Re: Mouse Cursor Disappearing

Bob_Niland · ‎Mar 13, 2011

I using FM10 version 10.0.0.388 on 64-bit Windows 7. Windows 7 SP1? What graphics hardware (IGP or card)? Single- or multi-monitor? Multi-monitor seems to be more prone to vanishing cursors, regardless of app. I haven't dug deeply on this, but I'd be willing to bet that cursor movement is being handled directly by the graphics chip or card, possibly at the firmware level. Any recent updates to graphics API, graphics driver or graphics firmware might be a factor. Check your Windows Update history and see what's been revised lately. SP1 you would probably have noticed, because it was nearly a 100MB update on one machine I use. The sprite itself may be a cached object in graphics RAM (on the PCIe card or in system UMA). If that RAM has problems (or something else is trashing the cache), the graphics subsystem may think its displaying a cursor, but isn't.

Bob_Niland · ‎Mar 13, 2011

the »Indexed color efficiencies« came from way back when the Net was a number of very thin electronic pipes connected to each other. You're replying to someone who recalls full page 300 dpi TIFFs taking 30 minutes just to display for text overlay in Frame 3.1. It is a long time I heard someone complaining about image files larger than 32k. but of course, FrameMaker should handle them OK! Frame handles large images with ease. I've generated PostScript files of 1GB. The issue is what size PDF they distill to. We render to PDF at the same resolutions for both publishing and web (200 dpi contone, 600 bitmap). Multiple dozen large images can easily make a final document PDF that is too large for practical web use. Our general rule is that if a single image adds more than 250 KB to the final PDF, we take steps. I often have to deal with dense vector objects that are well over 5MB as raw EPS. I routinely save a convenience browsing PDF of each image, and if it's over 250K, the image gets attention. For B&W line art, flattening to 600 dpi dithered bitmap in Photoshop usually suffices, but rasterizing to contone does not, because our workflow passes 600 dpi "bitmap", but subsamples "color" and "gray" to 200 dpi. I had this one vector-overload externally sourced image where I needed just a touch of one color. I was hoping that indexed color (e.g. GIF) might be the solution, but Distiller downsampled it anyway. Some of the indexed color tests, as I recall, but cannot now re-create, also polluted the color pallete. The work-around, in case anyone else has the same requirement (hi-res bitmap with color), was: Open the .ai file in PhotoShop, 600 dpi gray. Convert to bitmap, 600 dpi, diffusion dither. Save as .tif. Open the original .ai in Illustrator. Isolate the color elements to the top layer. Open the .tif bitmap in Illustrator. Copy the bitmap into a new bottom layer. Align the bitmap with the vector B&W layers of the same content. Turn off the vector B&W layers. Save the .ai. Flatten and save as .eps. This survives distiller, and provides a bitmap with color. ______ Don't forget to redact the metadata. It can add MBs all by itself.

Bob_Niland · ‎Mar 13, 2011

... book file ... ... each file separately, I gave them a slightly different name (I added the language at the end) ... I'm guessing that you renamed the component files by means other than using the Edit > Rename File from the Book menu. If so, do over. Rename from the Book menu. It automatically revises all the cross-references in all the component files. _______ In a Book, the only thing that's safe to rename with the file manager is the .book file itself.

Bob_Niland · ‎Mar 10, 2011

... change the "GetLibraryColorRGBFromCMYK=" setting from "Printing" to "None". The latter setting usually gives the best color matches in PDF output. "best color match" isn't necessarily "color match". According to Dov, in another thread, Windows, even with pretend CMYK support, is still crushing CMYK to RGB in the GDI. So getting precise colors is presumably still tough in any color models other than RGB. What I'd be tempted to do is: Ask the artist to provide a PDF that contains what the artist thinks is a correct Pantone 362. Display the PDF in Acrobat Reader. (I might be tempted to turn color management off, if on, because most end users won't have it on either.) Grab a screenshot. Get the RGB values of the color. Start with those RGB values for your text and art in Frame. Render to PDF, with color management turned off (to avoid the composite black text problem). Check results with screenshots to Photoshop. If no match, adjust the Frame RGB values and repeat the render until you get a match to the artist's PDF. The last time I had this problem, I ended up doing all the color-critical elements as imported CMYK EPS objects; lines, icons, even some text.

Bob_Niland · ‎Mar 09, 2011

People with more color management expertise that I have may respond, but they are apt to want to know: What platform (Windows, Unix, mac)? What Frame version? What rendering workflow (print to .ps, Distill to PDF?) What settings in Distiller? In case your searching of various Frame forums didn't make it obvious, Frame has no real color management, and the only platform Frame still runs on usually wrecks the colors anyway. If you are on Windows, your CYMK settings are illusory. Other than CMYK colors in EPS imported objects, CMYK colors get crushed to RGB by Mr.Bill. The Pantone and other color libraries may tag spot colors by name for matching by your print service bureau, but their use seems also largely illusory in Frame and has no influence on PDF display. I am not aware of any specification of what color model (say, sRGB, Adobe RGB, SWOP) in which these libraries are declaring their colors. I have determined that it is possible to specify RGB values that are preserved into PDF. I'm using sRGB color space, and set "Tag all images for color management" in Distiller, with sRGB selected as the color model. If you can get your artist to give you an sRGB equivalent for the desired Pantone (and 362 appears to be in-gamut for sRGB), then that might be the solution. fonts and lines and all looks fine on-screen in FM, but In order to get fonts to match other graphics, you'll need to specify "Tag everything for color management". This has a dark side. It causes your ordinary black text to be coded as composite black. This can result is extremely slow printing from PDF, and potentially ugly (dark green) text on color printers.

Bob_Niland · ‎Mar 08, 2011

> I'm using Framemaker 10, Autodesk Illustrator Publisher, Inkscape, Windows Vista. Is Adobe Illustrator available? > I have imported some CAD illustrations from Autodesk Illustrator into Illustrator Publisher. There I have labelled them. Why not label them in Frame? We do, and it has advantages beyond avoiding text rendering and scaling issues, such as being able to re-use the same illustration for multiple purposes with different callouts. We use embedded callouts in our service manuals (the XML engine requires it), and depopulate the callouts (usually just switching off one layer) for re-use of that art in the Frame manuals. > I have then saved/published them as .svg files. Let me admit that I have no experience with SVG, due to lack of SVG support across all of our workflow, but we use vector EPS extensively. > If I import them directly in to Framemaker, they open with the callouts at a strange angle and 3/4 of the picture missing. Therefore I have to open them in Inkscape, bring the whole picture in to frame and line up the callouts. If SVG has preview/thumbnail embedded images, is there a chance that this is just a preview problem? What happens at print or render to PDF? > Now I import them into Framemaker. The trouble is, the numbering is difficult to predict. The labelling/callouts/numbering always turns what looks to be bold. But the real problem is resizing the illustrations. This is one of the downsides of embedded callouts. If the images cannot be pre-sized, either the text will scale arbitrarily, which is ugly, or it won't scale, which is a disaster. More bad news - your stroke weights are scaling too. > Because there is no way of predicting the size of the output from ... I would junk any image editor, vector or raster, that didn't provide that basic level of output control. > Does anyone else use Vector graphics in their manuals? Yes, sourced from Pro-E, AutoCAD, Adobe Illustrator, Frame and extractions from supplier PDFs of unknown origination. We clean them up in Adobe Illustrator, using specific dimensional extents, and a stroke weight that's acceptable for a limited range of up and down scalings. Callouts are added in Frame, using a self-masking arrow, and a self-masking bubble with a grouped text frame and a paragraph format specific to callout use.

Bob_Niland · ‎Mar 08, 2011

> Additional colors are created in documents from imported EPS graphics ... I don't see that with routine EPS files, even though the embedded previews appear to be indexed color. I have seen it where the image itself is indexed color. > ... or 8-bit PNG bitmaps. You can delete those but they will reappear. Correct me if I'm mistaken (and this is from a 7.1 perspective), but my impression has been that the triggering factor in the infestation-of-phantom-colors-you-can't-remove is that the main image is indexed color (classically GIF, but I've seen it with imports of DWGs, DXFs and even a TIFF deliberately created with indexed color). _______ Indexed color images offer some efficiencies, but not at the cost of an unusably huge color definitions list.

Bob_Niland · ‎Mar 08, 2011

> How do you change the size of a header in a master page? There is not an object called a "header" on a master page. However, the default behavior of Frame is, with sufficient margins, to create create text frames above and below the body frames. The top one gets a paragraph format named "Header". View > Master Pages Make sure you're on the MP being used (or this will apear to not work). Use the graphic selection tool to select the top text frame. Drag the edges or use Graphics > Object Properties to change the size. Or just drop the logo onto the MP outside of all frames, as previously suggested. In my work, we have the logo only on start-of-chapter MPs, and that MP is invoked by Apply Master Pages mapped to Heading1. _______ Don't forget to set run-around on the logo.

Bob_Niland · ‎Mar 06, 2011

Earlier you mentioned that the captions in connected text frames within anchored frames both appear under the first graphic; the start in new frame property handles this, though it's an additional paragraph format that needs to be applied to these rare special cases. What version, dialog and tab is that in? I see it nowhere in the FM7.0p578 I run at home. And I ran the connect-the-frames test. It does indeed fix the auto-number problem.

Bob_Niland · ‎Mar 06, 2011

I might add that what most people need to do is in-column anchored frames, with captions. The "obvious" trivial way to do this would be to use a centered paragraph format named "Caption", and an anchored frame "Above Current Line". Frame, of course, has never had an "Above Current Line" option. Feel free to file an enhancement request. People have probably been asking only since 1994 or so. One simple work-around is to have two para formats, say "Anchor" and "Caption": "Anchor" is a tiny point size, say 4. I'd use an auto-number format of pure text "Anchor:\ " and a color that goes invisible at pub (so the line is visible even when greeked). Set the Next Pgf Tag: to "Caption". Set Pagination > Keep With: Next Pgf. Anchor your frames to Anchor, Below Current Line. "Caption" is your visible caption, and is a centered format, Keep With: Previous Pgf. The Keeps [usually] keep the caption under the frame. Plan B: Yes, there's that 4pt thing when the anchored frame is top of column. Alternative: turn off the Auto Number in "Anchor", and make it a normal 10 pt size. Anchor your frames "At Insertion Point", with "Distance Above Baseline" of the frame height plus 10 pts. ______ If the anchored frame is the full width of the text column, the pgf symbol of pgf "Anchor" is usually invisible in Plan B.

Bob_Niland · ‎Mar 06, 2011

My problem is that I can't understand what your real goals are for your layouts. I inherited it. You can think of it as a 2-col largely used as single with right graphics, or a single-col with right graphics that can be used as 2-col when there's only text. My job was to find a way to get it working that was relatively efficient, maintainable, and reflowable. The failure of autonumbering ... Then use Format > Customize Layout > Connect Text Frames. I can predict that that would work without even trying it. Alas, the text re-flows and keeping the bottom caption under its image becomes annoying. In practice, this very rarely is an issue, because we normally put every figure in its own anchored frame. I notice your anchors are within text in their containing paragraphs. Usually, folks anchor at the end of a paragraph, whether it contains text, or is only used as an anchor container. For consistency and ease of maintenance, our practice is to put the anchors in the first line, usually adjacent to a wider character and a space. Sometimes we need to select the anchor, and at the EOL you often end up selecting the period as well. Sometimes this affects the behavior of the anchored frame. Indeed. It keeps it with the first line, even if the rest of the paragraph flows to another page. Or did you have some other behavoir in mind? ... I wonder if you'd be able to use a narrow text column with anchored frames that go outside the text column - these frames move with text, but don't displace text in the column. That works, but you don't have a two-column layout when you just have text. Also, have you considered larger anchored frames that contain text frames with text and graphics (within graphic frames, if necessary for cropping) and text frames for captions? The whole complex container could move as one object. Perhaps this isn't an improvement on a table. Inelegant. A goal of the solution was, to the extent possible, to keep all of the narrative text in a single Flow A. Finally, you may want to look into working with connected independent text frames, to create two-column layouts, rather than single text frames with the multiple-column property. I worked this out over 4 years ago, but I recall trying that. Here's what I learned:

Bob_Niland · ‎Mar 05, 2011

The whole path and name of the linked file appears, so I cannot understand why it is asking me to select the file again. Something to try: Tell Frame to ignore all missing files. Save the doc.mif as a doc.fm. See what it does when you open it as a native doc.fm. We also have imported objects from all over our file system. When I prep a Frame document to send to translators (and this is from FM7.1 Solaris): I save the component files as MIF Run a script to find all the imported objects Copy all of them to ./images Batch revise all the references in the MIFs Zip up the doc and doc/images directories. Unzip on a PC Open the resulting MIFs in FM9 Windows The only error I see is "missing filter", which is no trouble.I've never seen FM fail to find the imports. Translators have never reported any issues.

Bob_Niland · ‎Mar 05, 2011

That route has a 450W x 600H pixel limit, and the page content is illegible if captured at that size or re-scaled to it. I've re-cast the page layout so the screen shots fit the forum limit. Here are 7 pages that are self-explanatory. "Red" is actually gray here. EOF

Bob_Niland · ‎Mar 02, 2011

Another technique I haved used is a bit less trouble than the invisible text overlay trick, but you'd probably only want to do it for small numbers of objects, unless you don't mind polluting the Cross-Reference format namespaces. Suppose we have a paragraph: Lorem ipsum dolor sit amet, consectetur adipisicing word123 elit, sed do eiusmod tempor incididunt ut labore ... At "word123" insert a Marker of type Cross-Ref, named "word123 key". Everywhere else you need to hypertext back to that, insert a Cross-Reference, to Marker "word123 key" of Format Name: "word123 xref" of Format Definition "word123" (literal text, no quotes. no constructs, unless you need some set-off). All but the key instance of word123 become atomic objects hyperlinked to the marker at the key instance. ________ I use this for page nav in the margins. Marker format "Cover" appears as "Cover", but goes to the document title on the cover page, regardless of the content of that text string.

Bob_Niland · ‎Mar 01, 2011

I thought that maybe making the change and then trying to apply it globally in commands before using just "Apply" localally might allow for a workaround, but it did not. Do you have to use the Apply button before using Commands/Global Update Options? I'm not following. [UpdateAll] is its own button in 7.1, and not in the Commands: pull-down. Keep in mind that although I have FM9 available, I work in 7.1 unstructured. ______ And I've never seen [UpdateAll] fail to work.

Bob_Niland · ‎Mar 01, 2011

Assuming this isn't a bug in FM9, keep an eye on the Pagination attributes of paragraphs just ahead and behind the ones that are misbehaving. If the Keep With ticks are in conflict, or the resulting kept object won't fit on a page, the results can be non-intuitive.

Bob_Niland · ‎Feb 28, 2011

In our documentation we use a lot of numbers preceded by an en-dash to denote a negative value. These are being caught by the spell checker as a misspelling. For example, –70 dBm is caught as a misspelling of "70". My copy of FM9 isn't throwing that spelling error. But if it did, I'd be tempted to try using a variable instead of a hand-typed en-dash. Name: minus Definition: \xd0

Bob_Niland · ‎Feb 28, 2011

I have a marker in my text containing a text string (e.g. an ID number). I tried to create a cross-ref format that allows me to link to the marker. Do you need hypertext linking to the source instance of the ID number? If not (and you are just doing a define-once, clone everwhere else), then ... It's been a while since I looked into this, but the conclusion I recall coming to was that: a. There's no construct for a format of $markertextonly (as of 7.1 anyway), and b. You can't use Index markers, or create A CustomMarkerType, because Cross-Reference only lists markers of type Cross-Ref. Presumably there are aftermarket tools ... anyway ... What I do is: For small numbers of such objects, put the text in variables. Use variables everywhere the text needs to appear. Text generated by variables, of course, gets no hypertext link. For larger numbers of such objects, put them in a table on a Reference page. You can even give them a unique paragraph format to make them easy to Xref by paragraph tag. Text generated by Xref to RefPage does get a hypertext link, but it goes nowhere. If a hyperlink to the source instance is required, I've also used run-in paragraph types to isolate the text string to its own paragraph. I've done this for glossaries, for example, where the lead word/phrase is the text to be cloned, and all Xrefs to it then are also hypertext links to that entry in the Glossary. _________ I'd be delighted to be mistaken.

Bob_Niland · ‎Feb 27, 2011

If it's too difficult for you to make the screenshots ... That's trivial (Alt-PrintScrn in Windows), then pasted into Photoshop, cropped, and saved out. and post them with the camera icon so the appear in the Web browser when the posts are displayed, ... That route has a 450W x 600H pixel limit, and the page content is illegible if captured at that size or re-scaled to it. I'll see about finding another image hosting site.

Bob_Niland · ‎Feb 27, 2011

> In case you're not aware, this site requires downloading > and installing an application to see the files. News to me, but then I created the account to upload some crash data for another forum (and they had no trouble). I just went there, from IE, which doesn't have my account cookie. Try: Wait for the Loading File page. Click [Slow Download] and then [Download Now] In IE (with Flash turned off, even) it pops a dialog for [Open] or [Save] ______ If no joy, I'll look into the local screenshot thing.

Bob_Niland · ‎Feb 27, 2011

> Screenshots would be a great help. Roger. There may be some delay or futzing around to get to these PDFs. Here's the basic page layout (cropped to text columns, with Text and Border symbols on): http://rapidshare.com/files/450118430/fig-2col.pdf Here's how I do figures-to-right: http://rapidshare.com/files/450118429/fig-span.pdf Here's an example of the auto-number not working: http://rapidshare.com/files/450118431/fig-fail.pdf The PDFs are 117 dpi zip-compressed screenshots. I might add: Upon insertion, I have often seen right-run-in anchored frames get created as below-line or left-run-in. Whether this is a 7.1 bug, or still possible, I don't know. Revise the dialog and move on. Imported graphics objects, of course, always come in with run-around 6pt turned on. There is no way in the standard FM product to defeat this. Turn it off after import, or clone an existing frame with it already off. _________ Note to time travelers: that's a free RS account, so the links above are apt to go 404 on or before 2011-03-27

Bob_Niland · ‎Feb 26, 2011

Have you tried using a single table, with the graphic in an anchored frame in one cell, with the text information in cells/columns on the same row? This is nominally a 2-column page layout. In practice, we only use both columns for text if the entire page contains only text. This is a policy I inherited. If there are graphics, we use only the left column, and the graphics appear at right. Previous writers had resorted to using ransom-note pages with floating disconnected frames for everything. You can imagine ... Anyway, tables don't work (anchored to the left column text, anyway), because the left column text refuses to flow beside the table (only above it or below its vertical space, as if the table occupied space in the left column) . A table that spans both columns works, but the narrative text flow has to be broken, so that the beside-figure text appears to be in the left column. With a right-run-in anchored frame, and AAC pfg fmt, the narrative text stays in the left column, and runs down alongside the frame, then around the frame as needed. The frame occupies the right column (and any text that flows across into right, or as a new column into right, knows it's there, unlike outside-of-column anchored frames - where right column text can run under the anchored frame). We end up with a monolithic single text flow (none of the narrative ends up in a table that was only needed to present a figure). I don't understand "two text frames in the same anchored frame." One anchored frame containing two different figures, each figure consisting of a separate graphical object, associated floating text frame, and table within the floating text frame. Sometimes the text in the page left column is a text table, providing no place to anchor a frame at right, so the temptation is to extend any other right-run-in frame anchored above and put a second figure in it. Doesn't work due to some oddity of auto-number incrementing. So we work around it. Not a big deal. If you plan on including table titles or headings in the main TOC ... The borderless figure caption tables have no Table Titles, and we don't presently TOC figure captions. If we ever do TOC figures, they'll probably go in their own list, so TOC priority won't be a concern.

Bob_Niland · ‎Feb 26, 2011

... i import 10 graphics into a document. Now i want to have a label for each--how do i do that? In our nominally 2-column format, our convention is to place the images in the right column, with a Figure caption. We do this with an anchored frame (from the left column text, which must have an Across-All-Columns format). The anchored frame is Right-Run-In, set to the width of the right column and gutter. The anchored frame contains the graphic (inside another graphic frame if clipping is needed), plus a text frame. The text frame contains a one-row borderless table with columns for figure caption, graphic reference number and some stewardship info (as conditional text, switched off for pub). The Figure paragraph format has an auto-number, as suggested in the previous reply. Some observations about this technique (and this is Unix Frame 7.1): If you put two text frames in the same anchored frame, the figure auto-number won't increment (they are both the same #). Save before you ever re-size the bottom (and sometimes the top) of the anchored frame, unless you are fond of Error 7103.

Bob_Niland · ‎Feb 26, 2011

Thanks for the reply, Dov. There really is no version [of Windows] that supports CMYK directly. The GDI imaging model is [still] totally RGB (and actually a make believe sRGB which is really monitor RGB). Don't confuse support of CMYK in XPS as Windows really supporting CMYK and spot colors. Like the parrot said in the movie: Why am I not surprised. Also, internally, FrameMaker does indeed support both RGB and CMYK color definitions. The problem is that for the traditional output path using Windows drivers, it must do an internal conversion of CMYK and spot colors to RGB. So for matching colors of imported objects and Frame graphics, it's probably dramatically easier to stay in the RGB color model, using standard capabilities, particularly if sRGB is the target delivery space. Using post-processing after-market tools, it probably doesn't matter.

Bob_Niland · ‎Feb 25, 2011

But how about using a program such as Illustrator or Photoshop. Set its RGB to sRGB. Then pick a Pantone color and use the program's conversion to convert to RGB. Several problems, hinted at above: The Pantone colors are probably specified in CYMK. What is the algorithm for the RGB conversion? Is hue preserved? The Pantone colors may be out of sRGB gamut in either space, so what is the rendering intent when bringing them in? Is hue preserved? Was due diligence given to the wandering-hue-when-scaling-chroma problem (the notorious blue-turns-purple problem)? Presumably these programs know how to manage color. Yes, but the details of how they do it aren't always given. The result is that pretty much everyone who has looked at the problem of mapping safety colors into sRGB has come up with a different answer (mine are likely yet another variation, and not necessarily optimal). The ANSI-to-sRGB issue, by the way, is not a Frame-specific problem. The answer would be applicable to any image editor or DTP app. I just happen to be using Frame to deliver the content, and Frame adds the challenge of having deminimus color management.

Bob_Niland · ‎Feb 25, 2011

Internally, FrameMaker uses RGB (CMYK colors created in FrameMaker are converted to RGB), but only for the things it creates, such as text. If your color is in the graphics, create them in Illustrator (or other drawing program) in CMYK, using the PMS as needed. Then save them in eps. Thanks, but I'm very familiar with the difficulty of matching Frame CMYK colors to imported CMYK colors on pre-Vista Windows. Is Frame still jamming to RGB in later versions on Windows that support CMYK? In this case, however, CMYK is not the target. sRGB is the target, since we don't print in color, and the main place users will see the color is on-screen. It does appear to be possible to get EPS RGB and Frame RGB colors to match using certain workflow settings. The main question in the thread is how to mimic the various ANSI colors in sRGB space. If you need colored text in FrameMaker that matches the CMYK, ... Fortunately, I don't. In the case of the DOT, the safety colors specified in the regulations match the ANSI colors exactly in Munsell values (for central colors; the tolerance colors are specified differently). In the DOT “Chart 14” PDF, for example, they are using their own Pantone equivalents mentioned above. The document appears to have been created in Quark. The label/placard images are specified as named Pantone spot colors. When opened for edit in Illustrator, they come up as CMYK, but I don't seem to have a tool that reports what, if any profile is used. So obtaining an sRGB readout introduces the variables of the CMYK-RGB conversion being done, and whether any profile is being applied or preserved. Using the Frame Pantone CVU numbers has similar problems. So for the moment, I'm staying with the sRGB values created experimentally by approaching the Munsell values in sRGB space in BabelColor.

Bob_Niland · ‎Feb 25, 2011

Continuing to poke around on this, I see that the U.S.DOT, at: http://phmsa.dot.gov/hazmat/training/publications suggests: Therefore, printed copies of the DOT Chart 14 from your laser printer may not accurately represent the required colors of markings and hazard warning labels and placard set forth in 49 CFR §172.407(d)(5) and 172.519(3). Pantone® Color matching System (PMS) may be used to achieve the required colors: Red, PMS 186U; Orange, PMS 151U; Yellow, PMS 109U; Green, PMS 335U; Blue, PMS 285U; and Purple, PMS 259U. I haven't yet experimented to see if Frame's CVU library gets closer to ANSI spec than my earlier empirical sRGBs. A few sites, such as DOT and NFPA, do make some attempt to mimic true safety colors in their documents, but they rarely match each other. Most authors seem to just jam the colors to RGB or CYMK primaries, which means the hues are not correct (apart from being out of gamut for some rendering paths). Safety hues are very carefully selected colors. To train the correct recognition and response in users, getting as close as possible to treu safety colors is a worthwhile effort.

Bob_Niland · ‎Feb 24, 2011

> It is a vertical line on the right side of the image. This may not be a new problem, and may not be a PSD problem, or a layers problem. I see it occasionally PDFs of FM 7.1 documents. The workflow is: print to .ps on Solaris distill to PDF on Win7/64 using Distiller 9. In the case at hand, it's in a flat bitmapped TIFF imported by reference. In Windows Reader 9, it disappears at high magnification. In Unix Reader 7, it's not there at all. Since there's no evidence it exists in printed copy, I haven't bothered to dig any deeper.

Bob_Niland · ‎Feb 24, 2011

What I do is to create a new named color, e.g. "zMasterpageName", doesn't matter what color it actually is assigned, except that it should be a color that will not be used in the final document(s). I usually use a light tint of magenta ... I use color "Invisible Text", which also gets set to white at final document rendering, then redacted in Acrobat Pro. I find I use it a lot, so there is no need to name it so that it sinks to the bottom of the color list. I'd suggest not using magenta, as that is the color for "overlapping condition codes". You can also use any ordinary text on the master page, of any color, tagged with a condition code (such as "Draft") that is switched off at rendering. Using a CC has the advantage that no redaction is necessary in post processing. ________ PS - White on white text only gets deleted by Acrobat if both text and background are 100% RGB or CMYK white.

Bob_Niland · ‎Feb 21, 2011

> ... and all my black text came out as RGB text, instead of K. Sure enough, it's composite black. That might also explain a printing performance problem using that setting. > You might want to use "Tag Only Images for Color Management" I hadn't noticed that option, but since I don't need color managed color text, that's the thing to do. Thanks. The question about optimal sRGB values for safety colors remains open.

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