On a side note, I've never quite understood why non-global swatches should even exist, let alone be the default. ... View more

Yes, it will probably be either the embedded fonts and/or embedded colour profiles. Are you using one of the presets? 'Smallest File Size' will convert everything to sRGB and embed that profile, which will be much smaller than one of the common CMYK profiles. ... View more

It will be the Helvetica.dfont that's part of OSX. It is a form of TrueType, but they won't install on Windows. Really, if you're going to be collaborating cross-platform, you'll both have to use cross-platform fonts. I think the Helvetica.dfont that ships with OSX is the Adobe/Linotype version, so Adobe's 'Helvetica LT Std' will be your best option. ... View more

Are you printing this, or sending it to a printer? As Rob has suggested, the first thing to check is the actual CMYK values in the PDF, by hovering over the relevant areas with Acrobat's Output Preview. You can also check in ID before making the PDF, with Separations Preview. Also, be sure there aren't any spot colour swatched used in the ID file. ... View more

If you're dealing with a lot of incoming PDFs of ads etc, then I'd recommend jane-e's suggestion of using Acrobat Preflight. Once you get your head around its interface, you can create a profile and corresponding droplet that will solve the spot colour issue and many others that you'll inevitably see no matter how clear your file submission guidelines are! Just drop the PDFs onto the droplet and they're fixed. ... View more

Unlike images, PDFs can contain content in a wide variety of colour spaces and profiles. When you export your PDF, under Output, try selecting 'No Colour Conversion' and 'Include All Profiles'. That way, everything gets embedded and the RIP at least knows the source. But don't count on everything being converted directly to the printer's profile. They may have their RIP set to simulate (and convert all non-CMYK to) the US Sheetfed Coated profile, in the name of lowest common denominator consistency, so you might not be able to access the wider gamut of their printer anyway. Even if you can, using 'WideGamutCMYK' isn't the way to do it. ... View more

But it's also destined for FOGRA39 offset litho, so they either sacrifice consistency or sacrifice the use of RGB and spot colours outside of FOGRA39's gamut. ... View more

If FOGRA39 is your destination, 'Europe General Purpose 3' or 'Europe Prepress 3' would be the best of Adobe's standard colour settings to apply via Bridge. Then, as has been suggested, use AI instead of EPS, and don't use Pantone solid/spot swatches unless you're going to be printing with that actual spot ink. ... View more

How is this being bound (saddle stitched, perfect bound etc)? Most binding doesn't require inside bleed. ... View more

Try turning off 'only web colours' in Illustrator's colour picker. It's best to use swatches to specify colours, and to decide between CMYK and RGB depending on the final output. Is this to be printed or is it for on-screen use? ... View more

SiviUser wrote: This "standard" isn't that tangible in real life (everyone can measure what "2 mm" means with a simple ruler, while you can't really tell what 10 pt is in the real world without a conversion). You can't measure what 2mm means in the real world when it comes to type. Again, which part of the type are you expecting to even be approximately 2mm high? When you set 2mm type in Illustrator, you won't find anything that actually measures 2mm on the printed page. SiviUser wrote: And that's the issue: why should we use a different measurement system for fonts? Is that useful, nowadays? Or is it just a inDesign limitation? It's a centuries old convention of the printing industry, and the better you understand the 'anatomy' of type, the less you'll find any benefit in abandoning it... and that's coming from a firm advocate of metric everything (I'd take decimal time given the choice!). ... View more

Type size is different to page sizes and other elements of the layout that can be measured in absolute terms. Using millimetres for type size wouldn't give us consistent proportions, for the reasons John Mensinger stated in his first post. For instance, if you were to specify 10mm type, what exact part of the type would you expect to measure exactly 10mm, in every font? Here's a screenshot of 10mm type in various fonts, in 10mm deep text frames with a stroke applied... ... View more

How about temporarily editing the spot colour to be C0 M0 Y0 K0 process colour when exporting the PDF of the student edition? This would only work if it's all on a plain paper background. ... View more

By 'pantone color selection', I presume you mean a spot colour swatch. InDesign won't automatically convert them, unless 'All Spots to Process' is checked in the Ink Manager. Yes, if you send a PDF containing spot colours to a printer for CMYK process printing, you can usually expect a reasonable conversion to CMYK to happen in their preflight or RIP, but it's generally better practice not to do it. It's hard to determine what went wrong without seeing the artwork. ... View more

It's a drawing. The steps are: 1) Draw it 2) Scan it 3) Manipulate it in either Illustrator (converting it to vectors will make it infinitely scalable without pixelation) or Photoshop (which might be more comfortable for you) ... View more

Sorry, I forgot to mention, yes, I can open it in Illustrator and it's the expected collection of vectors and embedded images (one of which is the square with the white patch). Here's the PDF: Dropbox - DRB Square & Comet.pdf I should have mentioned, in case it's relevant, that the shapes in question were copied and pasted from Illustrator as Shape Layers, and in Illustrator they have various rounded corners applied. ... View more

Ah, EPS, of course. It's been a while! I tried it anyway, and the same portion of the square goes missing. The SVG export is currently causing 6 rotating circles. I'll give it a while and see if it eventually manages to process. ... View more

jbm007 wrote: Did you save the image as a copy and flatten the image first before saving it to a pdf file? Flattening would discard vector data. ... View more

Derek Cross wrote: There are formulations for printing on uncoated stock, which is more absorbant, and on coated papers, which have a smooth surface. Slight clarification. The ink formulas (for instance mixing 25% Reflex Blue and 75% Transparent White to create Pantone 279) are identical for coated and uncoated. It's the 'C' and 'U' digital swatch libraries that differ in appearance, based on how those ink formulas actually appear when printed on coated and uncoated stock (as measured by a spectrophotometer as LAB values). That's why the variety of C, U and Hexachrome swatches originally specified was so unwise, and if this current situation isn't a big enough issue to justify getting things in order based on the actual printing methods, I predict future ones will be. I'd advise finding out where in the workflow those swatches have been getting converted to CMYK, finding out the CMYK values they've been converted to, and defining a set of CMYK swatches based on that. ... View more

As has been said, you need to communicate better with the other artists, and decide exactly what swatches you ought to use. That should be based first on foremost on how these will be printed, and unless you're printing in a weird and wonderful mix of Pantone Solid inks and the obsolete Hexachrome inks, sometimes on coated stock and sometimes on uncoated, you're going to have to rethink it. That's not to mention the potential pitfalls of collaborating with someone using different versions of InDesign. So, what is your printing method? Are 'Red', 'Orange' etc the name of the swatches in the files you've received? If so, what colour mode are they? Spot? CMYK? RGB? ... View more

Terse answer: with a camera, lighting, studio, make-up artist, skill and experience. It depends on the original image. Playing around with Black & White and Curves Adjustment Layers may get you somewhere, but it's unlikely to be anything like as pleasing as doing it with lighting, exposure etc, while shooting the original. ... View more

The Pantone Colour Manager software can download up-to-date Pantone libraries and install them in Adobe software. Pantone (foolishly IMO) charge for this software, but if you have an actual Pantone guide, there should be a code with which you can get it for free. Or, you can download the libraries below, and place them in /Applications/Adobe InDesign CC 2017/Presets. xxxxxxxxxxxxxxxxxx Link removed by moderator – unless you can provide documentation from Pantone to redistribute their products, you cannot post links to them here! ... View more

What printer? Does it have a separate controller/RIP/DFE (Fiery etc), and if so, which? Is the blue a spot colour swatch? If so, unless it will actually be printed on the press as an extra ink, it's best to keep to process swatches. ... View more

Does the same happen when you save the graphic as AI or PDF, and place it, rather than embedding? That's generally better practice. ... View more

It seems you’re still a little confused about display profiles and profiles assigned to documents. They should never be the same profile. Try following these steps, carefully… • Download this image: https://farm4.staticflickr.com/3939/15648465231_4e9feff533_o_d.jpg • Set Photoshop’s Colour Management settings to ‘North America General Purpose 2’, then quit. • In Windows Control Panel > Color Management > Device, set your Default Profile to sRGB. • Launch Photoshop. • Open the downloaded image. • Take a screenshot, ensuring all of the image is visible (particularly the grey patches at the bottom). • Quit Photoshop. • In Windows Control Panel > Color Management > Device, set your Default Profile to the one generated by Xrite. • Launch Photoshop. • Open the downloaded image. • Take a screenshot, ensuring all of the image is visible (particularly the grey patches at the bottom). • Upload both screenshots, as they are, without assigning any profiles to the actual screenshot files or making any conversions. ... View more

murdoc16 wrote: What is the cause for the excessive reddish tone for when I open up the images in photoshop It's either a) Assigning the wrong profile to your images, or b) There actually is a red cast, but software without colour management is deceiving you into thinking there isn't, and you're reluctant to let go of the misconception that they represent 'true colour', or b) Bad monitor profile. And it could be a mix of all three. murdoc16 wrote: is there anything I can do about it? Yes, remove it with Photoshop's colour correction tools, on a calibrated monitor, with the appropriate profile assigned. ... View more

murdoc16 wrote: Going by your theory, if this is the expected behavior of the monitor, then it looks like editing with photoshop is not going to work with this calibrated profile. I can't work on a image when its colors are significantly skewed in photoshop. In this situation, I think it would be better to just not use any calibration at all. Or just buy a monitor dedicated to this. Thoughts? No, no, no, no, no. The screenshots you've provided show your display after changing to different monitor profiles, is that correct? It's the profile assigned to your images that I think might be wrong. In all your screenshots, it's the bottom halves that have the correct RGB values. Set your monitor profile back to the one generated by Xrite. Then open the image in Photoshop and go to Edit > Assign Profile. What is assigned? AdobeRGB? If so, try assigning sRGB and see it looks more like you think it should. D Fosse has expained the system well, but it does seem a little like your bias towards blaming Adobe and Xrite, and using what we know for sure to be wrong (unmanaged software) as a reference, are getting in the way of that sinking in. ... View more

What profile is assigned to your images? It could be that you're assigning AdobeRGB to images that are closer to sRGB. That would generally make them appear redder. Could you try showing us the same screenshot with this file? PDI_Target_AdobeRGB.jpg photo - Gul Chotrani photos at pbase.com ... View more