What you are seeing is the anti-aliasing on the outer edges of your PSD file. It's particularly noticeable around areas of contrasting colour. e.g. by the brown stems. Especially so when working wth CMYK PSD files In your Photoshop file, since there's anti-aliasing happening, you get a little bit of fringe pixels that are "half" brown. Well when you place that, the "half" brown pixels "half" block out the background colour, creating a bit of a dip. Photoshop does have a Defringe tool to try and deal with these "halos" but it works only in RGB mode, but it's worth looking into. Are you using a mask in the PSD file? You could try Sharpening the mask or even contracting it by a pixel or more so the edges aren't as aliased. ... View more

You may inadvertedly have a link that refers to one in an old location. Check to see which PDF it's using my looking at the path in the Links Manager. Select the "offending" pdf and then pull down the menu or right-click and select reveal in Finder. if that's not the file you want, you need relink it. What I like to do is temporarily move the ID document into the Links folder. The ID docuemt will always check it's local folder first so should pick up the proper pdf if it's in that Links folder. Once opened, you can resave the document and move it back to where it was with the proper link path saved internally. ... View more

As mentioned before, yes, use a Rich Black and apply it to your Black layer in InDesign (I use 40C 30C 30Y 100K myself : lol). The problem with this approach is it's still a dead-fit registration, so any misalignment could show the lighter undercolour, but it certainly won't be as bad as a white knockout. As said, you don't NEED to make this layer overprint though . If you DO (using multiply), you'll still have variations of colour underneath). This is what I do: First of all, I leave the Outline as a layer in the Photoshop file (I stay at a 600 dpi resolution so the loss of crispness is minimal) with that layer set to overprint (Multiply). To deal with the large black areas, I magic-wand-select all the black in that layer, then Contract the selection 3 or 4 pixels. This may remove any selections that are thin, which is fine, since it's the bigger black areas you are most worried about. Then, on a new layer beneath the Outline layer, fill that with 40C 30M 30Y. Result: 3 layers: bottom layer is your Colour layer, middle layer is the "trapped" Rich fill (40C30M30Y), top layer is the Outline black, set to multiply. I suppose you could technically stay with your work flow, delete the Outline layer from the PS stack, and save your colour part from the remaining two, then add back the outlibne line art file like you do, still setting that to Multiply in ID, but you are setting yourself up for major registration misalignment, and an extra step, so why bother. ... View more

You have lots of fine lines in your graphic. Even if your original was quite high dpi originally, having it downsampled to 300 when making a PDF can make them a bit fuzzy. 300 is great for photo images, but it's not enough for small type and fine lines. (This is the kind of thing that should have been vector, but if all you have is bitmap images, let's see what can be done). I suggest you/your Printer create a PDF where the settings for Sampling/Compression settings are set to Do Not Downsample and Compression to Maximum. Further, there's a chance that your Printer's RIP system downsamples it as part of their workflow, in which case, they are introducing the fuzziness there, too. ... View more

Not directly, no, but either Autocad or Solidworks has the ability to export formats that do work, like EPS and PDF, as well as some image formats. ... View more

I assume you are talking about Acrobat's ability to OCR a scanned image? In which case, no, not a thing InDesign does. But since you DO have Acrobat, use it to do the dirty work then export the results as a text/Word file, then import into ID. Also:  there are converters that can do a pseudo conversion from PDF to ID; that could get you on the way to yor final goal. ... View more

That would do it (re: ligature). I just now did a test on a business card file I just happened to be working on for a client, with one ligature in it. I opened that PDF in Illustrator, and sure enough, that ONE word was converted.   Have fun!     ... View more

It could be a result of the Transparency and Flattening settings applied in the InDesign file or when exporting the PDF. In order for some effects to render accurately/properly, text may be converted to outlines in some or all cases. Some custom kerning in InDesign can also trigger it for some text and not others. Again, it's trying to make sure your document matches the InDesign layout. This is not a bug. As mentioned, Illustrator is not meant to be a PDF editor. If you want to save yourself a bit of typing, you can copy the offending text from the PDF in Acrobat (because there it's most likely still selectable as text) and reposition/reformat that in Illustrator. ... View more

I concur. Work on a scaled size. For banners that size, you could even work at 1/4 size (which is what I usually do for wall graphics that size). Even if you are working with images, it's very unlikely, at your final size, you need to have image graphics much above 50dpi, so even a 1/4 size file saved at 300dpi would result in 75dpi final at-size resolution... more than enough. ... View more

Good point! ... View more

I do this regularly, but it's done in Acrobat, not InDesign. I put a placemarker graphic in my InDesign file, then once my PDF is created, I edit it in Acrobat to "Add Rich Media" to add a clickable link to a video file (local or externally linked) to that position in the file. You can also embed the video if you want a self-contained PDF, but you can imagine how large your PDF could become doing that. You have the options to have controls show or not, etc. Look into Acrobat's help system for instructions. ... View more

What format are your photos? What PDF export settings? ... View more

Yup.. I did a similar test and got similar results. I 'm still curious about her actual CMS settings in Bridge. ... View more

I agree; I wasn't suggesting that. It was an experiment to see if the same color shift happens in Photoshop, which might point to where the settings are screwed up. ... View more

Hard to pin down where things have gone astray without seeing your color settings, or what profile/or no profile may be embedded in your image. If your seetings are indeed sync'd across your CC apps through Bridge, what happens when you convert to cmyk in Photoshop? ... View more

Here's a wild idea: Another thing that might help is to use Acrobat to Combine all 194 files into one PDF. Then do an Export > Image from that PDF at 600 dpi (or higher, if you like). Each page's image file will be numbered. You should be able to submit those to prepress without even using InDesign. If not, Create a new PDF by Combining the image files, then submit that! ... View more

There's no NEED to have it as a seperate file, no. I would, however, create sections in your document so that the cover pages are in a different numbering scheme, and your inside pages can start as page 1 on a new section. e.g. Cover (i, ii), Inside pages (1...whatever), Back Cover (iii,iv). Keeping it together is especiallly useful if you are creating a PDF of the whole document for other purposes. Just instruct your printer which pages are the cover. It's likley obvious to any printer these days, but you should always discuss the project otherwise. As mentioned, you'd be good to consider a separate file especially if the printing process, stock or binding is different. I personally go back and forth depending on the project. ... View more

No worries. We're all here to help! ... View more

Simplest answer is to make sure your document Setup has "Facing Pages" checked. (When you create a two-page master, it's assumed your documents is set up to be facing pages, left and right). If you don't want a facing-pages document, rather just several sheets that have a front and back, you should make two separate master pages: one for the front and one for the back and apply them accordingly. ... View more

If you look under the Edit menu, you will see both the Duplicate, and also, Step and Repeat commands, and their respective key commands beside. Shift-Option-Command-D for Duplicate (Mac), for instance ... View more

The object that caused the issue was your background graphic having a Text Wrap value applied to it. I suspect the graphics on other pages did not. ... View more

How many pages? Readers' flats or printer flats? And, do you want to create a facing page document of individual pages? If it's what I expect (i.e. old-school printer's flats... before printers could do imposition from single page files), there's no easy automatic way, but depending on how many pages, you can probably accomplish what you want with a tiny bit of work and tweaking without having to redo the whole thing. I can write it out based on what your currently have. ... View more

Indeed. I was just suggesting what he could offer the client to get a brighter blue in print. ... View more

The printer can only print blues that are in gamut. If they are a good printer, they have a good Colour Management workflow in place and should be able to get as close as they can get, but as Scotty would say, you can't change the laws of physics!   Your client will have to accept that they can't get what they want. Their best bet is to have the blue printed as a spot Pantone colour which may get you closer to what they desire, but that means you are paying for a 5-colour printing job. As far as getting brighter blues in CMYK, well, you can't. I suggest you invest in a Pantone swatch book that shows CMYK matches so your client can see what is and what is not possible.   Here's the deal. The conversion fron LAB to CMYK can be wildly different in practically every scenario, depending on the Color Management settings used along the way, as well as the actual printing process used by your printer, etc.  If it this was printed before from the same file, the CMYK mix that was previously printed WILL be different today if the profiles assigned to them then were different. It will be impossible to give your printer a new CMYK file with values that create that previous blue if you don't know what the values ended up being! It also depends on where the conversion happens. If you created a PDF that converts the colours at your end, then you've already baked in a CMYK mix for that blue based on the colour profiles you have in your OWN workflow. If the PDF was created where the colours are left as is, then the CMYK conversion will happen in your printer's workflow.   Going forward, you should always select colours that are in gamut of your intended printing process, or accept the fact that there will be differences. e.g. If you are working with Pantone colours (e.g. Spot Coated swatches, which are LAB), many of these are also out of gamut as they were always intended to be an actual ink used in printing (mixed using several base inks other than CMYK (there's about 15 of them) that create a wide vibrant set of colours).  Pantone has attempted many solutions over the years to help out the current digital workflows and the latest is a set of ink swatches called Color Bridge that are based in CMYK, so if you use those, you should be able to see and keep a consistent colour match. ... View more