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Those interested in either pursuing the study of frame relay beyond the scope of this book or seeking a deeper understanding of the concepts presented here are urged to make use of as many of these sources as possible. Many are available essentially for free on the Internet and/or Web.

XPS is another electronic paper format, developed by Microsoft as an alternative to the PDF format. At this time, there is very little third-party support for the XPS format.

A spot color prints on its own plate, whereas a process color is separated into the four basic colors used in traditional color publishing If you define too many colors as spot colors, you re likely to create an impossible to print or a very expensive to print document InDesign lets you convert colors from spot to process and vice versa, so you can choose the right output options for each document Similarly, it s best to create color images in the color model you intend to use for output: CMYK for traditional printing and RGB for on-screen display InDesign uses swatches to contain defined colors (including colors made up of other colors), tints, and gradient blends; the use of swatches lets you apply colors repeatedly with the assurance it s the same color each time, much as character and paragraph styles ensure consistent text formatting.

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Although you can also apply colors without using these swatches, doing so can cause output problems, especially when you re using color separations To maintain consistency of colors, InDesign can import colors from other InDesign documents, as well as from Adobe swatch files known as Adobe Swatch Exchange files InDesign also imports colors used in EPS and PDF files, as well as colors defined by others using the Kulercom Web site, which you can modify and even add your own color palettes to A powerful feature in InDesign is its capability to create gradient blends that can contain blends among multiple colors No other layout program offers this level of control or flexibility on gradients, although image editors such as Photoshop go even further than InDesign does..

You might think that black is black is black, but that s not true So InDesign lets you control how black is treated during output as well In an RGB bitmap image, for example, black is actually created by mixing red, green, and blue, so it s often really a very dark gray The Conversion Options section of the Color Settings dialog box has the Black Point Compensation check box to look for those dark grays and convert them to true black Select this option (its default setting) to adjust the color range for maximum range, which permits truer colors in most cases and a more natural look with converted photographs.

Kohnfelder writes in Part I, Section D, Weaknesses in Public-Key Cryptosystems of his thesis,

You should leave this option selected unless you know that your source image has a small range (such as being mostly midtones), in which case black-point compensation can distort shadows and subtle colors in an effect similar to a moir pattern InDesign also has controls for how black is treated in all elements of your layout, not just bitmap images They reside in the Appearance of Black pane of the Preferences dialog box (choose InDesign Preferences Appearance of Black or press +K on the Mac, or choose Edit Preferences Appearance of Black or press Ctrl+K in Windows), which is shown in Figure 282 These controls affect how the [Black] swatch is treated during output, both for objects you create in InDesign and for those imported files (such as Illustrator, EPS, and PDF files) that have a black color swatch applied to their elements.

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