used by your supplier
as a way of providing functionality that is not otherwise obvious in the RIP GUI.

HPS (Harlequin Precision Screening)
A proprietary technique used to reduce the effect of moiré interference and improve the
quality of a color separated image when using halftones. See Chapter 6, “Screening”.
IFD (Image File Descriptor, Image File Directory)
This structure used for each collection of information within a TIFF file, A typical IFD
contains several entries, most of which are pairs of tags and values.
See also TIFF (Tag Image File Format).
input plugin
A device driver which controls an input device connected to the RIP.
Note to OEMS: Several input plugins are provided as standard with the Harlequin
MultiRIP, but OEMs can undertake to write their own, or can contract
Global Graphics to do so.
Input plugins have several uses—they are primarily used as methods in which input
can be sent to the RIP (for example, using a spool folder), but they can also be used as
PostScript language devices or data manipulation filters, and they can be used to per‐
form asynchronous actions.
JDF (Job Definition Format)
JDF is an XML‐based file format that is becoming the industry standard for the defini‐
tion of job tickets in pre‐press workflows. Its main purpose is to facilitate the exchange
of information between printing applications and systems.
keyboard accelerator
A set of key presses which have the same effect as a mouse‐based operation—such as
selecting a menu item—while probably taking less of a user’s time to perform.
lpi
Lines per inch. A measurement of halftone screen frequency. Lines per centimeter (lpcm)
and lines per millimeter (lpmm) are also offered by the RIP.
media
The various materials, such as paper or film, that are used in producing hard copy.
menu device
The menu device is the output device that provides the name of the Device menu, and
receives the commands generated by choosing options from the Device menu.
See also active device.
mirrorprint
An option in the Edit Page Setup dialog box which allows you to produce a mirror‐
image copy of your job. See Chapter 5, “Configuring Output Formats”.

moiré pattern
A printing effect that occurs when a color separation is printed with incorrect screen
angles. It is undesirable and can be minimized by the use of correct screen angles. See
also HPS (Harlequin Precision Screening).
multiple device driver
A device driver which can drive more than one output device. Normally, you need a sep‐
arate device driver for each output device you are using. By using a multiple device
driver, however, you can use this one driver to run all devices of the types that it sup‐
ports. For example, one multiple device driver might support all your Ultre and Exxtra‐
Setter devices.
N‐color
N‐color is a name representing a family of systems of process colors other than the con‐
ventional four‐color CMYK system (and CMY and RGB). N represents a variable
number of inks, which can be less than four for economy in simple jobs such as forms
printing or more than four for high quality or extended gamut color. Examples of N‐
color systems are the PANTONE Hexachrome Color Selector system and Photo‐ink
technologies.
OPI (Open Prepress Interface)
OPI stands for Open Prepress Interface and was originally specified by Aldus Corpo‐
ration. Systems using OPI enable designers to use relatively low‐resolution and easy to
handle images on design workstations but to have higher quality images substituted
for final output. The RIP supports both OPI and the similar DCS scheme.
The use of Harlequin VariData and OPI is not a supported combination.
output device
A computer peripheral capable of producing printed copy of a document, such as an
imagesetter or laser printer. See also active device, menu device.
output plugin
A device driver that controls an output device connected to the RIP.
Note to OEMS: Several output plugins are provided as standard with the RIP, but
OEMs can write their own plugins or commission Global Graphics to
produce custom plugins.
page buffer
A file on disk used to store a page of interpreted output, before it is printed or pre‐
viewed. Depending on the page buffer mode in which you run the RIP, it can produce
page buffers always, or only when required. Once produced, page buffers can either be
retained on disk, to allow reprinting; or deleted after printing, to save space on your
hard disk.

page imposition
The process of printing several pages, of, say, a pamphlet, on one sheet of media, so as
to minimize the amount of trimming that needs to be done. For example, two copies of
a four page A5 pamphlet could be produced from a sheet of A3 by printing the A5
pages in the pattern shown in this figure:
Page 4 Page 1
Page 2 Page 3
The pattern needs to be printed on both sides of the A3 sheet, reversed vertically on one
side. Two copies of the pamphlet could then be produced simply by cutting the paper
along the horizontal line, and folding along the vertical line. This process is much sim‐
pler than producing and trimming each page separately and rearranging them so as to
form a booklet.
Imposition is one of the applications dealt with in the PostScript language extensions
provided by the Harlequin MultiRIP.
Note to OEMS: See the Extensions manual for details.
Page Setup
In the Harlequin MultiRIP, a Page Setup is a named collection of settings used to pro‐
cess a PostScript language job. All Page Setups are visible in the Page Setup Manager,
which allows you to create new Page Setups and to copy or edit existing Page Setups.
Using the Input Controller, you can create multiple ways of sending a job to the RIP,
each with an associated Page Setup, so that any user can choose an input that applies
the desired settings for each job. For full details, see Chapter 5, “Configuring Output
Formats”.
partial page buffer
An incomplete page buffer. A partial page buffer does not yet contain all of the details of
the page being rendered. The RIP produces partial page buffers when there is insuffi‐
cient physical memory to interpret a job while holding a complete page in memory.
PDF
PDF has these meanings:
Portable Document Format. A PDF file describes pages, using graphic capabilities similar
to those in the PostScript language. Compared to PostScript language files, PDF files are
typically smaller and more portable to different printers while producing more predict‐
able output. This is the most common usage of PDF.

Printer Description File or Printer Definition File. Files, special to a creating application or
to the Netware operating system, that define the characteristics of a printer. Many more
applications support PPD files, which have a similar purpose.
Photo‐ink
Photo‐ink technologies use different densities (light and dark versions) of one or more
colorants. A capable system is then able to use the light ink in highlight areas and the
dark ink where more colorant is required. A typical set of colors is light cyan, dark
cyan, light magenta, dark magenta, yellow, and black.
pica
A unit of measurement in printing. Usually, equal to 12 points or 0.166 inches.
pixel
A single element of a VDU’s display, or of an image.
plug‐in module
A software product that can be interfaced with the RIP to provide extra features or cus‐
tomizations.
point
A unit of measurement used in printing. There are 12 points to a pica. Historically, there
have been several definitions of the point: a common definition is 0.01384 inches, or
approximately 72 points to the inch. The PostScript language uses a default user unit
which is exactly 1/72 of an inch (0.01389 inches or 0.3528 mm). This unit is frequently
called a point, and this is the definition used by the RIP.
PPD
PostScript Printer Description. Each PPD is a file that defines the characteristics of a
printer. When installed correctly, a PPD customizes an operating system printer driver
or a creation or page layout application to optimize PostScript language jobs for the
printer described by the PPD. Many imagesetter and printer manufacturers provide
PPDs for the printers that they produce.
precision screening
See HPS (Harlequin Precision Screening).
prep file
A PostScript language header file, which is interpreted before the main job processing
in order to provide a standard setup to be used by a range of different jobs.
preview
To view an interpreted job on the screen before producing a hard copy of it.

profile
In printing and color science, a profile is a description of the color performance of an
input or output device such as a scanner, printer, or display monitor. With suitable soft‐
ware, it is possible to transfer color definitions between different devices, and to have
the same colors appear on each.
There is an open standard for profiles promoted by the International Color Consortium
(ICC), supported by many device manufacturers and vendors of profile creation tools.
The ColorPro color management options within the
RIP are supplied with several profiles and can install additional ICC profiles. There are
several types of profile; see the Harlequin ColorPro User’s Guide for more details.
progressive proof
A proof or series of proofs in which (some) intermediate stages of laying down the
colors are shown. For example, a CMYK page is usually printed in the order yellow,
magenta, cyan, and finally black. The full set of corresponding progressive proofs
would be Y, Y+M, Y+M+C, and Y+M+C+K. If the page is to be printed with two passes
on a two‐color press, the most useful proofs are likely to be the ones representing the
product of each pass on the press: Y+M and Y+M+C+K.
proof
A preview or hard copy of some or all of the characters in a font, or of an image. The RIP
can create various forms of proofs—as composite output, as a set of separations, or as a
progressive proof—to suit the needs of the situation.
Raster Image Processor
See RIP.
rendering
The term rendering refers to the process of creating a bitmap image or raster from the
interpreted page description. This bitmap can be used by the output device to produce
a visible image.
resolution
The degree of detail with which an image is reproduced, usually measured in dots per
inch (dpi). The higher the resolution, the greater the detail in which the image will be
reproduced. The resolution of a computer screen is usually around 72 dpi, whereas an
image detailed enough to print in a magazine may be closer to 2500 dpi.
RGB
A color representation scheme (or color space) where separations in red, green, and blue
are overlaid to create full‐color images. The RGB scheme is usually used by computer
monitors and televisions, and by some printers.

RIP
Raster Image Processor. A standard term used to name programs or devices which take
an image of some description—text, line (vector) drawings, or photographic images—
and convert it into a bitmap for display on a computer screen or output on an imageset‐
ter. The final bitmap is the raster referred to in the name.
roam
To preview interpreted jobs in the Output Controller, available only in either of the
multiple modes. See also preview.
rosette
The pattern in which halftone cells are arranged in a separated image. This figure
shows how the RIP can produce rosettes which either have dark centers (on the left of
the diagram) or clear centers (on the right of the diagram, with the central dot
removed).
screen angles
The angles at which the halftone screens are placed in relation to one another.
screen frequency/ruling
The density of dots on the halftone screen, commonly measured in lines per inch (lpi).
This is sometimes called ‘raster’ or ‘mesh’.
spread
The process of printing a small border just outside the edges of graphics to make them
look bigger. Spread and choke are often used as part of trapping to protect against mis‐
registration of color separations.
stop / start
The ability of an output device to stop and restart during printing.
tag
In TIFF, an Image File Descriptor (IFD) contains a number of entries (tags), each consist‐
ing of an unique tag number from 0 to 65535, and its corresponding value or values. Tag
numbers are generally determined by the TIFF 6.0 specifications, and each has a spe‐
cific meaning. (In TIFF 6.0, tag numbers above 32767 are vendor defined.) For example,
the tag number for the tag named DotRange is 336.

throughput
Generally, the efficiency with which images are interpreted and produced. In the
Harlequin MultiRIP specifically, throughput is another term for Multiple (Parallel)
mode, where interpreting and output are carried out in parallel, and the Output Con‐
troller is used to manage the printing of jobs. See Chapter 4, “Harlequin MultiRIP
Output Methods”.
TIFF (Tag Image File Format)
The basic TIFF file format. Without further details, you cannot assume that something
described as being a TIFF file conforms to the TIFF 6.0, TIFF/IT, or TIFF/IT‐P1 stan‐
dards.
Note: TIFF/IT is sometimes referred to as Transport Independent File Format for Image
Technology.
trapping
Techniques used to tackle undesirable printing effects caused by misregistration of
printed separations, optical effects, and so on. See spread and choke. See also Chapter 13,
“Color Separation”.
virtual memory
Virtual memory has these meanings:
In PostScript terminology, virtual memory or VM is a pool of memory used for the stor‐
age of composite objects such as strings, arrays, and dictionaries. PostScript language
compatible interpreters are free to implement VM using all appropriate types of
memory in their working environment.
In computer operating systems, virtual memory is disk memory used as an extension to
physical memory, built‐in memory, or RAM. Many operating systems support the use
of virtual memory.

Copyright and Trademarks
Harlequin MultiRIP OEM Manual
Harlequin MultiRIP v11.0r1
® ™
January 2016
Part number: HMR–11.0.1–OEM–WIN
Document issue: 502
Copyright © 2016 Global Graphics Software Ltd and its licensors. All Rights Reserved.
Global Graphics Software Ltd. Confidential Information.
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No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any
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The information in this publication is provided for information only and is subject to change without notice. This
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The software described in this publication is furnished under license and may only be used or copied in accor‐
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has been advised of the possibility of such damages, and on any theory of liability, arising out of or in connection
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Protected by U.S Patents 5,862,253; 6,343,145; 6,330,072; 6,483,524; 6,380,951; 6,755,498; 6,624,908; 6,809,839;
6,755,498; 6,624,908; 6,809,839; 6,996,284; 7,298,526; 7,359,530; 8,749,813; 8,823,982.
Other U.S. Patents Pending
Portions Type 1 font renderer contains licensed third party software
Portions copyright 1991 International Business Machines, Corp.,
Portions copyright 1991 Lexmark International, Inc.
Portions Adobe Glyph List. Copyright 1990‐2007 Adobe Systems Incorporated.
Portions Adobe Cmaps. Copyright 1990‐2009 Adobe Systems Incorporated
Portions TrueType ® font renderer copyright 1997 Bitstream, Inc.
Portions developed using the Kakadu software. Copyright 2001 David Taubman, The University of New South
Wales (Unisearch Ltd)
The ECI and FOGRA ICC color profiles supplied with this Harlequin RIP are distributed with the kind permis‐
sion of the ECI (European Color Initiative) and FOGRA respectively, and of Heidelberger Druckmaschinen AG
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Harlequin and the Harlequin RIP are trademarks of Global Graphics Software Ltd, which may be registered in
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(HPS), TrapPro, SetGold, SetGoldPro, Harlequin MultiRIP, Harlequin Host Renderer, Harlequin Parallel Pages,
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Global Graphics Software Ltd. Other brand or product names are the registered trademarks or trademarks of their
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TrueType is a registered trademark of Apple Computer, Inc.

_____________________________________
Microsoft, Win32, Windows, Windows NT, Windows Server, Windows Vista, Windows 7, Windows 8 and WinFX
are either registered trademarks or trademarks of the Microsoft Corporation in the United States and/or other
countries.
_____________________________________
PANTONE® Colors displayed herein may not match PANTONE‐identified standards. Consult current PAN‐
TONE Color Publications for accurate color.
PANTONE® and other Pantone trademarks are the property of Pantone LLC. © Pantone LLC, 2014.
_____________________________________
Font data copyright 1991 ‐1995 Linotype Hell Corp.
_____________________________________
Fonts copyright © 2000‐2004 Timo Lehtinen. All Rights Reserved. http://www.timolehtinen.com/type/.
_____________________________________
Adobe, Adobe Photoshop, Adobe Type Manager, Acrobat, Display PostScript, Adobe Illustrator, PostScript, Dis‐
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_____________________________________
Portions include software licensed under the following terms:
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OpenSSL ‐ general purpose cryptography library
Copyright © 1998‐2011 The OpenSSL Project. All rights reserved.
Redistribution and use in source and binary forms, with or without modification, are permitted provided that the
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2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the follow‐
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3. All advertising materials mentioning features or use of this software must display the following acknowledg‐
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(http://www.openssl.org/)”
4. The names “OpenSSL Toolkit” and “OpenSSL Project” must not be used to endorse or promote products
derived from this software without prior written permission. For written permission, please contact openssl‐
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5. Products derived from this software may not be called “OpenSSL” nor may “OpenSSL” appear in their names
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6. Redistributions of any form whatsoever must retain the following acknowledgment: “This product includes
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THIS SOFTWARE IS PROVIDED BY THE OpenSSL PROJECT ``AS ISʹʹ AND ANY EXPRESSED OR IMPLIED
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HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY,
OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
This product includes cryptographic software written by Eric Young (eay@cryptsoft.com). This product includes
software written by Tim Hudson (tjh@cryptsoft.com).
Copyright © 1995‐1998 Eric Young (eay@cryptsoft.com)
All rights reserved.

This package is an SSL implementation written by Eric Young (eay@cryptsoft.com). The implementation was writ‐
ten so as to conform with Netscapes SSL.
This library is free for commercial and non‐commercial use as long as the following conditions are adhered to.
The following conditions apply to all code found in this distribution, be it the RC4, RSA, lhash, DES, etc., code; not
just the SSL code. The SSL documentation included with this distribution is covered by the same copyright terms
except that the holder is Tim Hudson (tjh@cryptsoft.com).
Copyright remains Eric Youngʹs, and as such any Copyright notices in the code are not to be removed. If this pack‐
age is used in a product, Eric Young should be given attribution as the author of the parts of the library used. This
can be in the form of a textual message at program startup or in documentation (online or textual) provided with
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Redistribution and use in source and binary forms, with or without modification, are permitted provided that the
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2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the follow‐
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3. All advertising materials mentioning features or use of this software must display the following acknowledge‐
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ʹcryptographicʹ can be left out if the routines from the library being used are not cryptographic related:‐).
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ICU ‐ IBM library providing Unicode and Globalization support
Copyright © 1995‐2003 International Business Machines Corporation and others All rights reserved.
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated docu‐
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Expat ‐ XML parser library

Copyright © 1998, 1999, 2000 Thai Open Source Software Center Ltd and Clark Cooper
Copyright © 2001, 2002 Expat maintainers.
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pthreads‐win32 ‐ a POSIX threads library for Microsoft Windows
This file is Copyrighted
This file is covered under the following Copyright:
Copyright © 2001,2006 Ross P. Johnson All rights reserved.
Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not
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Pthreads‐win32 is open software; you can redistribute it and/or modify it under the terms of the GNU Lesser
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Copyright© 1998 John E. Bossom
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Contact Email: Ross Johnson
Please use: Firstname.Lastname@homemail.com.au
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tests/rwlock7.c
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zlib ‐ general purpose compression library
Copyright © 1995‐2013 Jean‐loup Gailly and Mark Adler
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Index
A B
Abort if calibration on Background reading 174
Page Setup option 156 Banding 435
Abort Printing File command 236 Black generation 399, 435
Abort the job if any fonts are missing overriding in job 400
page setup option 156 Bootlist file 47
Accelerators Bromide. See Media
hardware processor for the Harlequin MultiRIP Buffer full message 412
17 Buffer space low message 412
keyboard equivalents for menus 11 Buffers
Accurate color display 102 network 205
Acrobat 9 241 page, defined 442
AcroForms 241 printer 207
Active device 435 Busy message 412
Active queue 76 Busy or off‐line message 412
Add Channel dialog 352
Add showpage at end of job C
page setup option 156 Caldata folder 44
Adding Calibration
a new input plugin 219 and color process work 322
a new page feature 152 calibration sets 325
See also Installing creating a calibration set 330
Adjusting tone curves 163 densitometer use 330
Advance n inches command 263 entering data 332
Advanced Media Saving 131 factors affecting accuracy 338
Advancing media 262 for positive and negative 337
Allow stop /start maintenance strategies 334
configure RIP option 202 printing a target 326
Allow use of all available memory 211 printing presses 339
Always, delete option in Output Controller 81 screen frequencies 336
Angles smoothing 333
screens expected in incoming job 401 stopping output without calibration set 156
screens for process colors 175 turning on in Edit Page Setup dialog 162, 163
Anti‐aliasing Calibration Manager dialog 333, 345
defined 435 saving calibration sets 337
Aspect ratio 435 Calibration sets
Asynchronous actions 216 copying 348
Asynchronous Socket creating from imported files 354
input plugin 216 creating from published data 354
Asynchronous Socket Quit editing 335
input plugin 216 naming 351
Automatic cassette selection 132 operating on several sets 348
Automatic Prep loading saving 337
Configure RIP option 210 status in Calibration Manager 347
Cassette Manager dialog 268
Cassette Manager Edit dialog 269

Cassettes 436 Colorspaces folder 44
changing 84 Communications failed message 412
creating or deleting 268 Compact font format fonts 307
media management 260 Compatibility setting
setting up monitoring 268 for PostScript LanguageLevel 154
Categories folder 44 Complete folder 45
CFF fonts 307 Composite fonts 30, 306, 313, 436
Chain screening 192 CID 306
Change roam color efficient use of 313
button in Info dialog 404 installing 309
dialog 404 memory required 40
Channels preloading 310
in calibration sets 351 Compressing
Character identifier fonts 306 page buffers 28, 203
Charstrings folder 44 setting required compression ratio 203
Choke 436 Config folder 45
CID fonts 306 Configuration settings
CIDFont folder 44 backing up 47
CIP3 Configure RIP dialog 199
and PPF files 436 compressing page buffers 411
defined 436 Configure RIP options
CMap folder 44 allow stop / start 202
CMYK 25, 374, 378, 436 automatic prep loading 210
Color minimum compression ratio 203
changing 84 minimum free disk space 212
colorrenderings folder 44 Startup prep 210
device‐independent, and ColorPro 342 Configure RIP Options dialog 202
operators 155 Configuring
Color management Configure RIP dialog 199
in a PDF job 423 extras in Configure RIP 209
instructions in a job 423 for features of output devices 129
supplied with an output plugin 162 input plugins 220
Color menu minimum free disk space 212
summarized 55 output to PDF Raster files 119
Color process work output to TIFF files 104
need for calibration 322 spool folder 225
Color separation 170, 436 Control key 11
controlling separations 383 Controlling
for HCS and HDS 198 inputs 217
identifying in the Output Controller 79 output of jobs 75
knockouts 375, 398 separations 383
labeling pages in Output Controller 403 Conventions
misregistering separations 375 fonts 12
overprinting 376 instructions in text 12
producing color images 376 Copies
roaming color images 403 number printed from page buffer 83
roaming in false colors 404 number to print 83
trapping 402 Copy Channel Data dialog 352
using Level 1 spot colors 387 Core RIP 437
Color separations Cover open message 412
overprinting 398 Crdgen folder 45
Color Setup Manager dialog 392 Crop marks 437
Color space 436 Current cassette 437
converting with ColorPro 373 Current color space 437
in PostScript language jobs 378 Current device 437
reproducing 363 Cut media no feed command 263
Colored separations 382 Cut media with feed command 263, 267
ColorPro Cutting media
and press calibration 340 in Media Manager 266
device‐independent color 342 Cyan, Magenta, Yellow, Black
memory required 40 See CMYK
menu commands 55
Colors D
accuracy in Roam and Preview 102 Data rate 437

Data transfer failed message 413 dpcm (dots per centimeter) 438
Data underrun dpi (dots per inch) 438
and printer buffer size 208 dpmm (dots per millimeter) 438
avoiding with Multiple mode 88 Draft
defined 437 printing on each page 152
Data underrun message 413 Drum recorders 259, 263
DCS time saving 138
defined 437 Duotones
Delete Fonts command 312 in Photoshop EPS files 159
Deleting
fonts from the Harlequin MultiRIP 312 E
input plugins 220 Edit Calibration dialog 332, 349
jobs after printing 81 Edit Page Setup dialog 94, 269
page buffers 81, 201 retargeting press calibration 163
Densitometer turning on calibration 162, 325
using for calibration 330 turning on press calibration 162
Desktop Color Separation. See DCS turning on tone curve calibration 163
Developer types of option 94
online processor 274 Edit Plugin dialog 219, 220
Deviated frequency 186 Edit Style dialog 383
Device driver 126, 438 extra grays 183
Device Manager dialog 127 with screening options 169
Device menu 50 Editing
Device type 126, 438 calibration sets 332, 335
Device‐independent color EDS. See Error diffusion
in PDF jobs 425 Elliptical dot shapes 178
Devices Emulate old imagemask behavior
None 103 page setup option 155
output, defined 442 Emulsion up/down. See Mirrorprint
Preview 100 Enabling
preview 103 extra features in the Harlequin MultiRIP 192
Raster 118 extra grays in HPS 185
TIFF 104 input plugins 220
Devices folder 45, 408 optional features 209
Dial, progress 62 Encapsulated PostScript (EPS) 439
Dialogs Encodings folder 45
language used in 213 EPSF
Directories format files 156
structure used by the RIP 44 Error diffusion
See also Folders defined 439
Disable output check box 77 Error folder 45
Disabling Errors. See Problems
individual inputs 220 Executive 31
media management 265 defined 439
output of jobs 77 starting up 256
stopping all enabled inputs 221 Executive window 256
Disk space left for system option 212 Expiring Licenses 36
Disks Exposure 439
failure to RIP to disk 410 changing 84
preserving free space 212 choosing for calibration 327
required data rate 43 Edit Page Setup option 124
DLD1 fonts 307, 438 Exposure sweeps
Don’t let files silently substitute Courier for missing printing 328
fonts check box 159 Extended gamut 364
Dot gain 438 Extensions folder 45
and screening options 174 Extra grays
compensated by calibration 324 enabling 185
Dot shapes 438 Extras
elliptical 178 enabling optional features 209
line 179
round Euclidean 177 F
setting in Screening Setup 176
square 179 Factory Settings folder 45
square Euclidean 179 Fast color display

in Roam and Preview 102 TrapParams 47
Fast patterns Usr 47
page setup option 155 Utilities 47
Feature check box 151 WorkSpace 47, 200
Features 151, 439 Font conventions
See also Page features in this manual 12
Feeding media in the Media Manager 266 instructions in text 12
File names Fonts 29, 440
mapping 48 CFF 307
FILEMAP.DAT file 48 CID (character identifier) 306
FILEMAP.PS file 48 compact font format 307
FILERED.PS file 48 composite 30, 306, 310, 313
Files composite fonts 306
adding showpage to EPSF jobs 156 DLD1 format 307
initialization (HqnStart) 310 folder 45
name mapping from PostScript names 48 hinted 306
Film. See Media installing 308
FlatPgbDir folder 45 installing composite fonts 309
FM screening 193 listing 310
Folders minimum font set 411
caldata 44 preloading 310
categories 44 problems with 411
charstrings 44 Proof fonts in long format option 312
CIDFont 44 proofing 311
CMap 44 removing from the RIP 312
colorrenderings 44 response to jobs with missing fonts 156
colorspaces 44 saving a backup file 47
complete 45 TrueType 307
Config 45 Type 0 fonts 306
Crdgen 45 Type 1 fonts 306
Devices 45 Type 3 fonts 306
devices 408 Type 32 307
encodings 45 Type 4 fonts 306
Error 45 Type 42 306
Extensions 45 types of 306
Factory Settings 45 FontSet folder 45
FlatPgbDir 45 Forms folder 45
fonts 45 Frequency Modulation. See FM
FontSet 45 Frequency, deviated 186
forms 45
halftones 45 G
icccrd 45 Genlin
IdiomSet 45 configuring 429
Inputs 46 introduction 427
MediaSavingDir 46 GIF (Graphics Interchange Format) 252
Messages 46 Gray levels
NamedColor 46 increasing number with HPS 185
NamedColorOrder 46 introduction 180
Page Features 46 limiting number of 183, 186
Page Setups 45
PageBuffers 46, 201, 411 H
patterns 46
PrepFiles 46 Halftone 440
procsets 46 cells 171, 440
ReproductionCriteria 46 deviated frequency (HPS) 186
Screenin 46 frequency 322
Screens 46, 47 strategies 170
Separation Features 47 Halftones folder 45
Spool 47 Halftoning 377
structure used by Harlequin MultiRIP 44 description 170
SW 200 See also Screening
Sys 47 Hand speed option 102
targeteps 47 Hard copy 440
tmp 47 Hardware feeds 440

using 272 HSB 378
Harlequin Chain Screening. See HCS HSL
Harlequin Color Production Solutions. See HCPS enabling screen sets 192
Harlequin Dispersed Screening. See HDS introduction to Harlequin Screening Library 191
Harlequin Micro Screening. See HMS problems and cures 198
Harlequin Precision Screening. See HPS selecting screen sets 192
Harlequin Screening Library. See HSL Hue, Saturation, Brightness. See HSB
Harlequin Color Editor 367
Harlequin MultiRIP I
failure to appear on the network 420 ICC
folder structure 44 profiles, defined
monitoring 70 ICC profiles
quitting 56 definition 25
resetting to standard configuration 213 icccrd folder 45
starting up 48 IdiomSet folder 45
Harlequin MultiRIP window 70, 212, 311 Image interpolation 97
Harlequin Parallel Pages 204 Image replacement 151
Harlequin VariData 206 imagemask
Harlequin VariData check box 249 emulating old behavior of 155
HCS Images
introduction to Harlequin Chain Screening 192 previewing 63
HD Photo files printing color 376
printing 251 roaming 63
HDLT scaling 150
introduction to Harlequin Display List Technol‐ Imagesetters
ogy 36 linearization 323
password 209 required data rate 43
HDLT (Harlequin Display List Technology) selecting output devices 96
defined 440 See also Output devices
HDS Import Measurements dialog 354
compared to lpi measures 195 Imposition 151
HDS‐Light 192 See also Page imposition
introduction 193 Imposition Manager 278
varieties of 193 Info dialog 84
Height access to Page Layout dialog 140
page default 139 Ink low message 413
Held queue 76 Ink out message 413
Hex Input Channel Edit dialog 220
N‐color system 364 Input Controller dialog 217
Hexachrome Input methods
PANTONE Color System 364 JFIF files 252
HiFi color JPEG files 252
N‐color system 364 Input Modes
Hinted fonts 306, 440 printer problems 420
HMS Input plugins 441
calibration for 198 adding new 219
introduction to Harlequin Micro Screening 197 configuring 220
varieties of 197 deleting 220
Hold and Reprint command 88 editing 220
HPS 441 enabling 220
and gray levels 185 introduction to 26
background reading 174 managing 217
enabling HPS 2.0 187 types supplied 216
introduction to Harlequin Precision Screening 185 Input Queue mode 69
memory required 40 Input sources. See Input plugins
options dialog 186 Inputs
performance 190 disabling individual inputs 220
problems and cures 189 stopping 52
used with pattern screens 190 stopping all enabled inputs 221
HqnOEM Inputs folder 46
initialization file 310 Install Fonts dialog 308
HqnOEM file 47 Installing
HqnProduct file 47 composite fonts 309
HqnStart file 47

fonts 308 Localization
printer interface card 44 language in user interface 213
Installing Harlequin MultiRIP Locking page buffers 83
ability to RIP a job 41 LOGFILE 311
printer data rates 43 in SW folder 47
Instructions in text 12 messages from Harlequin MultiRIP 70
Interface card failed message 413 Low media warnings 272
Interface cards Low power message 413
installing 44 lpcm (lines per centimeter) 441
International Color Consortium. See ICC lpi (lines per inch) 441
Invalid clipping message 413 lpmm (lines per millimeter) 441
Invalid resolution message 413
M
J Margins
JDF setting in Page layout 139
and CIP4 436 Measurements
JDF (Job Definition Format) 441 choice for calibration data 352
JFIF files Media 441
input methods 252 advancing 262
printing 252 cutting 262, 264, 266, 272, 273
Job Description Format feeding 262, 264, 266
See JDF hardware feeds 272
Jobs low media warnings 272
altering parameters 82 monitoring 268, 274
altering parameters for all pages 85 remaining length 270
deleting automatically after printing 81 saving (optimization) 138
preserving from deletion 83 saving film 153
reprinting 78 type 270
screen settings and overrides 184 width 270
timeouts 203 Media management 30
JPEG files configuring 153
input methods 252 disabling 265
printing 252 introduction 259
Media Manager dialog 264
K Media Monitor 274
Keyboard accelerators 11, 441 Media saving
Keyboard shortcuts 11 automatic cassette selection 132
Knockouts 375, 398 Fill whole drum (for part drum devices only) 134
Margin between jobs 133
L Margin between pages 133
Name flat after 135
Language Order of pages on flat 134
choice at first use 48 Print Flat 133
used in user interface 213 Switch roam color to black 134
LanguageLevel 1 Time to wait between pages 133
setting compatibility 154 Track flat width (for roll fed devices only) 134
LanguageLevel 2 Tracking media width 132
setting compatibility 154 MediaSavingDir folder 46
LanguageLevel 3 154 Memory
setting compatibility 154 allocating 210
Laser diode failed message 413 increasing 210
Level 1 PostScript language jobs requirements for disk space 42
compatibility setting 154 requirements for RAM 40
Level 2 PostScript language jobs temporary allocation 210
compatibility setting 154 Memory for RIP option 210
Level 3 PostScript language jobs Memory reserve for RIP option 211
compatibility setting 154 Memory statistics 212
Limit number of distinct gray levels 186 Menu device 441
Limit screen levels 186 Menus
Line screening changes in displayed commands 55
in halftoned images 179 description of 50
Linearization 323 language used in 213
See also Calibration Messages
List Fonts command 310 in LOGFILE 70

language used in 213 Negative
warnings and errors 407 calibrating for output 337
Messages folder 46 printing in 83
Microsoft Windows Networks
Help and manuals 11 Harlequin MultiRIP fails to publish 420
Minimum free disk space Never, delete option in Output Controller 81
Configure RIP option 212 New Page Setup dialog
Minimum memory left for system option 210, 211 basic use 94
Mirrorprint 441 example of use 59, 67
Edit Page Setup option 140 No cassette message 413
Misregistering separations No power message 413
effect 375 No take‐up cassette message 414
minimizing effect 402 None device 103
Missing fonts NT Pipe
aborting jobs with 156 input plugin 216
Modes Number of copies to print
Multiple 87 page setup option 157
Multiple (Parallel) 87
page buffering in the Harlequin MultiRIP 73 O
Single 88 Off‐line message 414
Single (If Required) 89 Online developer 274
Moiré pattern 442 Open Prepress Interface
reducing 175 see OPI 442
reducing with HPS 185 OPI
Monitoring defined 442
Harlequin MultiRIP 70 OPI, support for 151
media 268, 274 Optional features
Monochrome separations 382 enabling 209
Multiple (Parallel) Mode Output Controller
page buffer modes compared 74 disabling output 77
Multiple (Parallel) mode labeling of color separation pages 403
advanced details 87 warning messages in 412
and data underrun 208 Output Controller dialog 76, 140
and Media Monitor 274 Always option 81
compared to Single (if required) 89 identifying color separations in 79
Multiple copies locked pages in 411
printing 83 low media warnings in 272
Multiple device drivers 126 Never delete option 81
adding a new device 128 numbering of separation pages in 79
changing configuration 128 warning messages in 412
defined 442 When necessary delete option 81
deleting a device 128 Output devices 13
Multiple mode changing 84
advanced details 87 defined 442
and Media Monitor 271 printing to 124
page buffer modes compared 74 selecting 96
Output plugins
N defined 442
Name flat after 135 introduction to 26
Named colors 366 multiple, defined 442
named pipes transferring media management information 262
as inputs 221 Overprint preview 397
NamedColor folder 46 Overprinting 376, 398
NamedColorOrder folder 46 controls 398
N‐color Override angles in job 185, 388
defined 442 Override black generation in job box 400
N‐color systems Override dot shape in job 177, 185
distinct colorant 364 Override frequency in job 180, 185
HiFi color 364 Override separations in job 387
in job specification 378 Overriding job settings 184, 387
introduction 364
output support for 25 P
photo‐ink 364 Pack drum 153

Page buffers patterns folder 46
altering all in job 85 PDF files
altering parameters 82 color management 423
compressing 28, 203 input methods 250
defined 442 printing 237
deleting 81, 201 setting options 244
from older versions of the Harlequin RIP 86 special treatment 250
locking 83 two definitions 443
modes 73 PDF jobs
moving in Output Controller 78 color management in 425
resubmitting 153 PDF Options dialog 244
roaming 82 PDF Raster
summary of modes 90 Configuring files 119
Page features naming files 120
adding 152 Output device 118
Draft 152 PDF raster
Image replacement 151 creating files 118
imposition 151 PDF/VT 239
OPI 151 PDF/X Color management 239
Pack drum 153 PDF/X standards 238
PGB hot folder 153 PelBox. See imagesetters
printing Draft on each page 152 Per renderer memory 205
reporting on spot colors 151 Performance
resubmitting page buffers 153 Rainbow Islands test image 89
saving film 153 Seybold Musicians test image 42
Page Features folder 46 PGB hot folder 153
Page imposition 31, 151, 415, 443 Photo‐ink
Page Layout dialog 84, 139 defined 444
Page Setup N‐color system 364
definition 443 Photoshop images
exposure 124 processing jobs containing 423, 424
Mirrorprint effect 140 pica 444
negative effect 140 pipes
PDF Raster output device 118 named pipes as inputs 221
Rotate effect 140 Pixel 444
saving configurations 95 Plug‐in module 444
saving setups 27 point 444
TIFF output device 104 Portable Document Format. See PDF files 237
Page Setup Manager dialog 92 Positive. See Negative
reordering list of page setups 93 Post processing
Page Setup Option Extras dialog 158 TIFF files after output 115, 123
Page Setup Options dialog 153 Post processing substitution codes 116
abort if calibration does not match 156 PostScript language
abort if fonts are missing 156 access from executive 256
add showpage 156 applied to jobs in page features 151
emulate old imagemask behavior 155 handling Level 1 language jobs 154
fast patterns 155 handling Level 2 language jobs 154
number of copies to print 157 PostScript Printer Description. See PPD
remove color operators 155 PPD
run prep at start of job 154 defined 444
setting the LanguageLevel 154 PPF
Page Setups folder 45 file format and CIP3 436
Page size Precision screening. See HPS
specifying default 139 Preloading
Page stop‐started message 414 composite fonts 310
PageBuffers folder 46, 201, 411 fonts in the Harlequin MultiRIP 310
Pantone Matching System 365 Prep file 444
Paper jam message 414 PrepFiles folder 46
Paper low message 414 Preseparated jobs
Paper out message 414 recombining 388
Paper. See Media rejecting 388
Parallel Pages, Harlequin 204 Press calibration
Partial page buffer 27, 211 alternative uses 341
defined 443 in Edit Page Setup dialog 162

introduction 339 Profiles
See also Calibration ColorPro feature 347
Preview defined 445
defined 444 Progress box 65, 80
images 28, 63 media management 271
See also Roaming warning messages in 412
Preview window 101 Progress dial 62
Print calibrated press target 343 Progressive proofs
Print calibrated target 334, 337, 343 defined 445
Print Calibration dialog 328, 343 Progressive separations 382
Print exposure sweep 344 Proof Fonts dialog 62, 312
Print File command 236 Proofing fonts 311
Print File dialog 236 in long format 312
Print File menu 236 Proofs
Print Production Format defined 445
See PPF progressive, defined 445
Print uncalibrated press target 343
Print uncalibrated target 343 Q
Printer buffer 207 Queues
and data underrun 208 active 76
and roaming large page buffers 208 held 76
Printer Caught Up message 414 Select All 76
Printers Select Job 77
installing interface cards 44 Select Page 76, 77
required data rate 43 transferring pages between 78
See also Output devices Quitting
Printing Harlequin MultiRIP 56
calibration targets 343
color images 376 R
draft on each page 152
exposure sweeps 328 RAM. See memory
files 236 Raster Image Processor
HD Photo files 251 defined 445
in mirror image 140 Read dial 63
in negative 140 Recombination
in rotated orientation 140 features requiring 379
JFIF files 252 Recombine preseparated jobs
JPEG files 252 and composite jobs 390
multiple copies 83 check box 388
PDF files 237 memory requirements 40
PostScript language files 237 suitable jobs 389
setting PDF options 244 Red, Green, Blue. See RGB
several copies 157 Reduced Preview window 101
several files 237 Reduced roam 64, 83, 101
using a different press 162, 324 Reduced Roam window 101
using special effects 151 Reject preseparated jobs 388
XPS Documents 251 Remaining length of media 270
Printing PDF files Remove color operators
Acroforms 241 page setup option 155
PDF/X standards 238 Removing
PDF/XColor management 239 fonts from the RIP 312
Printing PDF version 1.4 240 Rendering 445
Trapping 239 Reordering
Problems page setups 93
curing 407 Reprinting jobs 78
failure to RIP to disk 410 ReproductionCriteria folder 46
with fonts 411 Requirements
with HPS 189 data rate to printer 43
with HSL 198 disk data rate 43
Process colors disk space 42
changing the angles 175 minimum font set 411
Process work. See Color RAM 40
Processor, online developer 274 Resetting
procsets folder 46 Harlequin MultiRIP 213

RIP configuration 213 Screen sets
Resolution 445 selecting 192
resolution Screenin
setting 97 Screenin folder 46
Resubmitting, page buffers 153 Screening 174
Reverse See Negative and separations style 167
RGB 25, 445 chain 192
in color composites 378 error diffusion 439
Right reading. See Mirrorprint extra gray levels 185
RIP FM 193
defined 446 HDS 193
RIP configuration HMS 197
PageBuffers folder 201 HPS 185
resetting 213 HSL 191
WorkSpace folder 200 overview of methods 24
RIP security 36 spot functions 176
Ripping to disk Screens
failure 410 defined 171
Roam button 63, 82 Screens folder 46, 47
Roam Options dialog 102 Searching for input symbol 218
Roam window 101 Sentinel LDK security 36
Roam, defined 446 Separate spot color duotones, tritones & quadtones
Roaming to spot color plates check box 159
accurate color display 102 Separate spot color vignettes to the spot color plate
and disable output 82 Illustrator 6 160
changing the displayed colors 404 Illustrator 7 160
description of Reduced Roam window 101 QuarkXPress 161
description of Roam window 101 Separation Features folder 47
hiding separations 102 Separations 170
images 63 changing color 84
large or multiple pages and printer buffer 208 colored 382
options 102 features needing recombination 379
reduced roam 64, 83, 101 monochrome 382
separations 403 page numbering in Output Controller 79
setting hand speed 102 progressive 382
several pages 82, 100 style and screening 167
Rosette 446 Separations Manager dialog 380
Rotate Setting the PostScript LanguageLevel 154
Page Setup effect 140 Settrap 403
Round Euclidean dot shapes 177 Seybold
Run prep at start of job Musicians test image 42
page setup option 154 Rainbow Islands test image 89
Shift key 11
S Shortcuts
Save Setup dialog 68 keyboard 11
Saving Showpage operator 156
a backup of all fonts 47 Simple imposition 277
all configuration settings 47 activate 278
media or time 138 Annotations 292
page setup configurations 95 Binding options 286
separations styles 391 Configuration 279
Scaling Custom annotations 293
the output image 150 Example impositions 295
Screen angles Front and back options 289
definition of 171 Gutter options 288
expected in incoming job 401 Input file formats 277
glossary entry 446 Manager 278
Screen frequency 171, 446 Marks options 291
and calibration sets 336 Page Grid positioning options 290
and gray levels 181 Page options 284
overriding 180 Perfecting 283
specified in job 180 Schemes 281
Screen levels Surface options 282
limiting 186 Work & Tumble 283

Work & Turn 283 T
Single (if required) mode 89 Take‐up full message 414
compared to Multiple (Parallel) 89 Take‐up space low message 414
page buffer modes compared 74 Targeteps folder 47
Single mode TCP/IP 216
advanced details 88 Testing
page buffer modes compared 74 calibration sets 334
Socket Throughput
configuring the input plugin 231 control 27
input plugin 216 defined 447
See also sockets Info dialog 82
Sockets system 75
as input to the Harlequin MultiRIP 229 TIFF (Tag Image File Format) 26, 104, 118
requirements for use with the Harlequin MultiRIP Configuring files 104
230 creating files 104
Special effects naming files 105
applied to jobs using page features 151 Output device 104
applied to jobs using page setup 140 Post processing output files 115, 123
Specifying Post processing substitution codes 116
default page size 139 TIFF 6.0 input 252
image scale 150 Time saving (optimization) 138
Spool folder 47 Timeouts
configuring 225 on jobs 203
excluding files from processing 228 tmp folder 47
input plugin 216 Tone curves
multiple inputs 27 adjusting 163
Spool Folder Configuration dialog 225 creating and using 339
Spot colors in Edit Page Setup dialog 163
exact names required 385, 386 introduction 339
reporting on screen 151 Toner low message 414
Spot functions 176 Toner out message 414
See also Dot shape Tool bar
Spread 446 introduced 50
Square dot shapes 179 status area 54
Square Euclidean dot shapes 179 TrapParams folder 47
StandardCharStrings file 44 Trapping
Starting up defined 447
executive 256 in QuarkXPress jobs 402
Harlequin MultiRIP 48 in the Harlequin MultiRIP 402
output of jobs after earlier disabling 77 TrapPro
Startup prep menu commands 56
Configure RIP option 210 Trim Page check box
Status in Page Setup dialog 138
area in tool bar 54 Trim page check box
of a calibration set 347 in Info dialog 84
Stop / start Troubleshooting. See Problems
defined 446 TrueType fonts 307
Stop Executive command 256 Type 0 fonts 306
Stop Printing File command 236 Type 1 fonts 306
Stopping Type 3 fonts 306
a print job 236 Type 32 fonts 307
all enabled inputs 221 Type 4 fonts 306
all inputs 52 Type 42 fonts 306
Harlequin MultiRIP 56
output of jobs temporarily 77 U
the computer running the Harlequin MultiRIP 57
stopping UCR 396, 399
a print job 236 Ultre. See imagesetters
Stripping. See Page imposition Undercolor removal 396, 399
Substitute fonts Uninstalling
in jobs from Illustrator 160 fonts 312
or aborting the job 156 Units of measurement
SW folder 200 dpcm 438
Sys folder 47 dpi 438

dpmm 438
lpcm 441
lpi 441
lpmm 441
pica 444
point 444
Unknown error message 415
Use Harlequin VariData check box 249
Usr folder 47
Utilities folder 47
V
VariData, Harlequin 22
Version
file in SW folder 48
Vignettes
defined in spot colors 158
Virtual memory 447
allocating for the Harlequin MultiRIP 211
virtual memory
setting 41
W
Warming up message 415
When necessary
delete option in Output Controller 81
Width
of media 270
page default 139
Windows
See Microsoft Windows
Workflows
for maintaining calibration 334
WorkSpace folder 47, 200
Wrong reading. See Mirrorprint
X
XPS Documents
printing 251

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1 Introduction to the Harlequin MultiRIP 13

2 Running the Harlequin MultiRIP 39

3 Getting Started with the Harlequin MultiRIP 59

4 Harlequin MultiRIP Output Methods 73

8 Configuring Input 215

9 Media Management 259

10 Simple Imposition 277

13 Color Separation 363

Appendix A Troubleshooting 407

Contents of this manual

Note to OEMS: This chapter contains two types of information. Section 1.1 through

1.1 What is the Harlequin MultiRIP?

1.1.1 Input and output formats

1.1.2 Versions of the Harlequin MultiRIP

1.2 Why use the Harlequin MultiRIP?

1.3 The Harlequin MultiRIP in depth

1.3.1 Software RIPs compared to embedded RIPs

1.3.2 File format and version support

1.3.2.1 Additional information

1.3.3 Extended color capabilities

1.3.3.1 /DeviceN and N-color

1.3.3.2 Duotones, tritones, and quadtones

1.3.3.3 Patterns and Smooth Shades

1.3.3.6 Type16 halftones

1.3.3.7 Idiom recognition

1.3.3.8 Type 32 fonts

1.3.3.9 Other operators

1.3.3.10 File filters

1.3.4 Color, screening, and Roam functionality

1.3.4.2 Spot color screening and calibration

1.3.4.4 Embedded ICC profiles

1.3.4.5 Colorimetric roam

1.3.5 Memory management

1.3.6 Multi-threaded compositing

1.3.7 Harlequin Parallel Pages (interpreter/renderer pipelining)

1.3.8 Harlequin VariData

1.3.8.1 Garbage collection

1.3.10 Screening options

1.3.10.1 Harlequin Precision Screening

1.3.10.2 Harlequin Screening Library

1.3.10.3 Screening for extended color systems

1.3.11 Harlequin ColorPro

1.3.12 Graphics formats

1.3.13 Input and output methods

1.3.13.1 Output plugins

1.3.13.2 Input plugins

1.3.13.3 Multiple inputs

1.3.14 Complex jobs

1.3.15 Throughput control

1.3.17 Page buffer compression

1.3.18 Fonts and font handling

1.3.18.1 Composite fonts

1.3.18.2 Font emulation

1.3.19 Convenience features

1.3.19.1 Media management

1.3.19.2 Page features

1.3.19.3 Interactive sessions

1.3.19.4 Page imposition