Hi,   When creating InCopy files from InDesign, there are two main ways: "Edit - InCopy - Export..." and "Edit - InCopy - Add all artticles to assignment..." (the words may vary, i'm in a Spanish InDesign). Could it be so simple as some of the designer use one way and some the other?   The first way creates the files but it does not create an assignment. In some workflows (ours, for instance), that's better, but in some other ones, assignments are a must.   ... View more

Hi,   (Aside from what Rob Day said and going a bit beyond)   1. Whenever possible, work with pictures in RGB (always tagged with an ICC profile, please). 2. When repurposing an InDesign job from one type of CMYK printing to another (with RGB images and natibe elements in CMYK and / or spot colour), always make this two operations in this order: Assign and Convert to final CMYK. (that is from profile CMYK 1 to CMYK 2). Never ever Convert withoust assign first. Why: Because all native elements will change their ink composition and that would include all black texts. 3. If afterwards you see some native elements with an unsatisfiying colour, change the colour swatch they have (because you are using color swatches for everyting, right?).   If you do that and you use PDF/X-4 with "Convert to output (preserve numbres)" and the CMYK ICC profile is the real final one (ISO Coated, blah, blah...) and you did your assign/convert before, everything should pass properly to the PDF which would have an appropriated ink limit.   But, if you have any pixel of vector element placed in the InDesign file ant it is already defined in CMYK, the situation is different for those elements (not for the rest). Best option is open them in the needed software (Illustrator or Photoshop) and change them to the needed CMYK and ink limit and then update the link in the InDesign file.   And, always, open the resulting PDF in Acrobat and chechk that the ink limits are all right). ... View more

Hi,   Your trouble is not the use of PDF/X standards, but the unadverted use of a tool called Transparency flattener (something common with PDF/X-1a level but not in PDF/X-4, where it is not used).   PDF/X-1a is a rather aged level of the standard and it should be avoided if possible (the trouble you are suffering is a typical one).   Converting text to outlines won't solve / cause that. It is not related with the slicing of the PDF made by the transparency flattener. And it can result in a very poor typographic quality.   That said, If you cannot really use PDF/X4 and you are stuck with PDF/X-1a, it does not always use the transparency flattener. The best way to avoid the slicing in PDF/X-1 is  to avoid the use of transparencies. "No transparency, no flattening, no slicing" is a truism, I know. But there are thousands of design solutions that do not really need the use of any blend mode (ie: transparencies).   Hope it helps   PS. Besides, you might be having some discrepancies in the colour management of some elements. That may cause some colour differennces between the resulting slices. If you avoid that discrepancies, the results would be less prone to surprises (sliced or not). ... View more

Hi,   Your clients have to specify you how many spot inks they are ready to print the label and which system they are going to use fot it.   I guess you have presented them a design in CMYK or even using RGB colours and they need now to use spot inks (hence their asking you to use "Pantone"). For you to do that properly (as has been said in other answers), you have to know how many spot inks they are ready to pay and in which system they are going to print them.   Once you know that you can convert the colours from CMYK and/or RGB into spot inks. You can do that in inDesign or (from a PDF) Illustrator (Colour Guide is a beautiful and flexible tool for that). If you know that and, even better, you know which ones, somebody could give you an example of how to do that. Knowing which spot inks is not irrelevat as one or two of them could be metallic, for example, or fluorescent.   Of course, all that asuming they and you know really what is involved and nobody is using the word "Pantone" in an unproper way. Not uncommon sadly.   Best regards ... View more

Hi,   I'd try (always in a copy of the work and links, please) to convert all the eps into lineart bitmaps (photoshop bitmaps, no screen, 50% threshold, 800 ppp (yes, this is not a typo) at 100% final size ). You can do that with a batch action i n Photoshop pretty easily. Then you can relink those images ("same name, different extension")   The purpose of  this is trying to reduce the load of vectors. 800 ppp solid ink bitmaps (no screen), should print all right (always "effective pixels").   It might help and it does not take too much time or effort to try it.   Best regards   Gustavo ... View more

Hi,   You can do a flatplan (chemin de fer) with InDesign either with miniatures or a schematic one (I append images of both). miniatures organizative (signatures) Full one with InD docs embedded   However, in March 2020 the whole team of the magazine I work for were forced to work from home (guess why) and aside from using Slack and a VPN connection to our servers we managed to make our deadlines thanks to a website that offers a flatplan service called Blinkplan that made our life so much simpler and easier that I recommend it very heartily: https://www.blinkplan.com/ (I have no other relation with them but our clientship and there are some other similar sites). We don't you give it a try (I think they have like two weeks free trial)?   Hope it helps from Madrid, Spain ... View more

Another way (easier or not) is to reorganize (divide) your screen vertically witgh the two documents opened (destination at the left, source at the right).   From the pages palette, select all the pages from source you want to insert into destination and drag and drop into the destination workspace, more or less where you want them to be. When ID asks where to insert, say "after 73". You might have to play with the pages and signatures arrangement (the "allow reorganizing signatures and allow pages reorganizing options". Precise wording may differ, I am using a Spanish ID). That's the classic way to place pages from one document into another (Quark used to do that as well). Linking between frames is saved, so , the linking bewteen 73 and the old 74 (now another numbre) is preserved and the inserted set preserve their own linking. Thus, if you want just one text flow, erase the linked content of the inserted set of pages and relink them into the general flow. Easier, more difficult? Just another way.   PS. Always use a copy of the documents when making something new you have never done before! ... View more

Hello,   In InDesign, that pink shade means that the font you are trying to use is not present in that system or (as you say), that InDesign cannot load / identify it.   If what you are doing is transliteration (writing Arabic with a Latin alphabet), have you tried using another Unicode font? I mean, have you tried Times New Roman, for instance?   Somehow, the apparition of that ">" after the "a" instead of a long alif transliterated makes me think that the original font you are referring to is a bit 'problematic'.   My suggestion is to write a sample text (in MsWord) with Times New Roman or any other Unicode font and then place that in InDesign (again using Times New Roman). If it works, you know the font you are trying to use is bad. Solution: Avoid using it.   Hope it helps ... View more

Hello,   One long InDesign document for a book is a not very good practice that in the end brings more headaches than anything. I'd break it InDesign docs by chapters or sections (your take depending on the structure of the book) and I'd build an InDesign book (Indb doc) with them. (About 15-20 minutes work time as much).   All your automatic numbering (sections, page numbers, and notes) will be very easily solved... as long as you use the features for that that InDesign has.   Hope it helps a bit. Best regards ... View more

"The original page content will disappear if it is locked" No if you place the bands in a layer under the other content ... View more

If the basis of the colours are 'conceptual', that is: lime green goes with grass mowers section this year; light blue with bathroom appliances, you might get away wit a mix of master pages and custom concept related-colour swatches.   I mean: the lime green would be called "grass mowers", the light blue would be called "bathroom appliances". So, next season, you change the bathroom appliances to whatever hue fits you.   A bit more, if you use an InDesign book to build your job (and a complex job with many pages and sections is a good candidate), you might benefit from a colour stnchronization to change the swatches very easyly.   I do not know it that approach might help   Best regards 🙂  ... View more

I am sorry to know about this. My condolences to his family and friends. Gustavo (from Madrid) ... View more

"Contract proofs - another complication! Because of course they are premised on a certain white stock, aren't they?"   Well. Aside from a particular case like this —where there is no real colour management (no ICC colour profiles) but there is a good hearted try to achieve a reasonable match of what is going to be printed— a "contract" proof is not a complication for the client (you), but a safety net. Even more, if the proof is a "certified" proof accepted previously by all parties in a contractual form, the final printed results should match colorimetrically the proof with a tolerance defined previously. All this is facilitated a lot nowadays by international standards. So you and printers and providers don't have to invent the wheel every bloody job.   If nothing of this has been set and signed, all words used are just that, nice words (even in good faith) and the so-called proof would be a pretty printed paper but it won't be a "contractual" proof.   But fortunatelly this is going to the extreme, usually, because good printers that are approached in good faith and work fine will do their best to achieve quality.   But I would not do a work like this (or in general) with no colour proofs (even if they are not really "contractual"). It's a very bad idea. ... View more

I have done that and, unable to do an ICC profile for the paper, the approach was getting a Lab reading of an unprinted paper of that stock (ColorMunki spectrophotometre did the job all right). There are somecaveats:   1. This is repairing an engine with a band-aid. The proper way would be doing a real ICC profile. So, though it is much better than "none", it is just what it is.   2. When reading the Lab values, try to make a batch of readings and then make a mean value (you'd suprise yourself with the quite differents values you'll get with El Cheapo papers).   3. When reading, do not read papers which are printed in the other side and try to make a stack of them (remember you don't need whole sheets, a stack of tiny pieces can do).   4. I'd not use "multiply" for the layer that Rob Day suggests (though it is the obvious approach), I'd use "Darken" mode. Just give it a try and decide yourself.   5. As for "proof colors"... Best luck, because you'll be using an ICC profile in any case (a similar one would be a wise choice) and then you may or may not use "simulate black ink" (quite likely) and "Simulate paper color" (not so much likely), just for softproofing on screen.   In any case, Have you asked the print house if the have an ICC profile for that particular paper? Sometimes Xmas comes early and not all printers live in the past. ... View more

But, if the client uses the double carriage return consistently to indicate a new section, you might want to change that double carriage (or triple or whatever quantity) for a jump to new column character or a jump to new frame or to new page (depending on the format), wouldn't you? Always looking to avoid extra hand work, of course. ... View more

Ok. then use a digital flatplan called Blinkplan. Rather good. Anyway, both Slack and Blinkplan use are simpler than the mechanism of a turnip. ... View more

En el empaquetado debe haberse creado una carpeta llamada "Document Fonts". Copia allí la fuente (con todas sus variantes como cursiva, negrita, etc.). Si no se ha creado, créala con ese nombre exacto (minúsculas y mayúsculas). Cierra el programa, por si las moscas y abre el documento del empaquetado. Si no tienes problemas, debería estar correcto. Si no, es otro tipo de problema. ... View more

Use Slack. ... View more

You can give a try to PDF2ID, from Recosoft. But your mileage may vary a lot depending on each PDF. If not or besides, you might need to roll up your sleeves and redo a lot in InDesign itself (using layers as onion paper, for instance).   Best Regards ... View more

I suggest you to use an epub validation tool. There are some online and/or free like epub validator or epubcheck. They might help you by hinting where your troubles are. Besides, a validated epub is a happy publisher 😉   Hope it helps ... View more

Hola,   1. Pulsa la imagen y abre la paleta "Información" (F8). Mira el dato que pone "Píxeles efectivos". Ése es el valor de resolución de la imagen aplicando la ampliación o reducción a la que la ha colocado. Si te sale bajo, ahí está la razón   2. "La exportación"...  ¿A qué formato? ¿con qué valores? Si eel problema es otra cosa, sin saber esto es difícil suponer nada.   3. Puedes poner los mensajes en español, pero al ser un foro internacional te van a responder antes y más si lo haces en inglés.   Saludos ... View more

I'd make a tiny amend to that otherwise excellent piece of advise: I would not "create a new document of the correct size", I would make a copy of the master document and leave no page on it but an empty one and then I'd use it as a basis for the new empty documents.   Why? Because you never know which feature you added or tweaked in your master file that would not be present in an empty new one until it is too late to add because of the amount of manual work needed.   The devil hides in these tiny details sometimes ... View more

You are welcome anyway   Glad you solved it    🙂 ... View more

"Many" as in "how many"?   I might help because at work I have CS6 and, depending on the quantity I might make the conversion (no fee, no responsability).   Best regards ... View more

@julius_dru   Export to Interactive PDF is fine for a portfolio to be seen only on screens. I'd try generating the PDF with 96 ppp, JPEG compression (maximum) and I'd go for 144 (as much) only if 96 caused annoying artifacts in the display of the pictures. Take note that JPEG compression and JPEG 2000 are no the same, specially if you are interested in losing weight (yes, pun intended).   Besides, it's not the same making a so-so-size PDF and then reducing it more with Acobat tools than making the PDF anew with differents settings to make it smaller. The second option will yield a much better quality PDF as you  would not be resampling the pixels twice.   But, do not believe me, please. Just give it a try. It's a very simple and fast operation.   Best regards ... View more

If both features interact in a bad way, remove the autosizing of all the frames and make them as high as the page is. Mantain leep lines together and start paragraph in the next frame.   That is the best you are goint to get unless you have a paragraph that is longer than one page.   If you need to add something in the page, put it over that text frame.   For better solutions, better (longer) explanations about your intentions with that work would be needed.   Best luck ... View more

" But I'm not sure that I understand what they really want to do." I must say neither do I, because the following image and description ("I would like it to be done at the end of the paragraph (the best),") makes me thing symeosin wants just one paragraph each page (?!) But I guess that is so strange that we cannot image why he/she is doing that. If that were the case, an automatic search/change to change any normal break by a frame break would do. But I guess that's not the case. More explanation about the aim of doing so would help, yes. ... View more