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Danny Whitehead.
Guide
Danny Whitehead.
Guide
Activity
‎Mar 07, 2019
05:19 AM
sugarcoated293 wrote Hi Danny, For this part, it looks like this: Excellent. That makes the job easier. Select the objects with the black stroke applied, and in the attributes palette, make sure 'Overprint Stroke' is checked. If you go to Preferences > Appearance of Black, set both options to 'accurately', and turn on View > Output Preview, you should be able to see the effect of this.
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‎Mar 07, 2019
05:15 AM
The issue is almost certainly happening downstream from you, so kudos to you for trying to solve it! You said you visited the printer. Did they supply or recommend a CMYK profile? That's what you need. Then the designer needs to set their InDesign colour management settings to 'Europe Prepress Defaults', but change the working CMYK profile to the one printer supplied/recommended, and the working RGB to sRGB. Then they need to assign those profiles to their InDesign files.
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‎Mar 06, 2019
05:33 AM
It's doable, but difficult to predict without actually seeing it on press. Pantone solid inks don't always behave like CMYK inks. You'd really need to discuss this with your printer. Personally, I don't think that printing 1595 as a spot is worth the extra expense and technical difficulty. It's barely out of the CMYK gamut (at least for FOGRA 51), so I'd just use the closest CMYK match.
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‎Mar 05, 2019
04:58 AM
Personally, I'd avoid any printer that still holds the designer responsible for trapping. It's done automatically (configured by an expert) as part of a modern prepress workflow. That said, this doesn't look hugely difficult to manually trap using overprinting (or Multiplied) strokes. Could you post a screenshot in Outline mode (View > Outline)?
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‎Feb 07, 2019
04:31 AM
Never, ever, use a monitor profile as your RGB working space! Set your colour settings to what's best generally for your work. You're probably best off starting again with one of the Adobe's default ones (probably 'North America Prepress' or 'Europe Prepress 3', depending on where you are). Don't change them according to clients or intended output. Instead, change the profile you assign to files for that client. In this case, assign the 'ISO Coated v2 300% (ECI)' CMYK profile.
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‎Jan 31, 2019
02:24 AM
1 Upvote
BobbyH5280 wrote Meanwhile Pantone is continuing to add even more spot colors here and there in what seems like a sporadic basis to me. It's possible to get to the "+336" series colors within Adobe's applications now. But now there's all sorts of additional colors. My shop bought 3 sets of new Pantone swatch books a few months ago. But apparently the ones we bought (I think they were shrink-wrapped 2017 editions) were missing some new spots colors Pantone added just recently. Edit: looking in the notes of the Solid Coated "Plus Series" swatch book it says 1867 spot colors, including the 336 added in 2012, 84 colors added in 2014 plus 112 brand new colors. I can't remember the specific project but ran into branding elements using colors not even these new swatch books. The newer swatch books are kind of annoying to use. I'm accustomed to the swatches being arranged in numerical order. Now the pages are arranged chromatically. I'm always having to go to the index to find the page where a certain color number resides. That happened here too. One thing they seem to do every time, is add a red that's colorimetrically a tiny bit closer to 100% M 100% Y than was previously available. So I'll spec it on a job where we only have a CMYK reference, and send the pressmen on a wild goose chase around a swatchbook they already hate!
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‎Jan 17, 2019
01:11 AM
1 Upvote
Interesting that there are options to simulate SWOP and ISO Coated. If these are colours that will sometime be printed by a commercial printer, offset or digital, and you'd like your in-house prints to look more like those, it will probably be better to select either SWOP (if you're in the US) or ISO Coated (Europe).
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‎Jan 16, 2019
07:37 AM
Is there anything in that spot colour that you don't want to change? If not, you could simply add the new spot colour, select it in the swatches palette, then shift select the original colour, and use 'Merge Swatches' in the flyout menu.
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‎Jan 16, 2019
05:56 AM
The way I understood it, you want to keep the opacity percentages of the gradient stops the same, but change the color of them. Is that not correct?
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‎Jan 16, 2019
05:44 AM
1 Upvote
If the base colour that you want to change isn't a global swatch, 'Add Used Colours' in the flyout menu of the Swatches palette may help. Or is it a global swatch that's applied to other objects that you don't want to change?
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‎Jan 14, 2019
07:48 AM
Don't worry, I fixed it by clicking 'Mark All Unread'.
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‎Jan 14, 2019
07:46 AM
I've had this problem before, and IIRC, it fixed itself eventually. This time it's stuck around for months. Every time I log into the forums, I get the orange '@ 1' icon, but there are no unread messages in my inbox. Is there ant way to fix this? Thanks.
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‎Jan 11, 2019
07:03 AM
1 Upvote
First things first... it was a huge mistake to create 64+ page brochure in Illustrator. It should have been done in InDesign. Whoever did it in Illustrator, as reader spreads, has no business accepting payment to design brochures. With that said... Is this going to be perfect bound? If that's the case, the printer doesn't need inner bleed. You'd have to wreck the book's spine to stand a chance of seeing a white edge. And even if they did, ironically, the fact you're sending reader spreads actually gives them image they need for it.
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‎Jan 11, 2019
02:20 AM
https://forums.adobe.com/people/Eric+Dumas wrote RGB: your screen I would say 'RGB: working RGB space', for example sRGB. You don't tell Photoshop your monitor profile, and using your monitor profile as your RGB working space is a very bad idea.
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‎Jan 08, 2019
05:25 AM
3 Upvotes
Good colour matching is a tall order for a small office colour laser like that. Having said that, it appears that it can at least do some form of colour calibration, so that should be your first thing to try. Then, see if there's a CMYK profile available for it, which you can assign to your InDesign documents. I'd strongly advise against Eric's suggestion of using Pantone spot colour swatches. Unlike a production machine with a proper RIP/DFE, it's unlikely to have any way of controlling what it does with the spot colours in the incoming Postscript data.
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‎Jan 07, 2019
02:05 AM
1 Upvote
If you need to place an InDesign page onto an Illustrator artboard, export as PDF and place that. If you need to edit an InDesign page in Illustrator, the bounding box is the least of your worries.
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‎Dec 13, 2018
05:46 AM
And those Lab values will have been captured using devices developed by Gretag-Macbeth, X-Rite's other big acquisition. It's a funny old mess - two brands, owned by the same company, seemingly promoting opposite ideas about colour.
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‎Dec 12, 2018
05:47 AM
https://forums.adobe.com/people/rob+day wrote There can't be an "official" RGB value because there is no official RGB color space. Again, Pantone does not publish the color management variables—the destination profiles, color intents, CM engine, etc. Precisely. For the vast majority of graphic designers, Pantone has one useful purpose, and it's one of rapidly decreasing importance: to specify ink formulas for spot colour printing. Everything else, from RGB/CMYK builds to toothbrushes, is Pantone stepping beyond their mandate for marketing purposes. It's actually quite odd that it's got worse since it was acquired by X-Rite, a more scientific company than Pantone.
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‎Dec 10, 2018
04:04 AM
3 Upvotes
schroef wrote @Danny white, Sorry but that fellow is out of this game. Why forget RGB values, if those are important to a designer they cant be neglected. Not everybody works with print It's Pantone's RGB values I'm saying we should forget. If you want RGB values, you derive them from the Lab values, converted to appropriate RGB space using colour managed software.
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‎Dec 07, 2018
01:46 AM
schroef wrote Does anyone know if the RGB values on their site are using a specific RGB Color Profile? God only knows, and even he doesn't know the basis of those CMYK conversions that people used to rely on. For that reason, the only good use for the Pantone digital libraries is to get the Lab values, to represent spot inks on screen and to convert to other spaces in a colour managed workflow. Forget the RGB values.
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‎Dec 03, 2018
05:47 AM
karlh6247730 wrote the problem is that i have to TRY to figure out how to use the gradient tool. No worries. i figured it out. My point in saying that is it should be simple. It could be simple. Its just a gradient. all you have to do is apply a gradient when i hit g and click my mouse. You don't create gradients, you apply them to objects. What graphics software are you already familiar with, that you would like Illustrator to behave more like? I ask, because it sounds like it might be the object-based paradigm that is fundamental to how Illustrator works, that you need to get comfortable with.
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‎Dec 03, 2018
05:27 AM
1 Upvote
If the tables have been built using InDesign, yes, there are various ways of creating images of them.
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‎Dec 03, 2018
04:51 AM
troyb99136792 wrote You must have never worked in a pre-press with client supplied files. Simply exporting a pdf does not show errors that will occur at the RIP when making plates. You only need to be burned one time by this simple export method to know it is always best to Print to a PS then distill. It will show you where errors may be BEFORE they make it to the Press Floor. I've worked in pre-press with client supplied files for long enough to remember when your advice had a basis in reality. It doesn't anymore. Even older Harlequins can handle X-4.
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‎Nov 24, 2018
07:03 AM
2 Upvotes
While getting a compound path that you're happy with the weight of is probably better in the long run, you could just use the original trace, grouped and set the blending mode to multiply. That will also make it overprint the green, which is advisable.
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‎Nov 23, 2018
04:08 AM
Mac Preview is no good for assessing PDFs. There's probably another colour management issue, but first, how do the PDFs look when opened in Adobe Acrobat?
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‎Nov 23, 2018
03:43 AM
Are there any colour management warnings coming up when you open the file? Could you post a screenshot of your colour management settings (Edit > Color Settings)?
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‎Nov 22, 2018
05:56 AM
1 Upvote
judithm12809063 wrote I checked the CMYK value of both spot colors and they were identical! Will these file be printed using actual spot inks? If not, don't use spot swatches. The conversion to CMYK that a printers RIP or workflow does, will likely be lead by the name of the spot colour, rather than the CMYK values. If they will be printed with spot inks, use the same Pantone swatch everywhere, and the printer will use the same ink.
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‎Nov 22, 2018
03:17 AM
It's a foible of Illustrator that will almost certainly never be fixed. The 'Grayscale' mode (or tints, for that matter) aren't reliable in RGB mode, and blending modes aren't very suited to CMYK mode. What you're seeing in Illustrator is far from perfect. For your purposes, use opacities of an R0 G0 B0 swatch. What you see in through the yellow square set to Overlay will change, but it will be correct, so you'll have to try another way to achieve the look you want.
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‎Nov 22, 2018
02:55 AM
Jeffrey_Smith wrote if the goal is neutrality, why would the built CMYK mix be better than 70%K where there wouldn't be registration worries or unwanted color casts if the press is not holding to the profile's gray balance? Rob, the OP is looking for a mix that can remain neutral and is richer than straight black. The chances of unwanted color cast using my suggested mix [20C 15M 15Y 60K] (which has a better ratio of UC compared to black) are less likely to occur than a mis-color managed RGB gray, that once converted, is something like the following mix [55C 50M 49Y 15K] There's no 'rich grey'. I'd strongly advise against using that mix for 8pt text. Unless you really need the grey to be cooler or warmer, stick with a tint of black ink only for text. And for print work that can be done with spot inks (letterheads etc), pick the closest Pantone Solid.
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‎Nov 22, 2018
02:29 AM
1 Upvote
I must be missing something... how do you resize something with the Direct Select tool?
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