Do any of the other font managers update the plugins for previous versions? I'm pretty sure Extensis don't with Suitcase. ... View more

Obviously, editing text in a story effects all the text after it. What is incorrect about it? ... View more

When you convert to CMYK, the ink limit (also known as Total Area Coverage/TAC, and 'density' by your printer) is determined by the CMYK profile you use. Did the printer ask you to use the Uncoated FOGRA29 profile? The FOGRA29 profile that ships with Adobe CC has a 300% ink limit. If they need 280%, tell them this and ask them to supply with you a profile with their required ink limit. ... View more

Are you working on content for both print and mobile, and want that dark grey to be consistent across different media? That's a fairly complicated business, so you'll need some knowledge of colour management. If an 80% tint of black in a print document is your starting point, first you'll need to establish what targets (FOGRA, GraCol etc) your printers work to. Then, using Photoshop, you'll need to convert that 80% black to sRGB (you'll never account for all the different screens, brightness setting etc, but sRGB is about as good a target as you can get), and use that in your mobile work. ... View more

I'm not sure I'd trust an image exported from Acrobat as evidence of a conversion happening in InDesign's PDF export. In Acrobat, bring up Output Preview (Print Production > Output Preview). Hover over the image. Does it show anything on the C, M or Y separations? ... View more

The black swatch in a print document represents a solid black ink printed on paper (C:0 M:0 Y:0 K:100), whereas the black swatch in a mobile document represents the darkest colour possible on-screen (R:0 G:0 B:0), which is darker than black ink. ... View more

You could draw a rectangle that's just inside the rough edges, and use that as a clipping mask (make sure the rectangle is in front, select both the rectangle and the trace, then Object > Clipping Mask > Make. If you need to rasterise, then I'd leave it until you've finished the whole composition, duplicate it all onto a new layer, and rasterise that. That way, you keep the vectors should you need to go back and change anything, or re-rasterise for different purposes. ... View more

or... 5. If your document uses both Cyrillic and Latin text, switch to a font that better supports both. Browse fonts | Typekit ... View more

On further inspection in InDesign's Glyph Palette, they're Cyrillic characters (so apologies for calling a non-Latin script 'strange'!). A few find & replace actions should fix it. ... View more

What was the original source of the text, and how did you get it into InDesign? It looks it the vowels are some strange alternate characters, and those characters don't exist in Raleway Italic (a Google Font, so you can always freely download the latest version). Even on the forum they look odd. See screenshot below. They have a slightly higher x-height, and look like a grotesk font rather the humanist of the rest of the text. So it's a question of how best to replace all those characters with the 'normal' ones. I've tried converting to Plain Text in TextEdit, but that didn't work. ... View more

I have a friend who works in TV graphics. He told me that he's created graphics that go on the back wall behind the presenters of a sports show, and the printer has insisted on 1:1 @ 300ppi. I had to laugh at that one! You never know when the camera will zoom right in on the wall during an 8K broadcast, and ruin someone's day with that pixelation... ... View more

I was referring to Olga's suggestion of 1:1 @ 300ppi. I suppose it's not unworkably large, but the chances are the viewing distance will make it unnecessary. There are definitely times when it's better, or absolutely necessary, to work at a percentage of the final size, especially for large format work. It's usually in the artwork specs for billboards, for instance. You'll run into all sorts of trouble trying to work at 1:1 (maximum type size for instance) for really big stuff. ... View more

That will be a pretty big file. That's why you don't create entire banners in Photoshop, and if you do, you don't work at finished size. To the OP, is the a banner that you're creating artwork for, which will be printed elsewhere? If so, ask them for artwork specifications. ... View more

My commiserations! But if this is just to fool an overcautious setting in a software preflight check, and you know that 3mm will be fine in reality, then Laubender's solution of using a PDF preset should work. ... View more

Do you know who will be producing the banner? They will usually have specifications and possibly templates available regarding size, scaling and file formats amongst other things. It's also worth taking into account the likely viewing distance when deciding what final printed resolution images should be. I did some banners almost the same size the other day and worked at 12.5%, with 300ppi images, but that was being produced in-house and I knew the viewing distance. I prefer not to design at full size for large format stuff. Composition-wise, I think that the amount of the viewer's field of vision occupied matters more than physical size. Optical Kerning, for instance, presumes they'll be holding something close, so it gets messed up when you work on large format stuff at full size. ... View more

Interesting... when I open the file in TextEdit to look for clues about the file format, the first line contains the word 'TEXTART', which led me to this curiosity: TextArt ​ Are you sure these were created in Illustrator (as opposed to an obscure NeXT application!)? ... View more

Are you using the same printer for both A4 and A1? ... View more

https://forums.adobe.com/people/D+Fosse  wrote That doesn't matter. Although the calibration tables are usually stored inside the profile, this is just for convenience and it's not part of the profile as such. It's just baggage, used elsewhere, and Photoshop doesn't care whether it's there or not. Ah, that was the part I was unsure about, so thanks for the clarification. I was thinking that once calibrated, the profile would describe a calibrated display, rather than the uncalibrated one that the OP prefers the appearance of... or something along those lines. ... View more

The only really reliable way is with hardware calibration, especially as to do as I suggested, I think you'll need to profile without calibration first (and assign that profile to your files in Photoshop). I use an X-Rite i1 Pro 2, but that's an expensive device that we use for other purposes. There are much cheaper devices around (Spyder, ColorMunki etc) and I'm sure others can make some recommendations. ... View more

Yes, but it's only reliable if you have an accurate profile of your monitor set as the display profile. ... View more

If there's any detail there, you may get somewhere with a Curves Adjustment Layer (see screenshot as a rough example). But bear in mind that increasing contrast in one part of the tonal scale with a steep section of a curve, is at the expense of the contrast in the shallower/flatter sections. ... View more

j64253144  wrote So, is there any way to "dye" the t-shirt marigold? Yes - bring it into a colour-managed environment and make your colour judgements and adjustments ('dyeing') there. In your case, a possibility would to profile the monitor you liked the colours on, open the file in Photoshop, assign that monitor profile, then convert it to something more standard (probably sRGB). ... View more

j64253144  wrote I happen to want to wear an orange t-shirt in the shade of marigold, and you keep telling me that I should instead wear a t-shirt in the shade of mango, because the fashion police says that marigold is outdated or whatever. No. You want to wear a white t-shirt and expect everyone to see it as the colour you see when you're wearing your unique, marigold-tinted glasses. ... View more

Rasmaster  wrote The style that we've gotten them back in is booklet (simple spreads printed with two staples to hold the 20 page books together. That's 'saddle stitched' binding. Unless specified otherwise (for instance if you want very heavy card throughout), that would be the usual way to bind a booklet with only 20 pages. Set your document as facing pages, set your bleed to every edge apart from the inside, and you have image frames that went into the previous inside bleed, pull those sides back to the page boundary. ... View more

I'm repeating what other people have said, but here are few pointers... Start with an RGB document with an artboard the same pixel dimensions as the final ad, and assign sRGB as your document profile. Work at Actual Size, with Pixel Preview switched on. That way, you'll know on the fly when your type is too small. Play around with the antialiasing settings in the Character pallet - it can have a huge effect on how your type is rendered. ... View more