One sheet larger than the finished page: the colour runs nine points past the blade, the corner marks stand outside it in an ink every plate carries, every colour is said in the four printing inks, and the page names the paper, the edge of the ink and the cut. Hand it the profile of a press and it claims PDF/X-4; without one it claims nothing, and says on the page why.
A printing works spends its day opening files it has to ask questions about: does the colour reach a little past the line the blade will follow, where exactly is that line, are the colours stated in the inks a press lays down or in the colours of a screen. This sheet answers all of it before anybody writes back. The paper is deliberately larger than the finished page — 472 by 692 points of sheet for a finished page of 400 by 620 — and the page names all three: the paper, how far the colour runs past the cut, and the cut itself.
It also prints what the file says about itself: the name of the job, the profile of the device it is stated for, and a yes or no on trapping — the hair's breadth of overlap given to two touching colours so that a sheet moving slightly on the press opens no white line between them. One thing it does not say is a claim to the print standard. PDF/X-4 rests on the colour profile of the press the job was separated for; the library builds one profile of its own and it describes a screen, which is not allowed to stand in for a press. Hand the example your own printing works' profile on the command line and the very same sheet claims PDF/X-4 — we ship nobody else's profile, and yours travels inside your own document.
The same document is written twice, once in each language. Both files are shown in full, with the code coloured on the server, and can be copied in one click.
The same document is written in each of these languages. Open the one you want to look at.
This document weighs 47,150 bytes.
The team wrote this example after measuring the documents above, so there is no earlier figure to set beside it. See every document measured.
Swatches in each of the three ways to say a colour — a grey as one number, a screen colour as three, a printing colour as four inks — each captioned with the instruction actually written into the file, and one mid-grey said three ways.
The same six colours said as bare numbers and then read through the sRGB profile the file carries, plus a ramp from light to dark and a sweep of hues in CIE L*a*b*: colour that still means the same thing on another screen and on a press.
Two inks the press carries on a plate of their own, each at ten strengths, a piece of work set in both, and the crosses used to line the plates up — drawn in an ink every plate answers to.
Eight choices of plate among the four usual inks, each with the small program that shows it printed underneath, and two inks the press carries itself used together, every strength of one against every strength of the other.
A chart of house colours the file carries, and a drawing whose sixteen numbers are places in that chart rather than colours. The same drawing is shown twice through two charts: repainting a whole brand is one table, not every drawing.
One pattern that states no colour of its own, laid down in five colours and in five strengths of one press ink: the fill says what colour to lay it down in. Beside them, the same hatch made of patterns that carry their own colours, which is one pattern per colour.