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.
A spot colour is not mixed out of the four usual inks: it is an ink of its own, on a plate of its own, and a colour in it is one number — how much of it goes down. The first page carries two such inks at ten strengths each and a piece of work set in both; the second prices a print job with those two and nothing else, where the table, the paragraph under it and the word across it are all press ink.
What that single number looks like where the ink does not exist — on a screen, or on a press that does not carry it — is what the conversion recipe says, and the file carries one. The alignment crosses are drawn in an ink every plate answers to, so they come out on all of them, which is what lets the plates be laid exactly over one another.
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 document this example writes, ready to open.
This document weighs 45,865 bytes.
The team has since added a second page to this example, a priced job set in the two inks and nothing else, so the earlier figure was taken on a document this one is no longer. 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.
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.
One drawing on three pages: a press sheet stating where the ink runs, where the blade falls and what is worth keeping, with corner marks; the same sheet cropped to the finished page; and a landscape page that states a quarter turn clockwise on an upright sheet.